AV issue 20

The first scalable line array for all occasions

However large or small your audience and the venue may be, you can put together a system suitable for every situation usingg jjust the six components of the HK Audio Elements system. Here are just a few examples of systems you can build using the six components of Elements.

Thanks to E-Connect, HK’s novel integrated

Voice Two

Acoustics Three

2 x E435 1 x EA600 1 x EP1 1 x EF45

150

300w RMS

6 x E435 2 x EA600 2 x E110 2 x E110A 300

2,100w RMS

350

DJ Three

Band Four

6 x E435 2 x EA600 2 x E110 4 x E110A

8 x E435 2 x EA600 4 x E110 4 x E110A 2 x EF45

2,700w RMS

450

3,600w RMS

signal routing, even the largest Elements setup is performance-ready in just a few minutes with a minimum of cabling. Due to each component’s extremely compact and rugged design, transportation is no longer a hassle.

L W lV H O H P H Q W D U \ Your nearest Elements dealer: ACT: Pro Audio | NSW: Kirby Productions | NT: Top End Sounds QLD: Musiclab & Mackay Music | SA: BSS Light Audio Visual | Vic: Factory Sound Distibuted by CMI Music & Audio. For more info visit: www.cmi.com.au

Bring images to life with the superior quality of Japanese design and engineering.

Whether it’s a small classroom or a giant sporting stadium, Mitsubishi Electric has the visual display solution to suit your needs. With the freedom to choose from a large range of home or business projectors, commercial LCD monitors, Video Wall systems or large format Diamond Vision LED screens, the possibilities are only limited by your vision.

Projectors

Commercial LCD

Diamond Vision LED

DLP/LCD/LED Video Walls Proud partner of the Australian Centre for the Moving Image

VISUAL INFORMATION SYSTEMS

Mitsubishi Electric Australia Pty Ltd, 348 Victoria Rd Rydalmere NSW 2116 www.MitsubishiElectric.com.au ph: (02) 9684 7777 fax (02) 9684 7208

DS8000 Digital Wireless Microphone Systems Pro Spec: 24-bit audio quality for concert stage, recording studio and broadcast.

Fail-Safe Redundancy: System automatically detects a system fault and seamlessly switches to the backup system. For example, when the system senses a battery is about to die it automatically switches to the backup transmitter and receiver and sends a text message to tech support.

Mission-Critical Audio

Production Audio Services New Zealand P.+64 (0) 9272 8041 sales@productionaudio.com.nz www.productionaudio.com.nz

Production Audio Services Pty Ltd P.(03) 9264 8000 info@productionaudio.com.au www.productionaudio.com.au

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Editorial Welcome to the Net-Centric AV Era

Everyone talks about living in an era of great change. The changes we are experiencing in 2011 will set the pattern for the next 10 years of the AV industry, just as the last 20 years saw first the change to selling boxes, then later to our present roles as system integrators. At the end of the next decade, it is possible the industry might be called the Information Communications Technology Industry as it completes the business convergence that will inevitably follow the ongoing technical convergence with the IT industry.

In the Net-Centric AV Era, the customer will reflect the role and influence of its IT department.

IT will be the primary decision maker, just as it deploys and oversees VoIP and other communications services added to the traditional data network. However, different than VoIP, facilities managers will be more involved because the AV communications systems (which may be called Information Communications Technology Systems) will require more than a room for telephone punch-down blocks. While signal distribution and control may all become digital and run on IP networks, the transducers (microphones, screens, etc.) needed for people to hear and see will be in public spaces and still need to be designed so people can hear, see and work together. Those public spaces will be the domain of the facilities manager and architects, and others working in the built environment will need to work with IT and the AV provider to meet the end-user departmental need.

In the Net-Centric AV Era, products will likely become more commoditised and sold through

distribution, systems design will become easier and more replicable because it will be more software-oriented, installation will probably be less box- and connector-oriented but still be very room-specific to accommodate the needs of the end users, and support after installation will need to accommodate the demands for ubiquitous availability and performance reliability.

As the gatekeeper in the Net-Centric AV Era, the IT department will need outside companies to supply products and to design, install and support systems. Currently, IT managers may take on some of the small jobs themselves, but for sophisticated systems the IT department will need the special knowledge and skill of AV professionals. The growth in the overall market will also mean that there are more of those sophisticated systems with good margins to be built. While that sounds encouraging, this responsibility comes with a performance and reliability demand.

In the Net-Centric AV Era, what will the systems integrator’s business look like? Just as when dealers became integrators and the margin on systems design and engineering replaced the lost margin on boxes, tomorrow’s net-centric company will need to shift its mix of products and services. If systems design and engineering become easier, will managed services replace it in the blended-margin mix? Will design-bid and design-build models give way to integrated project delivery and profit margins that are bid, rather than the traditional proposal for product, design and installation services?

“AV will still be at the interface between the systems and the end user” There are opportunities in the net-centric world, and the AV industry will need to understand its contribution and its unique offerings. In the new world of cloud computing, managed services and all of what IT is looking to do, AV will still be at the interface between the systems and the end user. AV will need to employ and sharpen its knowledge of the human factors of communication so that when the digital signal gets reconverted back to analogue for viewing and hearing, the AV industry can design the acoustics, produce intelligible sound, create images that can be seen and understood, and pull that all together in a room that makes it possible to communicate with people in the room and in facilities around the world.  Randal A. Lemke, Ph.D. Executive Director and International

CEO,

InfoComm

This is an edited excerpt from Randy Lemke’s Integrate 2011 keynote address

The New Samsung LED*BLU Simply Stunning Commercial Displays VISIT US AT STAND XX

The slim and lightweight design of the Samsung ME and HE Series delivers a flexible and customisable solution to suit your business needs. The ME and HE Series Displays are only 29.9mm thick, improving the aesthetics as well as the functionality of installations.

ME series • 29.9mm thickness with 15.1mm bezel • Available in 40, 46 and 55 inch sizes • Built-in Media Player - plug and play your content easily!

• Optional Set Back Box PC for networked digital signage applications

HE series SBB

- Optional Set Back Box for ME, HE and UE series

Media Player PC only 32mm thick designed to attach to the back of the screen for networked digital signage applications.

• Dual core 2.5GHz with DDR3 2gb with 16 gb SSD • GbE Ethernet LAN • USB2 x 2 and USB 3 x 2, Dp out, Audio Out, RJ45 • Other spec options available

* Samsung LED displays utilise LCD screens with LED edge lights.

• 29.9mm thickness with 15.1mm bezel • Available in 40 and 46 inch sizes • Built-in Digital HDTV Tuner –yes a commercial TV! • Optional Set Back Box PC for networked digital signage applications

www.samsung.com/au/lfd it.sales@samsung.com

Crew Matt is a freelance technical writer with a background in marketing and a focus on lighting and entertainment. He contributes to publications around the world and provides media and marketing services for the entertainment industry. A strong contributor to Melbourne's independent theatre scene, he has worked as a producer, director, actor, stage manager, and more recently as a lighting designer. Matt is a produced playwright and budding screenwriter (although Hollywood doesn't think so... yet) and freelances his reviewing skills both online and in print.

Advertising Office: (02) 9986 1188 PO Box 6216, Frenchs Forest, NSW 2086

Editorial Office: (03) 5331 4949 PO Box 295, Ballarat, VIC 3353

Editor: Andy Ciddor (andy@av.net.au) Publication Manager: Stewart Woodhill (stewart@av.net.au)

Paul is technical producer/director and co-owner at The Events Activation Resource (The EAR), a company specialising in large scale corporate and entertainment technical event management, and has worked in video projection and multimedia since 1992. He has been involved in video production management for events in the corporate, broadcast, exhibition, fashion and entertainment industries, and has toured extensively.

He has expert knowledge of multimedia, content creation and complex live video systems.

Editorial Director: Christopher Holder (chris@av.net.au) Publisher: Philip Spencer (philip@av.net.au) Art Direction & Design: Dominic Carey (dominic@alchemedia.com.au) Additional Design: Leigh Ericksen (leigh@alchemedia.com.au) News Editor: Graeme Hague (news@av.net.au) Accounts: Jen Temm (jen@alchemedia.com.au) Circulation Manager: Mim Mulcahy (subscriptions@av.net.au)

Tim Stackpool is a broadcast technical director, most recently completing the design and construction of a three-studio TV facility for IP Studios in Sydney.

After spending 10 years at Channel Nine, Tim founded and remains co-owner of production company Sonic Sight. Tim also supplements the [lavish – Ed] income he receives from AV Magazine by assuming the role of Australian correspondent for Global Radio News in London and the Canadian Economic Press.

alchemedia publishing pty ltd (ABN: 34 074 431 628) PO Box 6216, Frenchs Forest, NSW 2086 info@alchemedia.com.au All material in this magazine is copyright © 2011 Alchemedia Publishing Pty Ltd. The title AV is a registered Trademark.

Apart from any fair dealing permitted under the Copyright Act, no part may be reproduced by any process without written permission. The publishers believe all information supplied in this magazine to be correct at the time of publication. They are not in a position to make a guarantee to this effect and accept no liability in the event of any information proving inaccurate. After investigation and to the best of our knowledge and belief, prices, addresses and phone numbers were up to date at the time of publication. It is not possible for the publishers to ensure that advertisements appearing in this publication comply with the Trade Practices Act, 1974. The responsibility is on the person, company or advertising agency submitting or directing the advertisement for publication. The publishers cannot be held responsible for any errors or omissions, although every endeavour has been made to ensure complete accuracy. 30/9/11

Mandy Jones is Event Manager for Museum Victoria, responsible for producing media launches and special events across the organisation’s four sites (Melbourne Museum, Immigration Museum, Scienceworks and the Royal Exhibition Building). Previously she worked in venue hire sales, and in all aspects of indoor and outdoor theatre including production and stage management, lighting design and operation. For many years Mandy was the Melbourne correspondent and photographer for Connections/CX magazine, and also served on the ALIA committee as a board member and honorary secretary.

The new Samsung LED*BLU Video Wall solutions put the focus back on the image Utilising the latest in LED*BLU video wall display technology, the Samsung UD55A 55 inch LED* Display is a revolutionary design, with super narrow bezels offering image to image gap of only 5.5mm, focusing the attention on the content. Full HD LCD with LED back lighting offers high brightness, colour, contrast and clarity without compromise.

UD Series • Super Narrow Bezel – only 1.8mm (bottom and right) and 3.7mm (top and left).

• Full HD 1920 x 1080 in 55 inch • 700 cdm2 brightness 3500 to 1 contrast ratio • Low Power Consumption – lower than previous Samsung models with CCFL Backlighting.

• Optional Slide in PC Module for Digital Signage Applications

UE Series SBB

- Optional Set Back Box for ME, HE and UE series

Media Player PC only 32mm thick designed to attach to the back of the screen for networked digital signage applications.

• Dual core 2.5GHz with DDR3 2gb with 16 gb SSD • GbE Ethernet LAN • USB2 x 2 and USB 3 x 2, Dp out, Audio Out, RJ45 • Other spec options available * Samsung LED displays utilise LCD screens with LED edge lights.

• 29.9mm thickness • Narrow Bezel – only 5.3mm suits video wall or stand alone applications • Full HD 1920 x 1080 240Hz LED*BLU in 46 and 55 inch sizes • Built-in Media Player - plug and play your content easily!

• Optional Set Back Box PC for networked digital signage applications

www.samsung.com/au/lfd it.sales@samsung.com

Customizable backlit buttons

TLP 1000 Series 10" TouchLink Touchpanels

Configurable Control for Larger AV Systems The Extron TLP 1000MV and TLP 1000TV are fully configurable 10" TouchLink™ touchpanels featuring a sleek, contemporary look and thin bezels to complement any decor. The larger, 1024 x 600 resolution touchscreen surface provides ample room for sophisticated controls and graphics. An integrated MTP twisted pair receiver accepts S-video or composite video and audio input signals over standard CAT 5 cable. Power over Ethernet – PoE, allows the touchpanels to receive power via the Ethernet connector, eliminating the need for a local power supply. The TLP 1000MV mounts on a wall, lectern, or other flat surface, while the TLP 1000TV sits on a tabletop or installs on a VESA mount. Both touchpanel models are ideal for control environments that require a larger control surface within an elegant touchpanel design.

Key Features: • Fully-configurable touchpanel control systems provide powerful control with no programming required • 10" color touchscreen with 1024 x 600 resolution and 18-bit color depth • Integrated Ethernet port compatible with IP Link® control processors

IPCP 505 - IP Link® Control Processor

• Power over Ethernet allows the touchpanel to receive power via the Ethernet connector, eliminating the need for a local power supply • Contemporary, thin bezel designs complement the aesthetics of any environment • The TLP 1000MV mounts on a wall, lectern, or other flat surface, while the TLP 1000TV sits on a tabletop or installs on a VESA mount

Australian Distributor of Extron Products

www.extron.com

www.rgbintegration.com

+65.6383.4400

Issue 20 REGULARS NEWS AV industry news.

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INFOCOMM NEWS Regional news from InfoComm.

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TERMINATION When too much technology really is... too much.

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SHOW NEWS

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INTEGRATE NEWS Our rundown on what happened at Integrate 2011.

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OTHER SHOW NEWS A brief look at SMPTE and Entech.

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SANYO AV INDUSTRY AWARDS AVIAs 2011 winners and finalists.

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FEATURES

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AV IN SEPIA If the AV ain’t broke... keep up the maintenance to be sure it stays that way.

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TAKING IT TO THE STREET Gertrude Street Projection Festival: the bleeding edge meets slide transparencies.

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ALL ABOARD The age of steam gets a new multimedia museum.

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REVIEWS ADOBE AUDITION 5.5 Adobe’s audio NLE jumps 2.5 versions and goes postal.

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NEC V651 LCD PANEL 65-inch V Series commercial display

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TUTORIAL OHM'S LAW The relationship between Current, Voltage, Power and Resistance.

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NEWS

2011

in association with

Beatles Engineers, Geoff Emerick and Richard Lush, talk shop.

Phil Dunn (AMX), Michael Comiskey (AECOM), Ken Yu (Uni of Queensland).

2011: The Year Integrate Grew Up If Integrate 2009 was Year One with few expectations and some pleasant surprises; and Integrate 2010 was the year many decided to take the show seriously; then Integrate 2011 was the year the show grew up.

From a pro AV perspective I think few would disagree that there was plenty more to like about integrate this year. The most obvious signal that Integrate was growing into its role as a regional InfoComm Show was, of course, the renaming

to ‘Integrate in Association with InfoComm International’. And InfoComm really did throw a lot of its weight behind Integrate this year. For starters, the expanded InfoComm Academy education program was a big step up in scope and ambition. It resulted in a 50% increase in those availing themselves of InfoComm education (as compared to 2010). In reality, the numbers would need to have been 100% higher for every session to feel ‘full’, but every session advertised did get a run, and hot-button sessions such as

John Ungerer’s ‘Solving Real-Life HDMI Installation Problems’ proved very popular.

The presence of InfoComm ‘top brass’ such as CEO Randy Lemke (who provided the keynote on Day One) and Terry Friesenborg (Senior Vice President, International Development) also leant the show extra weight.

Jonathan Seller picks up on the Association’s involvement in the InfoComm News page later this issue, and I’m sure he’d like to hear your feedback, whether you’re an exhibitor or an attendee.

Other highlights? There were a good number. Anyone with an interest in The Beatles recorded canon or the art of the sound balance engineer would have enjoyed the visit of audio royalty: Geoff Emerick.

The second AVIAs went off successfully, and we’ll pick up on that in more detail later this issue as well.

As far as AV’s on-going involvement? Integrate and AV are joined at the hip and even though Alchemedia (publishers of AV) has sold the show to Diversified

Exhibitions this will not change. If anything, AV’s Integrate profile will probably grow in 2012, as myself, Andy Ciddor and others in the team have more time to switch our magazine ‘heads’ on, rather than be utterly preoccupied with our show organising duties.

One thing’s for sure, Integrate will be taking a big step up in 2012 with the move to SCEC. There was plenty to like about the Moore Park location of the first three shows, but I can’t deny feeling a certain frisson of excitement when I think about Integrate occupying halls at

Darling Harbour.

Oh… I nearly forgot. The numbers.

Integrate’s attendance figures were fairly steady on 2010 – 4371 people attended. Head along to the Integrate website for the full breakdown of numbers in the Show Report (www.integrate-expo.com).

See you in 2012.

Christopher Holder, Editorial Director.

AKG

DMS 700

The new DMS 700 is a revolutionary digital wireless solution designed for the future: Which of these kids is not…?: The Kramer Krew and Elkie van Zyl from avEFEKTs.

The First Professional Digital Wireless System

Ian Bayfield (Integration Supplies), Sean Garland (KLM Group), Steve Courtney (KLM Group).

Peter Coman (InDesign Technologies) and Matthew Loupis.

You Gu-u-uys: Kit Davidson (AMX), Peter Blackmore (Avdec) and Jeff Burch (AMX US)

• Up to 150MHz tuning range • 256 bit RC4 signal encryption for secure audio transmission • 2-channel digital true-diversity receiver • No Compander (used in analogue systems): higher sound quality • On-board DSP per channel (Compressor, EQ, Limiter) • Quick setup via infrared data link to the transmitter • Graphical spectrum analyser helps find clear channels • Remote monitoring and control via PC

YOU SAW IT HERE FIRST, FOLKS

EXTRON SWITCH ON

SACOM MISSION CRITICAL

Integrate saw the international debut of the Bose RoomMatch Array Module. The new product defines a new category of loudspeakers, delivering ‘concert sound quality for a wide variety of fixed installation systems’. Through Bose proprietary technologies, the RoomMatch modules offer scalability to provide consistent tonal balance for a wide variety of room sizes, shapes, acoustic requirements and budgets. This scalability allows modules to be used as single units in applications with modest SPL and coverage-control requirements, or to form Progressive Directivity Arrays with up to eight modules for the highest SPL and coverage-control requirements. The precise, constant-directivity coverage from all modules and array configurations helps ensure consistent tonal balance, virtually independent of room shape and acoustics. Bose’s secret behind this claim is its proprietary RoomMatch waveguide technology, which directs sound energy more precisely to the desired listening areas, while reducing unwanted wall and ceiling reflections that can degrade tonal balance.

Bose Australia: 1800 172 371 or worldwide.bose.com

The Extron XTP CrossPoint 3200 system is a flexible signal switching and distribution system that provides a completely integrated solution for multiple digital and analogue formats. XTP CrossPoint matrix switchers support local connectivity as well as extended transmission capability for sending high-resolution video, audio, RS-232, Ethernet and power up to 100 metres over a single Cat5-type cable.

XTP CrossPoint Systems can easily be set up and configured out of the box. Intuitive control software provides straightforward system configuration without complicated programming. It offers high switching and transmission performance to support a wide range of video formats, including the highest resolution DVI and HDMI signals. Switching is done through EDID and HDCP key management. Featuring a 24/7 system monitoring and hot-swappable modular components, XTP CrossPoint Systems are built for continuous operation in critical applications.

RGB Integration: (08) 8351 2188 or www.rgbintegration.com.au

Whether it's a meeting of the Board of Directors, a keynote speech, or a live TV broadcast, it’s what Sacom calls ‘mission-critical audio’. Every sound must be clear and natural. Sacom’s wireless system combines uncompromising audio quality specifications with a totally redundant hardware platform to deliver mission-critical audio. It means systems redundancy, automatic scheduled maintenance and monitoring, and real-time system-fault alerts. For example, take Sacom’s hardware redundancy: For critical meetings, assign two system receiver channels as a redundant pair using Sacom Remote. Sync a transmitter to each redundant receiver and then double-mic the presenter.

That’s it. The system now automatically monitors the two independent channels and seamlessly switches if the active channel experiences a bad battery, broken cable, RF interference, or any other fault. The system sends an email notifying the technician which system failed and why. It is the dual-redundant ‘belt and suspenders’ method that makes certain your system works when you need it.

Production Audio Services: (03) 9264 8000 or info@productionaudio.com.au

NEWS IN BRIEF:

2011 in association with

AVglue provides premium components for gluing together AV systems: Opticis has fibreoptic solutions for moving digital signals over distances with zero loss. AV Link has a range of cost-effective general purpose distribution and switching products. Presentation Switchers has launched the industry’s first Digital Modular Presentation Switcher. Calibre has been making scalers and scaling engines for many well-known brands for years. Let’s hope AVglue stick around for many years to come.

AVglue: (07) 3376 4745 or www.avglue.com.au

Rosemonts is a staging and event specialist that can provide custom-built stages, backdrops, props and scenery to suit a wide range of clients including any corporate event. A team of qualified designers, set builders and scenic artists work with CNC cutting, steel and aluminium fabrication, fibreglass, sugar glass, foam and woodcraft to take set building to the next level.

Rosemonts can provide Megadeck staging and has a selection road cases for hire.

Rosemonts: 0415 394 180 or www.rosemonts.com.au

The DCS6000 from DIS – Danish Interpretation Systems – provides a multitude of functionality, including voting, agenda display, delegate profiles, messaging, voice activation, remote mic control, video conferencing integration and, of course, up to 32 different interpretation channels. The system has been successfully installed around the world (think: the United Nations building).

PAT: (02) 9476 1272 or sales@proaudiotechnology. com.au

Screencorp’s Perimeter Signage Systems (PSS) allows venues to launch banner systems of any length with great clarity, allowing sponsors to display effective and continuous advertising messages across the entire perimeter of the sporting field. PSS offers high-resolution LED displays using low-voltage battery-powered panels. The lightweight panels allow the possibility to move and reassemble the PSS within a short period of time, giving stadiums the flexibility for single-day operations.

Screencorp: (02) 9987 0744 or www.screencorp.com.au

The new Levitate mount from Atdec is touted as step forward in both functionality and aesthetic design, combining convenience and versatility. Polished aluminium and stainless steel finishes with touches of white or black; colour combinations that will suit different decors and architectural spaces. Dynamic Lift Assistance technology allows the arms to be raised, lowered and rotated 360 degrees independently. Users can position monitors up to 9kg easily.

Atdec: (02) 8729 5033 or www.adtec.com

Integrate News

HD SERIES SOLUTIONS

SAMSUNG SCORES BIG TON The 55-inch LED Super Narrow Bezel Display from Samsung, officially called the UD55A LED LFD, is a display designed specifically to deliver amazing clarity from even the largest images and virtually no image loss with its super-slim bezel. When the video wall is assembled, bezel-to-bezel rounds up to only 5.5mm, bringing a nearly seamless experience for any audience. The UD series provides full HD resolution and easy installation through Samsung’s LFD accessories. A digital loop out feature through various ports allow up to 100 LFDs to display equal picture quality throughout the whole video wall.

Remote controlling is supported through RJ45 LAN MDC feature along with the RS232C daisy chain MDC. Resolution comes in at 1920 x 1080, brightness is at 700cd/m2 and the contrast ration is 3500:1. All Samsung LFDs feature an upgraded Multi Display Control solution that allows you to control a large number of monitors through their embedded RS232 and Ethernet interfaces.

Samsung: 1300 362 603 or www.samsung.com/au/lfd

ACTUAL SIZE

HD Omni-directional tabletop microphone

Christie has announced the next generation of its 3-chip DLP Xenon platform projectors.

The Christie J Series uses lenses with Intelligent Lens System (ILS) functionality at three resolutions, SXGA+, HD and WUXGA. The embedded Christie Twist feature allows for image warping without the need to purchase additional electronics cards. The Mirage versions of the J Series models are high-performance, active stereo projectors providing 3D performance.

VR Solutions: (07) 3844 9514 or www.vrs.com.au

Designed especially for the iPad, Vogel’s has developed a secure enclosure, preventing theft and unauthorised operation.

Made out of high quality aluminium and steel its a stylish and slim enclosure which protects the iPad in public environments.

The Secure iPad Enclosure can be directly mounted to the wall or via the VESA mounting holes to any Vogel’s VESAcompatible mounts.

Canohm: 1800 636 026 or sales@canohm.com.au

Revolabs HD Series provides conferencing and sound reinforcement solutions that offer the fidelity

of wired microphones, with the versatility of a wireless system.

Experience a new freedom in collaboration!

FOR YOUR NEAREST DEALER: AUSTRALIA: Call 1300 13 44 00 or visit www.audioproducts.com.au

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5 6 1/ PANTASTIC?

2/JUST A SHORT THROW AWAY

3/ OLED AT LARGE

AMX’s new Modero X Series Touch panels are frameless, panoramic and widescreen touchpanels featuring edge-to-edge glass in a low-profile design that allows more screen space for controls, applications and content. The panoramic models will be released in a 515mm size and 492mm size, and will be available as a tabletop device or wall-mount in both portrait and landscape orientation. In the future, three additional Modero X panels of 127mm, 177mm and 254mm will be released with a 16 x 9 aspect ratio. All models will have an integrated hi- def camera for video chat and conferencing, Bluetooth and USB external phone connections, high definition video streaming and support for emerging Near Field Communications technologies. Employing the new PanTastic UI, (someone has to take responsibility for that!), the panoramic touch panels are configured to perform activities much in the same way you use a computer, such as multi-tasking with dedicated spaces.

AMX Australia: (07) 5531 3103 or www.amxaustralia.com.au

Hitachi’s new iPJ-AW250NM LCD short-throw projector delivers full interactive capabilities thanks to its Starboard Soft Duo software which delivers a completely interactive experience on any flat surface.

With features designed to meet the specific needs of corporate and education users, the iPJ-AW250NM is simple to install and easy on the environment.

Network ready, the iPJ-AW250NM incorporates a built-in sensor that uses infrared and ultrasonic waves that, when integrated with Hitachi Starboard software, takes best advantage of the projector’s interactive capabilities. To ensure easy installation, the iPJ-AW250NM is bundled with a wall mount that simplifies a precise setup and any fine adjustments.

Once the iPJ-AW250NM is installed on a network, the latest Hitachi projector management software handles managing any multi-unit installations as well as providing usage reports. Lamp life is around 5000 hours operating in Eco Mode.

Hitachi Australia: (02) 9888 4100 or www.hitachi.com.au

Mitsubishi Electric used Integrate to ‘think big’, featuring a 150-inch Diamond Vision OLED screen.

Comprising 9 x 5 individual OLED modules, the total screen size of the screen was 3456mm x 1920mm. The display system uses an organic light emitting diode (OLED) as its light source and is designed for indoor use to deliver seamless and vivid imagery. The Diamond Vision OLED screens offer wide horizontal and vertical viewing angles capable of reaching approximately ±80 degrees and can provide a maximum brightness of 1,200cd/m2 with twice the contrast of current LED displays. This makes it well suited to installation in bright areas. Each module is 0.384mm x 0.384mm in size and features 128 x 128 pixels with a 3mm pixel pitch. For the record, Mitsubishi is quick to point out that OLED products are not intended to replace LED or LCD devices, but will be a separate product line.

Mitsubishi Electric Australia: (02) 9684 7777 or www.mitsubishielectric.com.au

4/ A BRAVIA NEW WORLD

5/ TANNOY FEELS THE POWER

6/ KRAMER PUT TO THE TEST

Sony’s range of professional products has expanded with the launch of Bravia Professional LCDs. The new models range in size from 32-inch to 60-inch, carry a three-year commercial warranty and come bundled with an RS232C to HDMI converter box for remote monitor control. The Bravia range has been specifically designed to meet the needs of the corporate, public sector and small business users.

Along with releasing the new displays Sony is also launching the VSP-BZ10 HD digital signage player to provide a complete solution for any digital signage application. Consuming only 8W, the VSP-BZ10 is able to provide full HD video and image playback with interrupt capability to cater for on-the-fly messaging.

It supports vertical and horizontal scrolling text, as well as conversion of Flash and Powerpoint files and allows for SD, USB or network distribution.

Sony Australia: 1300 720 071 or www.sony.com.au

The VX Series of loudspeakers from Tannoy represents the latest evolution of Tannoy’s core philosophies in professional loudspeaker design. With 10 passive models in the range, each with the company’s dual concentric point-source driver, the VX promises to deliver excellent acoustic performance. In addition to an expanded passive range, the VX Series extends into self-powered loudspeakers with integrated Lab. gruppen amplification. The new Lab.gruppen IDEEA module has been designed to handle the demands of fixed installation audio including the inherent, extended duty cycles of around-the-clock operation such installations require. Along with this very high performance criteria, VXP offers the durability, power output and clarity usually experienced only with portable applications. It’s good to see Tannoy happily putting its reputation on the line, too – the VXP Series is backed by a five-year factory warranty.

Audio Products Group: (02) 9578 0137 or www.audioproducts.com.au

The VS-1616D and VS-3232D digital matrix switchers

by Kramer offer a wide variety of solutions for transmission of audio and video with the ability to choose the inputs/outputs configuration and signal types. The modular line of matrix switchers can be purchased as a stand-alone unit expandable in groups of 2x2, up to a 16x16 matrix, or in groups of 4x4 up to a 32x32 matrix. You can then add different format types from Kramer’s available cards. These include DVI, HDMI, HDCP, Dual-link DVI and DVI or HDMI-overFibre signal types with Cat6 in/out cards soon to be introduced. Kramer’s EQ and ‘re‑Klocking’ technology rebuilds the digital signal to travel longer distances and includes I-EDIDPro, Kramer’s intelligent EDID processing, which ensures plug ’n’ play operation for DVI and HDMI systems.

Kramer Electronics Australia: (07) 3806 4290 or www.krameraustralia.com.au

When you’re putting on a show for the best in the world, you can only rely on the best in the world...

Yamaha’s MY-card expansion system, standard across all models of Yamaha digital mixer and programmable DSP, enables connectivity to all major digital audio protocols, including the CobraNet distribution backbone that ran around the Formula One Qantas Australian Grand Prix track in Melbourne, March 24-27 2011.

“Choosing the LS9 for the media conference systems just made sense. The combination of on-board DSP processing and the availability of CobraNet I/O made integration of the mixers with the rest of the control system simple and foolproof.”

Chris Dodds, Managing Director, The P.A. People

For further information on all Yamaha Commercial Audio products, please visit www.yamahaproaudio.com or call Yamaha Music Australia on +61 3 9693 5272 For sales enquires regarding all Yamaha Commercial Audio Products, please contact The P.A. People directly on +61 2 8755 8700 or email sales@papeople.com.au

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4 1/ ABTUS TOUCHES BASE

2/EAW WEDGES CHIP OFF OLD BLOCK

3/ POWER UP… & DOWN… & UP AGAIN

Coming from Singapore-based company Abtus, the A934-212C-044 touch control panel uses a standard four-wire resistive touch panel, which allows up to a total of 32 command codes with complete userprogrammable software. User friendly software allows customised programming such as macro setting, feedback events, control commands and more. Another characteristic is the panel button layout and design, which can also be easily customised and printed out accordingly with icons or clear text buttons. The default configuration is a matrix of 12 buttons in a 3x4 grid. Macro definitions can be assigned to every button with up to 16 different combinations. The backlight for the display will automatically fade out when it’s not constantly in use.

With this in mind the Abtus A934-212C-044 touch control panel promises ‘ultra low’ power consumption.

Screencom: (03) 97946102 or www.screencom.net.au

EAW has added to its MicroWedge Series of stage monitors with the MicroWedge8 (MW8) and MicroWedge10 (MW10). The MW8 and MW10 are suitable for applications that demand a high level of performance, audio quality, inherent feedback stability, smooth coverage and ergonomic design – all similar to the MW12 and MW15 – and are designed for mid to high-volume rock performers, houses of worship, theatres - all the usual suspects. They are also recommended by EAW for engineers looking for a live monitoring option on the console meter bridge. Both units’ coaxial designs pair the respective eight- or 10inch woofers with a three-inch coaxially-mounted HF compression driver. All transducer components are highly liquid tolerant – virtually impervious to spilled drinks (yep, those houses of worship can go nuts).

Production Audio Services: (03) 9264 8000 or sales@productionaudio.com.au

It’s a lesson most of us never learn – like backing up data and virus protection. Power spikes wiping out your work and your gear are rare, but devastating when they occur. Jands was recently appointed the exclusive Australian distributor for Furman, the manufacturer of a wide selection of AC power conditioning and distribution products, and the full range of Furman equipment was on display at Integrate. The AC-210AE compact power conditioner features Furman’s SMP technology. The Series Multi-Stage Protection (SMP) circuit features exclusive Linear Filter Technology (LiFT) and Extreme Voltage Shutdown (EVS).

Together, these technologies provide an advanced and comprehensive transient voltage surge suppressor.

At less than 300 bucks RRP, it’s probably one of the cheapest insurance policies you can buy. I’ll get one next week – honest. Really.

Jands: (02) 9582 0909 or info@jands.com.au

4/ TOUGHEN UP, PRINCESS

5/ COOL CLARITY

6/ VISION GETS LOUDER

The new Gilkon Slimline ODE addresses an unfortunate, but pressing issue: with the growth of LCDs in venues and public areas comes increased theft, vandalism and damage. In some installations it is necessary to place the LCD into an especially-designed enclosure.

However, the common element of most idiot-proof enclosures is a lack of style, reminiscent of Hannibal Lecter’s jail cell. Coming to the rescue, Wilson & Gilkes previewed the Gilkon Slimline ODE series at Integrate 2011. This is a 100% Australian designed and manufactured product and the in-house design team has created an enclosure that will be a feature of most fitouts without compromising functionality.

They must have got something right – orders for the first available production units in November delivery have already been received. Well done, and pass the Chianti, Hannibal.

Wilson & Gilkes: (02) 9914 0900 or sales@gilkon.com.au

The Clarity Matrix LCD Video Wall System from Planar, available in 46-inch and 55-inch sizes, combines streamlined, narrow-bezel LCD panels, a proprietary mounting system, centralised outboard electronics and simplified configuration and management software. The system is designed to make the most of LCD technology’s slim profile while allowing perfect alignment, optimal cooling and easy servicing. To ensure continuous operation, the Clarity Matrix Video Wall System features off-board rackmount electronics and power supplies to decrease the heat load that can rapidly degrade LCD panels and increase the risk of temporary image retention (TIR).

Update: Last issue we published out-of-date contact info for Planar. Note the correct details below.

Image Design Technology (IDT): 1300 666 099 or sales@idt.com.au

Vision has launched its new SP-5000 column loudspeakers. The SP-5000 loudspeakers are Vision’s flagship audio solution with a curved chassis to complement any installation where an interactive whiteboard or flat panel is also involved. The slideup grille reveals an integrated Techconnect modular faceplate. By adding Techconnect amplifier and connectivity modules (not included) the SP-5000 becomes an all-in-one solution. Cables plugged into the faceplate can be routed downward so the faceplate is hidden behind the grille. An integrated USB decoder takes care of audio received via USB and sends the analogue audio signal to an installed Techconnect amp or an external amplifier. Plug in the USB and any computer should recognise the SP-5000 as an audio output device. The design ensures it’s easy for one person to install.

Integration Supplies: 0408 570 950 or ian@isupplies.com.au

ExpEriEncE MorE .: CONFIDENCE :.

Confidentiality, too. With Audio-Technica’s ATCS-60 infrared conference system, your wireless signal won’t make it out of the room, let alone visit another building. While typical RF wireless systems broadcast right through walls, the ATCS-60 keeps your signals safe & secure, with no information leakage. The innovative ATCS-60 offers flexible configuration for up to 150 participants, intuitive operation, and selectable channels for multi-language groups. Whatever your installations demand, experience more. audio-technica.com FeatureS • Information control —Your wireless signal won’t leave the room

• Voice detection — Microphones are voice-activated in automatic mode

• Flexible & easy to modify — Microphone and camera settings can be controlled by PC

• Simultaneous interpretation — Use up to four channels for multi-language meetings

More information? Contact your Audio-Technica dealer or TAG info@tag.com.au Ph. (02) 9519 0900.

GRANDVIEW gives you features, value, reliability and peace of mind.

Herma recently launched the HideAway range dedicated to Grandview screens. Together the Grandview Smart-Screen and HideAway combo are a stand out offering. The Smart-Screen comes with all of the control options (IR/12V/Manual Switch and Dry Contact Control options) easily accessible from the outside of the casing, and now when combined with the quality finish and construction of the HideAway, it’s an unbeatable offering.

All at an amazing price point.

www.grandviewscreens.com.au Herma Technologies 1300 730 025

NEWS

019

And at the Other Shows...

AV takes a look at a couple of the other trade shows that have been in town.

Text:/ Matt Caton

Image courtesy Exhibitions & Trade Fairs

Photographer: Peter Baumann

SIGHTS & SOUNDS OF ENTECH 2011

SMPTE 2011

If you needed to see some flashing lights, moving gobos, elaborate staging and bass-pumping demonstrations of how well new speakers output AC/DC, then Entech 2011 at Sydney’s Darling Harbour was the place to be. Into its seventeenth year, this more-or-less bi-annual technology exhibition sees the rare occurrence of all the major players in the entertainment industry being under the one roof. Well in this year’s case, several of them anyway.

It’s safe to say that Entech 2011 was a little smaller and light-on than previous affairs, but there was still plenty to look at. Clifton Productions won my award for most extravagant stand, erecting a giant concert stage complete with stage truss, a giant LED screen and enough moving lights and Molefay Blinders to light an arena show.

Show Technology gave the extravagance title a decent crack, with their centrally located stand showing off an impressive display of Martin moving lights and a number of LED screens. It was hard to miss the Jands and ULA stands as well.

Trade shows are normally a popular avenue to introduce new products to the market place, but this particular aspect was rather disappointing. The Production Resource Group (PRG – formerly Bytecraft Entertainment) were pretty much the lone hand in this department, using the event to introduce to the Australian market their Bad Boy spot moving light, their V676 and V476 consoles and the LED OHM Digital Spacelight. The only other new product that really caught my eye, was the new Zebra Technology speaker cones from Rare Audio, that are made from a Korean paper derivative called hanji, and give and incredible improvement in both sound output and aesthetic.

While the event wasn’t the scale that previous attempts have been, Entech 2011 still provided a great networking opportunity and a chance to see some of the entertainment industry’s biggest players at work. 

The Australian Media and Technology week in Sydney was rounded out by the SMPTE (Society of Motion Picture & Television Engineers) exhibition. Running next door to Entech at Sydney’s Darling Harbour Convention Centre, SMPTE proved to be a much bigger show on a much grander scale, showcasing the latest in video cameras, cranes, screens, media servers, audio mixers, microphones, broadcast gear and plenty more.

If you have ever wanted to shoot, edit or display anything in 3D, then SMPTE was the place to be, and it was certainly the buzz-word at the conference. The convention centre was littered with different 3D screens and more prominently, 3D cameras. There was even a 3D Go Pro waterproof camera, which takes the world of wearable sports 1080p HD cameras to the next level (you can even shoot 3D on a surfboard now!).

Steadycams and camera cranes were also a popular item, with many different companies displaying their latest advancements in technology. One that caught my attention was a steadycam designed for smaller handheld cameras, that had an attachment for an iPhone, allowing the 720p HD camera in the iPhone 4 to become a realistic shooting option for small shoots.

While studio audio consoles for radio haven’t really advanced much over the years, it didn’t stop the presenters at SMPTE putting an abundance of them on display. It was also refreshing to see that many of these desks were still traditional analogue desks, showing that while digital consoles are far more flexible, there will always be a place for the reliable and easily-fixable analogue desks.

The SMPTE exhibition was a considerable success, and quite frankly, having it run right next door to Entech may be the only reason that Entech managed to get the traffic that it did. The 2013 exhibition will be bigger and better, and I’m already looking forward to it. 

020

NEWS

A POCKET FULL OF PICTURES

PLASA AWARDS

WASH THIS SPACE

The MP180 is the latest addition to 3M’s range of Pocket Projectors and is the first in the range to feature wireless and Bluetooth compatibility for transferring files from a laptop or PDA, or stream content from the Internet. The 3M PocketProjector MP180 is designed for business and personal use with compatibility for PowerPoint presentations, videos, music, photos, Excel spreadsheets, Word documents and PDF files. The projector has touchscreen controls, a two-hour battery life at 32 lumens, full-colour gamut and SVGA resolution. The projector’s 4GB of internal memory and microSD card support provide plenty of storage room. Literally small enough to fit into a pocket, it allows for projection of images up to 2m diagonal. For audio there are 2 x 0.75W embedded speakers or an audio output jack. The projector connects to any device with a video output, including laptops and netbooks, smart phones, camcorders, digital cameras, DVD players, game consoles with Bluetooth and MP3 players.

3M Australia: 136 136 or www.solutions.3m.com.au

One of the major highlights of the PLASA Show in London is the PLASA Awards for Innovation and the announcement of the prestigious Gottelier Award, the latter awarded to Terry Clarke of amplifier manufacturer MC2 in recognition of his work at Klark Teknik, Midas, XTA Electronics and MC2.

Eight Awards for Innovation were presented and the winners were: Martin Professional’s MAC Aura luminaire, which provides new types of visual effects; the Harman HiQnet Performance Manager, designed for live performance and tour sound; Chromlech got a gong for its Gleamer DMX-controlled low voltage dimmer; Gerriets’ innovative G-Quick got recognition as an alternative to attaching grommeted soft goods to pipe battens; next came the ELC Green-Go digital show communications system; Total Solutions’ Video Tech Truss was hailed as a new benchmark in safety; while GDS achieved a double – winning an Award for Innovation and the special PLASA Sustainability Award for its ARCSystem of LED auditorium lighting fixtures. Finally, the Gold Award was given to the Shure Axient Wireless Manager. Pop the champagne.

PLASA Show: www.plasashow.com

Robert Juliat has released a new, variable beam angle, 85W LED Aledin 330 wash light to complement its existing 630 LED profile spot. Using the same technology and light source as the profile, the Aledin 330 wash offers a choice of two colour temperatures (3500K or 5800K) making it suitable for theatre, studio and event applications as well as architectural and exhibition work. In addition, its flicker-free, integrated, dimmable electronic-ballast makes it ideal for camera and studio applications – demonstrations of the flicker-free operation at the recent PLASA 2011 in London were apparently very impressive. Power consumption is rated at 105W. Local or DMX control is possible at either 8 or 16 bit resolution. There is a fourbutton display including an automatic light switch-off and the Aledin 330 also has a strobe function. There is an “optional rotating barn door with four individual blades” – okay, let’s not over-hype a set of barn doors. The light source promises over 70% of initial brightness even after 50,000 hours.

Show Technology: (02) 9748 1122 or www.showtech.com.au

NEWS IN BRIEF:

CAST has been demonstrating its new BlackTrax 3D, a system for tracking people and objects with high accuracy in real time.

BlackTrax 3D uses a proprietary IR beacon placed on each object to track their X, Y, and Z coordinates. Should the line of sight be obstructed, the onboard accelerometer and gyroscope deliver redundant tracking data and the orientation of any moving set piece, dancer or human cannonball.

CAST: www.cast-soft.com

If lots of people at PLASA 2011 were trying to speak Klingon, you can blame Belgian video server company ArKaos, which announced the release of its new network protocol called Kling-Net. Kling-Net has been designed to allow the distribution of real-time video data to remote LED display devices, such as LED panels, over Ethernet. Although Kling-Net requires custom hardware to operate, Chauvet have already announced two new products that implement the protocol. Live long and prosper.

ULA Group: 1300 852 476 or www.ula.com.au

Throughout October and November AMX is running a series of Technology Seminars in all Australian capitals except Darwin and Hobart, including a leap across the briny for two more in Wellington and Auckland (which isn’t to suggest the latter are Australian capitals…). The first kicks off October 13th in Brisbane.

AMX Australia: (07) 5531 3103 or www.amxaustralia.com.au

Riedel Communications, manufacturers of real-time networks for video, audio and communications, has premiered a suite of AVB products for the Artist digital matrix intercom platform at this year’s IBC. AVB allows for transporting AES3/EBU audio in real-time with guaranteed bandwidth and quality of service (QoS) via IP-based Local Area Networks (LAN).

Riedel Communications: (02) 9550 4537 or www.riedel.net

Blackmagic Design announced its SmartView HD, a full-resolution HD rack monitor with a large 17-inch LCD with centralised network-based control. SmartView HD has a compact 6U design that’s less than 25mm thick.

The monitor handles SD, HD and 3Gb/s SDI video standards, and all screens can be remotely adjusted via an Ethernet network and the included Mac and Windows software.

New Magic Australia: (03) 9722 9700 or www.newmagic.com.au

NETWORKED PROGRAMMABLE DSP SYSTEMS Th e S o u n dw e b L o n d o n 1 00 S e r i e s r e p r e s e n ts a p r e mi u m, o pe n - a rch i t e c t u r e s o l u ti o n i n th e f o r m o f a h i g h l y f l e x i b l e , c o s t-e f f e c tive a n d s c a l a b l e p a ck a g e .

LINE ARRAY FOR ALL Built on the same power platform as the successful K and KW Series powered loudspeakers QSC has now launched KLA, an easy to deploy, easy to tune, line array. KLA is designed for a wide range of portable and permanently installed applications including houses of worship, entertainment venues and auditoriums.

The KLA system is comprised of two models: the KLA12 12-inch, two-way, line array element, and the KLA181 18-inch subwoofer enclosure. Both models feature a highly-efficient, 1000W (continuous) Class-D power module and a self contained rigging system which enables users to quickly assemble and disassemble. The fixed vertical splay angle of each box is 18°, allowing 90° arrays to be configured using only five boxes. Retail pricing in Australia is $3999 for the KLA12 and $3999 for the KLA181.

Technical Audio Group: (02) 9519 0900 or info@tag.com.au

• • • • •

The K-array Redline Series KR200s is a compact and efficient portable powered PA/stage monitor system ideal for concert halls, theatre, houses of worship and AV presentations. It comprises a KL18ma self-powered subwoofer and a KR200 line array satellite speaker. The KR200 contains two stainless steel chassis each containing 32 x 2-inch transducers. The 20kg package reproduces the full vocal range with 120° x 7° coverage from below 40Hz to 19KHz with 127dB continuous and 133 dB peak output.

Syntec International: (02) 9910 6700 or sales@syntec.com.au

The Neets Sierra Control is a state of the art 8- or 16-button control system with a twist – you can add an iPad, iPhone, Google Android or Windows 7 device to the control system.

The Sierra is a standalone control panel with RS232, IR and I/O outputs in the panel along with LAN and a webserver. It’s the webserver – using the Neets Project Editor software – that allows Sierra to create the control GUIs served to the touchscreen mobile device of your choice via WiFi. Price: $1649 – just add an iPad and you’re on your way.

Axis AV: (03) 9752 2955 or axisav.com.au

Fixed I/O configuration Open-Architecture Processing AEC processing channels for 101 and 102 conferencing applications BLU-Link Digital Audio Bus Same powerful software

100 SERIES ...it’s what you need.

Register now to receive 2 days of BSS Training for FREE Go to www.jands.com.au to book your place at the next session Distributed by

www.jands.com.au

This course has been approved for 8 InfoComm RU’s

DME SEriES Open Architecture Programmable DSP

Now with Acoustic Echo Cancellation.

Exceptional I/O Flexibility & Networking Yamaha’s MY-card expansion system, standard across all models of Yamaha programmable DSP and digital mixers, enables connectivity to all major digital audio protocols, as well as multiple analogue I/O options.

All DME Series models are controllable via Ethernet (compatible with AMX and Crestron), USB, RS232,GPI and MIDI. Networkable up to 256 units, IP addressable, customisable multi-user PC based GUI. Yamaha programmable Ethernet and GPI controllers available.

DME-AEC

$7,000RRP

8 mic/line in, 8 line out, 4 AES/EBU in, 4AES/EBU out, 4 channels of AEC.

DME8i8o

$5,099RRP

8 mic/line in, 8 line out. 1x MY card slot for expansion.

DME64-N

$10,000RRP

Any combination of up to 32 analogue in and 32 out, up to 64 digital in and 64 out, up to 16 channels of AEC with 16 AES/EBU in and 16 AES/EBU out.

20 DME Series models available DME8i8o, DME12i8o, DME8i12o, DME16i8o, DME8i16o, DME16i16o, DME-AEC, DME24Dante, DME24-CobraNet, DME24-EtherSound, DME24-MADI, DME24-AES/EBU, DME24ADAT, DME64-N, DME8i-C, DME8o-C, DME4io-C, DME8i-ES, DME8o-ES, DME4io-ES Contact Yamaha Commercial Audio on (03) 9693 5272 or jason_allen@gmx.yamaha.com for more information on the range.

DME Training Courses Contact Yamaha Commercial Audio on (03) 9693 5272 or jason_allen@gmx.yamaha.com to book your place in the next scheduled training course.

One and two day course options. Travel and accommodation packages available on a case-by-case basis. Courses are hands-on and limited to 4 attendees per session.

AVIAs 2011: The Triumphant Return

The 2011 Audiovisual Industry Awards turned out be a much smoother affair than last year’s inaugural awards. By now almost everybody knows what the AVIAs are, who won them in 2010, and more importantly, who was robbed blind of winning an AVIA by the secret deals with AMX, ASIO, AVI, B&H, ALIA, Crestron, KLM, AETM, Kramer, ACTU, IDT, Amber, HillsSVL, J&S, or the ACCC. Of course the rumour(s) you heard could have featured a backroom deal with the AVIA’s recently-acquired sponsor Sanyo, or with Epson who loaned us the projector for the final judging session in the Avdec /LDP meeting room.

For those who still haven’t cottoned on to how the judging is done, let’s set the record straight. There are six judges; two appointed by each of the sponsoring industry associations; InfoComm, AETM (Association of Educational Technology Managers) and ALIA (Australasian Lighting Industry Association). The process of selecting and appointing representatives is handled independently by each organisation.

As editor of AV magazine I share the administration and operation of the AVIA processes with our editorial director Chris Holder who fronts the awards presentation wearing his very best ‘sharper’ and ‘punchier’ anti-stab vest. I’m also the non-voting chairman and scribe of the judging panel.

As you would expect with any panel of experienced and deeply-involved industry participants, it’s inevitable that some of the projects entered are connected in some way with panel members. AVIA judges are required to declare any connection they may have with a project, and they may not vote in that category of award. Due to the mix of entrants for the 2011 AVIAs, this eventually meant that, InfoComm nominee, Paul van der Ent from Wizard Systems, was just on the panel for his good looks and his sparkling wit.

The quality of the entries was very high this year, but it was the variety of entries that made it difficult to compare like with like and hence the judges were unable to separate the two projects that eventually became joint winners in the prestigious AV Projects Over $1m category. Fortunately the winners were not required to share the fabulous prize purse, because there isn’t one.

What this situation highlighted for the judging panel was that several projects were nominated in what they considered to be the wrong categories, yet not nominated in categories where the judges would have made awards. The absence of an Innovation Award for 2011 is a prime example of this problem.

During the judging, panel members put forward many ideas for running future AVIA contests and we will be getting together shortly by teleconference to look at how the 2012 AVIAs could be organised to better recognise the good, great and clever of the AV industry.

Descriptions of the finalists and winners in each category and the judges’ reasons for giving the awards are covered over the next few pages. All projects that made the finals list will be covered in AV over the next few issues. Yet another reason to be thinking right now about which of your 2011 projects you’ll be entering in the 2012 AV Industry Awards.

Andy Ciddor, Editor

Clockwise from top: think!OTS Creative Director Pete Ford gives his acceptance speech for the company’s wallfull of 2011 AVIAs. A ‘sharper’ and so much ‘punchier’ Chris Holder hosts the AVIA presentation ceremony (the stab-vest is hardly visible under his jacket).

The AVIA Judging panel hold up their newly-awarded Cert. 3s in AV Judging.

Rutledge’s Shane Cannon shows off the company’s 2-outof-2 AVIA certificate.

AVI’s Philip Holtum accepts their AVIA for the Queensland Emergency Operation Centre project.

024

NEWS

Best AV Installation Over $1m ADVANCED VIDEO INTEGRATION Queensland Emergency Operations Centre, Brisbane

QEOC is the first purpose-built centre for emergency services coordination and disaster management in Australia, with the audiovisual and comms systems acting as the eyes and ears to the outside world for the fire and ambulance services. The ability to show content to any of the 158 displays easily, quickly and in the highest quality is imperative. The Queensland Department of Community Safety wanted this to be the most efficient emergency service coordination and disaster management facility possible. AVI helped achieve this and exceeded their expectations.

The judges chose the QEOC for this award for its use of the best contemporary technologies to implement a mission-critical command, control and communications facility with a range of backup and failsafe measures to ensure reliability under adverse conditions. Before the system had been fully commissioned it was pressed into action to handle the recent Queensland fires and floods, where it performed flawlessly, to high praise from the client.

More information: AV will bring you an in-depth feature on the QEOC in the next issue.

THINK OUTSIDE THE SQUARE Discover – Australian Pavilion World Expo 2010, Shanghai

think!OTS designed, produced and installed all of the exhibits and multimedia experiences within the Australian pavilion, based on ideas developed in-house.

The centrepiece being Act 2, the Discovery Theatre. Here they created a truly bespoke and unique experience. The proof of the pudding was the 8.4 million visitors to the 10,400 performances. This was no small task given the technical spec, which included using heavy engineering to execute a frame-accurate 30-tonne multi-moving screen. Discover was an all-Aussie experience right down to the production of the media itself which was executed in-house by think!OTS. The judges awarded this prize to the Discovery Theatre for its use of leading edge audiovisual and staging technologies to stage an impressive and complex AV event that could run every 15 minutes for 14 hours of every day, for the six months of World Expo in Shanghai. Designed and built quite literally from (below) the ground up for this production, the Australian pavilion became one of the most popular attractions at Expo, luring such an astounding number of visitors during its short but intense season.

More information: AV covered the Australian pavilion in our World Expo feature in Issue 12.

TOA Type H Column Line Array

KLM GROUP, ACT Australian Federal Police – Edmund Barton Building

KLM’s ACT branch performed extensive work on the high-security (and hence highly un-photographed) AFP building, including within the Operations Control Centre. The fitout includes three 16-panel video walls, multiple LCD displays, XPanel Crestron control, a Magenta Mondo 128 x 128 video matrix and Media Matrix digital audio. The publicly-accessible component of the project encompasses a state-of-the-art Media Theatre, where KLM designed, supplied and installed acoustic treatment, retractable seating, a digital green screen wall, two edit suites, voice over booth, three broadcast cameras, Crestron DM switching with Crestron control, automated bio box infrastructure, and LED broadcast lighting.

More information: AV will have a detailed feature on the Edmund Barton building in a future issue.

Special Commendation THINK OUTSIDE THE SQUARE Trapped – Faces Theatre – Sovereign Hill, Ballarat

This certificate was awarded as special commendation by the AVIA judges for an outstanding historical presentation that uses a blend of traditional and contemporary audiovisual technologies to engage and move an audience. The judges found that this project embodies all the best principles of audiovisual design and that it serves an excellent example of what can be achieved in museum and visitor centre design.

Controlled dispersion helps to achieve constant sound levels in the room, while at the same time avoiding problematic areas. Being only 84mm wide these speakers will provide high quality, discreet audio, in a slim-line, stylish package.

Cost-efficient, high quality audio solutions for a variety of installations, including: • • • • •

Houses of Worship Function Centres Boardrooms Lecture Halls Auditoriums Four Models Available

1. SRH2L - Short (668mm) straight column with zero degrees vertical dispersion at higher frequencies.

2. SRH2S – (Short 663mm) curved column with zero degrees vertical dispersion at higher frequencies at the top and 20 degrees dispersion at the bottom.

3. SRH3L - Long (1186mm) straight column with zero degrees vertical dispersion at higher frequencies.

4. SRH3S – Long (1177mm) curved column with zero degrees vertical dispersion at higher frequencies at the top and 20 degrees dispersion at the bottom.

FOR YOUR NEAREST DEALER: AUSTRALIA: Call 1300 13 44 00 or visit www.toa.com.au NEW ZEALAND: Call 0800 111 450 or visit www.toa.co.nz

Best AV Installation Under $1m

AUSTRALIAN SOUND SERVICE Sound Masking System – ANZ HQ Docklands

The ANZ Building in Melbourne is state-of-the-art, open plan and whisper quiet.

So a sound masking solution was required to ensure the receptionist’s conversation wasn’t heard by everyone in the building. Using 3500 Atlas Sound ceiling speakers ingenuously suspended in the void above the ceiling, Australian Sound Service was able to raise the level of background noise without compromising the facade while providing a more even coverage of sound. This is a great application of AV that’s designed to be neither seen nor heard by those occupying the space.

The sound masking system at the ANZ bank’s Docklands Headquarters in Melbourne was selected by the judges for its high-reliability solution to the dual problems created by the architects’ choice of very large open plan layouts in a building requiring high levels of privacy and the very low background noise from the highly energy-efficient in-floor air cooling and circulation system. The system is effectively invisible and surprisingly, also totally inaudible.

More information: AV covered the ANZ Bank HQ in our Bank Statement feature in Issue 16.

ADVANCED AUDIO VISUALS

THINK OUTSIDE THE SQUARE

SingTel Optus – Executive Boardroom

Trapped – Faces Theatre – Sovereign Hill, Ballarat

The question Advanced Audio Visuals needed to ask itself was: How do you integrate dual-screen video conferencing for 40 people with a single screen presentation system? The answer: you build a unique video wall that encompasses the client’s requirements in one easy-to-use solution.

The 13 x 46-inch NEC monitors can be divided into two 92-inch screens for video conferencing or a massive 138-inch screen for viewing presentation sources.

More information: AV will have a detailed feature on the SingTel Optus Executive Boardroom in a future issue.

Trapped tells the moving story of Victoria’s worst mining disaster. think!OTS designed and produced the exhibit to create a complete experience that was a dead ringer for the actual Victorian-era mine. The Faces production is a powerful centrepiece to the experience that tells the miners’ story in a way that had never been tried before – applying an apparently low-tech solution – in this case a reflective pool – to create a deceptively high-tech yet deeply emotive experience.

More information: AV covered the Trapped attraction in our Full Immersion feature in Issue 10.

Ultra Short Throw,

Ultra Low Maintenance Long-life filter L DLP light engine 3D ready FFully enclosed mirror

Compatible with all IWBs C

Purchase them on government contract in NSW, VIC, QLD, WA and the ACT

Discover the advantages of the SANYO education projector range – call 1300 360 230 or visit www.sanyo.com.au

The world’s shortest throw projector providing the optimum OHS solution for teachers and students.

Side view

BLDE774

The Sanyo PDG-DXL2000E ultra-short throw projector takes advantage of its low maintenance design: a long-life filter, easy lamp replacement and fully enclosed mirror.

Enjoy a more engaging educational experience, thanks to the DLP light engine and 3D-ready design.

Best Application Of AV in Education

RUTLEDGE ENGINEERING Victoria University – Learning Commons, Exercise Science and Sports Precinct

Australia’s first international research centre focuses on the study of sport and exercise science. The project consists of 43 spaces, including 12 labs, 12 collaborative classrooms, six meeting rooms and other common areas. The audio visuals provide world-class facilities allowing the uni to transform the student’s learning experience.

The judges made this award for its clever use of a range of standard technologies to solve the problems associated with implementing AV technologies in high-usage exercise and movement areas, and for its innovative and flexible implementations of motion capture facilities in several laboratories, including one with a projected environment for sports and exercise simulations.

More information: AV will have a detailed feature on Victoria University’s Learning Commons, Exercise Science and Sports Precinct in a future issue.

MUSEUM VICTORIA

VISIONX AUDIO VISUAL

Volcano in 3D

University of Western Sydney – Parramatta Auditorium

This Museum Victoria exhibition harnesses iCinema technology to provide high-quality immersive 3D animation projected in 360 degrees.

The 12-channel surround sound and multi-user interactivity help Volcanic 3D provide an educational home-run – demonstrating complex scientific concepts in a deep and visually engaging way.

VisionX has provided the university with a premium conference venue that can deliver True High Definition Digital content from point to point.

The AV system provides a robust and reliable venue system that can cater to major functions with confidence. First test for the system was a keynote speech by Julia Gillard – the system passed with flying colours.

More information: AV covered the iCinema technology used in this project in our Interactive Cinema feature in Issue 5 and will have a feature on the Volcano 3D exhibit in a future issue.

More information: AV will have a feature on the UWS Parramatta Auditorium in a future issue.

“Photo courtesy of the New York City Office of Emergency Management, RGB Spectrum image processor”

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ENABLING INNOVATIVE PROFESSIONAL VISUALIZATION

Best AV Production

THINK OUTSIDE THE SQUARE Discover - Australian Pavilion World Expo 2010, Shanghai

This second award to the Discovery Theatre was made for the outstanding integration of innovative audio, lighting, projection, automation and mechanical effects into a production that held its Chinese audience in rapt attention while it both informed and entertained them with a message about Australia. Think!

OTS, together with their technical partners from across the entire AV spectrum, conceived and developed the idea for this production from scratch, then went about selling it to the Australian government who built a pavilion around it.

More information: AV covered the Australian pavilion in our World Expo feature in Issue 12.

HAYCOM AV

KOJO EVENTS

Projection Mapping – Rio Tinto Australia

Mitsubishi ASX Launch & Training Roadshow

Haycom used the intricate internal architecture of Brisbane’s Customs House to project 40m x 15m images that made those at this cocktail reception gape with amazement – providing the Rio Tinto’s ‘A’ List guests with a stunning virtual tour of the company’s operations. This is one of the first uses of blended projection mapping in the corporate AV world and certainly one of the most stunning.

The ASX is Mitsubishi’s new ‘city sized’ SUV, and a nationwide dealer roadshow called for a dynamic urban presentation. Kojo Events used a digital or ‘projected’ set that placed live product and presenters on the stage in those scenes – allowing the ASX to travel through city streets and freeways. The success of the show lies in the detailed design, ensuring the vehicles and presenters could move in close proximity to the projection, and keep the experience intimate.

More information: AV will present a feature on the Rio Tinto presentation in a future issue.

More information: AV will present a feature on the Mitsubishi roadshow in a future issue.

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FEATURE

AV in Sepia Sovereign Hill: an historical attraction served by an AV history lesson.

Text:/ Mandy Jones

Sovereign Hill is a faithful representation of life in 1850s Victoria at the height of the gold rush.

Through cleverly-recreated working displays of the Ballarat township, gold mines, authentic activities such as gold panning, and impressive son et lumiere presentations, the history of the goldfields township is brought convincingly to life, 364 days a year.

A back of house tour of the site with Adam Reid, manager of technical services for Sovereign Hill, is like reading an ice core-sample of technological milestones. The gamut of equipment and systems in use and running day after day is surprising. At one end of the spectrum, an Apple PowerBook 190 (running Dataton Trax) and 486-processor computers happily run complex automation sequences, in stark contrast to new video projectors and AMX touchpanels in other displays. There is even one museum display still running a video replay off analogue laser disc.

Adam has worked at Sovereign Hill for 10 years and had a previous association with the tourist attraction while working for Lightmoves during the installation of several displays. “I work in a museum that uses technology to tell stories of life on the goldfields, and the technology we use has to fit seamlessly into the presentations,” he explains.

Adam heads a team of four full-time audiovisual technicians who are responsible for the day-to-day maintenance and repair of the 26-hectare site’s many displays. Their brief is large – in addition to the expected vision, lighting, audio and control systems, they are responsible for programmable logic controllers, pyrotechnics, gas effects, hydraulics, water, oxy acetylene detonations, automation trucks and set dressings. Add to that the complication that most of the systems are either in outdoor all-weather environments or 20 metres underground in confined and dust-ridden spaces, and this is no easy gig.

While aspects of the operations, particularly new displays, are ‘smart’ and provide diagnostics and usage reports via AMX NetLinx, the majority of the systems are reliant on daily checks, resets

and constant vigilance – a labour-intensive undertaking, especially over such a large site.

BLOOD COUNT? 600 PER ANNUM

Blood on the Southern Cross (BOSC) is one of the audiovisual showpieces of Sovereign Hill; a largescale sound and light show staged over four different locations on the site, it depicts the events leading up to the pivotal Eureka Stockade in 1854. Incredibly, the 90-minute show runs twice a night (around 600 times a year), and without technical operators.

The show starts in the Voyage to Discovery auditorium where a tour guide introduces the show and presses the Start button, firing up an elderly but still functioning AMX system, which triggers three Panasonic PT-D4000 projectors to create a large seamless image, with audio playback through a Bose PA. Projected images of actors are added via two additional projectors and motorised screens. Content is managed over three different systems – an Alcorn McBride DVM2 digital video machine, a video server custom built by The Shirley Spectra that runs four feeds of video, and Roku solid-state video players for a further two feeds of video off SD card. This is the new system which replaced the triple analogue laser disc and three-gun CRT projector system, which itself displaced the original Electrosonicscontrolled 18-projector 35mm slide show.

A Sennheiser GuidePORT audio guide system provides foreign language translations of each stage of the BOSC show via hand-held units. Available in French, German, Chinese and Japanese, the receivers can also be used for hearing impaired visitors utilising an English feed.

The second stage of BOSC takes place in The Diggings and immerses the audience in an automated experience made up of over 90 channels of dimming, 15 channels of audio and four gas effects, all controlled by ShowCAD on a 486 computer. Inside every tent and hut is at least one light. Practical lanterns, smoke machines and snorkel-lift lighting towers hidden inside huts and water tanks all add to the effect.

The visually impressive 30-acre panorama that forms the stage for the final part of Blood On The Southern Cross (BOSC), a son-et-lumiere retelling of the tale of Australia’s most significant armed uprising. The BOSC specatacle includes hundreds of canvas miner‘s and trooper’s tents, thousands of lights scattered around the vast stage, dozens of sound sources, waterscreen projection, hydraullic, pyrotechnical and flame effects, and one solitary actor, who reads a short proclamation from a balcony when the audience returns to the Sovereign Hill township.

Images courtesy Sovereign Hill

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“an Apple PowerBook 190 runs complex automation sequences, in stark contrast to new video projectors and AMX touchpanels in other displays”

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Images courtesy Sovereign Hill

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In ‘The Diggings’ for part two of Blood On The Southern Cross. By day this area is an obsessively historically-accurate replica of an 1850s mining camp, complete with a creek where visitors pan for (and find) alluvial gold. By night, at the press of a button, rocks turn out to be hidden loudspeakers and floodlights, while tents and a water tank pop open to allow full concert-scale lighting towers to emerge and light the show.

The final stage of BOSC is a 40-minute, 500cue, sound and light spectacular, set over a 12 hectare (30 acre) panorama. Again, the guides press Start and AMX triggers an Akai DR16 hard disk recorder that provides audio playback and SMPTE timecode. The show runs off a dualredundant ShowCAD system on two 486 PCs locked to the SMPTE to ensure the lighting, audio and effects are all synchronised.

“There’s something like 300-odd dimmer channels and 60 or so switched channels, plus hydraulics, flags that raise, trucks that move, power switching for audience seat heaters, 15 smoke machines, two video projectors, GoldenScan HPEs, a water screen, a whole lot of gas flames and explosive effects, 15 channels of audio including the four foreign languages; and it’s all fully automated,” says Adam.

Incredibly, Adam can count the number of show cancellations over the last 10 years on just one hand, and even then, most were due to floods or power outages rather than critical system failure.

Day-to-day maintenance of BOSC includes refilling LP gas tanks, pyro and fogger fluid.

Unlike the other displays, BOSC has the luxury of two scheduled annual maintenance shutdowns (a week in February and two weeks in August) during which all the lighting fixtures are cleaned, re-gelled, re-lamped and re-focused, and set pieces such as canvas tents are refreshed. Major works like replacing lighting towers, gas burners and even rebuilding entire structures like the Eureka Hotel (which burns down every show) are also completed during these periods.

MINING ITS OWN BUSINESS

Throughout the labyrinthine tunnels of the mine, kilometres of Dynalite DyNet, DMX and speaker cabling run through PVC pipe painted to look like a steam pipe. Practical lanterns, handmade by the on-site tinsmiths combine with 150mmspaced Cliplight fitted under timber handrails to illuminate the path. Making use of some ancient decommissioned Dynalite Studio 12 analogue

dimmers from BOSC (replaced by LSC ePRO dimmers), the salvaged dimmers are used to run a Brian Shirley-designed four-circuit random chase to create a flicker effect in the practical lanterns.

JBL Control 23 speakers, inadvertently but effectively shot-creted, are barely visible throughout the mine. Providing soundscape playback from a Tascam unit, the speakers are triggered by 12 Dynalite infrared sensors spread along the course used for audio ducking.

“The sound effects in the mine are designed to be heard in the distance so you can’t quite hear where the sound is coming from, whether it’s voices or digging sounds. When the Dynalite sensors are triggered by approaching visitors, they tell AMX to turn the speakers off in front of the group as they approach and turn the speakers behind them on,” Adam explains.

ISO STOPE

At around 22 metres below the surface, a display depicts the mining practice of stoping, where after

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An important part of this mine exhibit is the unique Stope-Cam that cobbles together a complex collection of lighting, audio, video and RF link technologies to give visitors a close up look at areas that would be impractical and unsafe for them to approach in person. In the spirit of the miners and their use of canvas and twine to solve all problems, as a piece of modern AV technology Stope-Cam is built using pro AV-grade gaffer tape.

the gold has been removed from the rock walls a large opening is left behind and timbers are used to prop the mine ceiling. When the main tunnels were dug in the 1970s to create the mine, an actual gold rush era stope site was uncovered. In order to activate the historic display for visitors, a plasma screen and JBL Control 23 speakers are installed to show explanatory content. But instead of just showing pre-recorded footage, Brian Shirley went one better and developed what is now referred to as ‘Stope-Cam’.

Several generations later, Adam’s team has continued tinkering with the invention, making improvements and adding new components.

“We took a normal handheld 50W spotlight with a lead acid battery in the back of it, and replaced the light source with a 60˚ very flat 3W LED light source. We stuck a Sony video camera on top of it, and got a household video transmitter, stripped the casing off it and put it inside the body, and powered it all off a 12V battery,” Adam explains.

Stope-Cam transmits a surprisingly good live picture to the plasma screen and enables the tour guides to climb into areas of uneven terrain inaccessible to visitors, while explaining the stoping and rock-bolting techniques through close ups of the digging site on screen. A radio mic on the Stope-Cam even enables tour guide commentary via the JBL Control 23 speakers.

“We were going to use the live camera for the first part and then switch to some prerecorded footage, but the live camera has been so successful we’ve continued with it. I think we’re up to Stope-Cam Version 23C and the next generation is currently being developed, mainly because we can’t get spare parts for the current one anymore,” Adam adds.

AV GOLD MINE

The newest display within the mine at Sovereign Hill is Trapped, a multi-sensory experience telling the story of the Creswick mine disaster of 1882. Trapped received a special commendation

at the recent AVIA awards – check out Chris Holder’s in-depth look at Trapped in Issue 10 of AV or on the AV website.

Despite the disparity of technologies, Sovereign Hill’s audiovisual displays work at the press of a button, and the visitors love them.

Adam’s multi-skilled team and their suppliers go to extraordinary lengths through programming and maintenance to enable non-technical staff to run the complex displays day in, day out.

To some extent, they are victims of their own success.

“The tour guides press a button and it works, and they have no idea how much work has gone into making sure it works… every time. But, that’s how it should be,” Adam muses.  FURTHER INFORMATION: www.sovereignhill.com.au www.lightmoves.com.au www.shirleyspectra.com.au www.av.net.au/contents/issue_10/trapped.pdf

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FEATURE

Taking It To The Streets The Gertrude Street Projection Festival Text:/ Matt Caton

Large format street projection may not the newest audiovisual medium around, but when it’s done on a scale that literally lights up a kilometre of busy street in inner Melbourne, it’s hard to overlook.

The Gertrude Street Projection Festival took place between July 22nd and 31st this year, and saw an entire 1km stretch of Fitzroy’s Gertrude Street covered in a mass of colour, moving images, quirky art and representations of the street’s long and chequered history. Into its fourth year, the festival is run and organised by the Gertrude Association; a non-profit organisation founded in 2007 by Monique McNamara and Kym Ortenburg with a brief to produce culturally engaging, inclusive and sustainable community art projects.

As the Creative Producer of the event, as well as being a local resident, Kym Ortenburg explains how the idea for the festival came about, “Monique had a creative community project brewing for many a year in response to the changes on the street and the demographic of the area. I wanted to project holograms in the laneways. Our ideas collided and collaborated and together we decided to make it happen.”

The event saw 50 lumino kinetic artworks spread over 29 sites. This included projections onto building facades, laneways, street corners and shop windows, all from discreet and cleverlyhidden projection sources. The aim was to bring together community, celebration and art, as well as expose approximately 5000 people to a series of ‘art interventions’. The community aspect is a very important part of the event, and can be seen within the three-tiered artist hierarchy. The first tier consisted of works from professional visual artists such as Kit Webster, Yandall Walton, Ian De Gruchy, Nick Azidis, Lindsay Cox and Olaf Meyer. The second tier saw contributions from local community groups and residents while the third tier had entries from the general public.

ART VS. SCIENCE

In a project such as this, bridging the gap between artistic concepts and the logistical side of production was very important, and a role undertaken by Olaf Meyer of Multimedia Productions. As the Technical Director of the event, Olaf assisted all artists and curators with architectural mapping and matching content to the specific locations. As well as overseeing issues such as budgeting, security and automation of the equipment, he was also responsible for selecting the right optical features in all of the projectors in terms of lens selection, keystone correction and lens shift.

With most of the projection equipment installed into shops and businesses in Gertrude Street to comply with the hidden spaces theme of the event, it was important that the equipment remained as unobtrusive as possible. Olaf explains, “Part of my role was to liaise with the shop keepers about the impact of the installation in their stores with regard to visual, safety, power consumption and rigging. Finding a balance between the needs of the artist and the venue’s operational requirements was paramount.”

In addition to being Technical Director, Olaf was one of the festival’s featured artists, and certainly had one of the more eye-catching installations. Located high on the Post Office Rotunda on the corner of Brunswick Street, he created a moving 3D depiction of a carousel.

“The idea was in response to this year’s hidden theme with the form of the rotunda giving an architectural reference to the idea of the carousel.

I made a virtual 3D model of the rotunda from the building’s original blueprints which I sourced from the Victorian building heritage register.”

The virtual 3D model was then superimposed onto the building and 3D features of the model were used to animate computer generated shadows, giving the illusion of a moving light source and other moving elements.

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VISUALSYNTH Developed in the mid 90s when most people were still using tape and a vision mixer for video replay on live performances, Visualsynth allows video streams, effects processes and outputs to be chained and patched on-the-fly without dropping a single frame.

Originally an 8-bit video application, on multi-core hardware the render pipeline in the current version supports video up to a film-grade 30-bit depth.

Stream control, patching and routing can be driven by a range of control signals that include analogue audio, MIDI, oscillators, Open Sound Control and DMX512. From its initial library of 10 in-built video effects Visualsynth has grown to support hundreds of effects and also supports the vast range of effects from the FreeFrame open video plug-in system. www.visualsynth.com

The Atherton Gardens public housing estate not only dominates the streetscape, it became a dominant object for the projection festival with the interactive Sparkle Atherton project from Greg Giannis (at left) and Nick Azidis spectacular coverage of the top 10 floors with mapped large-format (180mm x 180mm) transparencies projected from a 4kW HMI Pani Turbo Scene Projector.

Image courtesy Projection Teknik

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EQUIPMENT

Most of the large-format projectors were driven from Visualsynth, a media server environment developed in Melbourne by Andrew Baxter with Olaf Meyer.

Some of the more established artists used their own media servers, with feature artist Ian de Gruchy using a Dataton Watchout system. Where possible, the smaller projectors were fed from DVD players to keep costs down.

Video was distributed using RGBHV cables.

“In general RGB signals whether they are digital or analogue, produce better quality images than DVDs for a number of reasons; mainly that the compression, resolution and dynamic range are all superior and adjustable on a computer-based playback system,” explains Olaf.

Due to the variety in size, scale and intent of the different art installations, a vast range of projectors were used. Many of the smaller installations used NEC LT series multi-purpose projectors and the very smallest used a BenQ MP776. The larger installations used a 10,000 ANSI lumen NEC XT9000, which was often required for long outdoor throws, across streets and when competing with traffic lights and street lights. Aside from the few artists who supplied their own, all projectors and equipment was supplied

by Multimedia Events.

OLD SCHOOL

One of the feature artists that did provide his own equipment was Nick Azidis from Projection Teknik (a joint venture between Nick Azidis, Olaf Meyer, Ian De Gruchy and Kim Ortenburg). Nick covered the top 10 stories of the Atherton Gardens sky rise flats for an opening night feature, as well as projecting onto the facade of the Builders Arms Hotel. What differentiated Nick’s artwork from the rest of the festival was his use of slide projection rather than digital image projection.

Sparkle Atherton's NEC XT 9000 projector and monitoring camera lurk across the road in the Charcoal Lane Restaurant.

Photographer: Peter Baumann

A projector skulks quietly in a shop window all day waiting for its chance to shine.

Artist Olaf Meyer uses the original architectural shape of the post office tower as the jumping-off point for his playful 3D mapped computer-animated carousel.

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For the opening night illumination of the sky rise apartments, Nick used traditional largeformat (180mm x 180mm) glass slides in a Pani 4kW Turbo Scenic Projector, having previously mapped the building using a Pani camera obscura.

He covered the facade of the Builders Arms Hotel using glass Superslides (40mm x 40mm narrowmount) in two Vicom Supernova 35mm slide projectors powered by HTI 400W lamps.

“In terms of light intensity and colour brilliance, the illumination from an analogue projector is unlike any other large-scale technology, while also being cost effective compared to other projection technologies,” explains Nick. “I liken it to the time in the 80s when the synthesizer came out and everyone said guitars and drums would go out of style. The guitar and drums continue to have their place, as do analogue projections.”

MR SPARKLE

While there were plenty of artworks to catch your eye while wandering down Gertrude Street, the Sparkle Atherton project was probably the most notable. Projected on the side of a building in the Atherton Gardens public housing estate, artist Greg Giannis developed an interactive and dynamic artwork that encouraged input from local residents. Greg developed software that sat online and allowed the general public to log on and create their own artwork and splashes of colour, which were then periodically projected onto the facade of the building during the festival.

His images were projected from an NEC XT9000 located across the street in the Charcoal Lane Restaurant.

With an incredible combination of established artists, supported by an array of community groups such as The Brotherhood of St Laurence, Turning Point, YarraReporter, Maysar, Art Day South, Fitzroy Computer Clubhouse, the Artful Dodgers Studio and of course the Gertrude Association, the Gertrude Street Projection Festival was one of the more dynamic and impressive projects seen in Melbourne for some time. Its popularity was evident from the number of amateur photographers and videographers who converged on the streets, trying to best capture the essence of the artwork. Now with four years behind them, it will be interesting to see what the Gertrude Association produce next year. 

FESTIVAL CREDITS: Creative Producer: Kym Ortenburg (www.thegertrudeassociation.com) Patron: Ian de Gruchy Technical Director: Olaf Meyer.

Equipment Suppliers: Multimedia Events (www.multimediaevents.com.au) Nick Azidis work on the Builders Arms hotel was projected from high power slide projectors using oversize (40mm x 40mm) superslides made from medium format transparencies.

Image courtesy Projection Teknik

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FEATURE

All Aboard Trainworks rail museum breathes new life into train-spotting.

Text:\ Tim Stackpool

Playing trains may have been a childhood pastime for the generations before the advent of Transformers, Nintendo DS, Space Lego, Atari and the Playstation, but Australians still seem to have a deep and abiding fascination with trains, especially steam trains.

The heritage of rail transport in Australia is well documented, and while various historical groups and clubs do what they can to ensure its contribution to nation building remains remembered, Railcorp’s Trainworks at Thirlmere in Sydney’s south-western outskirts, is a bold and striking display, home to over 100 pieces of the rolling stock associated with the history of the railways in New South Wales.

Back in 2007, RailCorp’s Office of Rail Heritage commissioned the development of a concept design for the Trainworks location, previously managed by the volunteer-based NSW Rail Heritage Museum. The upgrade project was required to improve the on-site structures and amenities for the conservation, presentation and maintenance of the collection with the aim of positioning the facility as a regional tourism destination.

With a swag of similar projects under their belt, such as the Sydney Harbour BridgeClimb heritage display and the International Antarctic Centre in New Zealand, HPA Projects was commissioned to undertake various aspects of Trainworks, and along with sub-contractors who included respected multimedia developers The Shirley Spectra, Trainworks has now become the destination for anyone wanting to revisit locomotives that have reached ‘the end of the line’.

“Every project we work on is unique,“ says HPA Projects’ Michael Pender. “One unique character of this project is the scale of the heritage objects presented.

Locomotives are very large, and some older

examples are very fragile. Trainworks also seeks to appeal to a younger market, and making heritage rolling stock relevant to younger people was certainly a challenge with this project.”

The heart of the new development is a vast hall featuring just a few of the precious jewels of rolling stock in the museum’s collection. The Shirley Spectra was tasked with creating a series of multimedia programs to assist with the interpretation of some of these items and also with immersing the entire hall in the general audio ambience of a busy NSW Government railway station in the early years of the twentieth century.

STATIONARY SOUNDS

The primary station ambience is provided by 10 Bose Panaray cabinets distributed around the hall’s ceiling trusses, while some 22 JBL Control One cabinets are placed in specific locations to provide point sources for effects such as engines hissing and guards calling and blowing their whistles. Audio replay comes off a pair of networked Alcorn McBride 8-TraXX (8 x stereo pairs) Compact Flash-based players.

To keep the soundscape at comfortable listening levels while accommodating the wide range of visitor numbers throughout the day, Brian Shirley designed an intelligent level control system. Driven by 15 strategically-placed Passive Infra Red (PIR) presence detectors, the system monitors the number and frequency of PIR activations, then ramps the volume gently up and down using 10 second fades on AMX NXC-VOL4 cards.

Using the same presence information, the system also decides whether the audience is sufficiently large to warrant adding in a relatively expensive smoke machine effect to a point source train whistle sound that plays every 20 minutes at one of the locomotives.

POINTS OF INTEREST

In one of the featured exhibits, an audio interpretation introduces visitors to two prisoners in the Prison Van. The male prisoner is being transported to death row.

His female travelling companion is headed to prison for stealing food for her children during the Great Depression. Another audio exchange takes place outside the Governor General’s carriage as a woman questions the GG’s valet about being barred from entering the grand coach.

Aboard one of the locomotives, we hear a conversation between its driver, fireman and a dispatcher with details of a journey to Dubbo. Among other coaches, the train is also hauling the Mail Van, which is interpreted separately in its own space as visitors are taken through the workings of what is essentially a mobile post office.

Staff in the van are heard working against a constant deadline, sorting the mail for the next station on the train’s route.

TRAIN THEATRE

The major single project in The Shirley Spectra’s multimedia program for Trainworks is the Cardiff 1021 Theatre.

Described as an object theatre, it features just one railway artefact: the 1021 shunting locomotive. Built in Great Britain, it was put into service by the NSW Government Railways in 1916, where it continued to operate for the next 54 years. As there was nothing historically remarkable about shunting rolling stock around the railyards each day, determining how to tell a compelling story around this locomotive proved to an interesting challenge.

“All we had was one object in a theatre; and nothing to say,” Mike Shirley, The Shirley Spectra’s creative writer told AV. After discussions with HPA Projects it was resolved that although the working life of 1021 was in itself unremarkable, the nation of Australia had experienced

Top: One of the engines in the main display toots its whistle every 20 minutes, and if the PIR detectors have seen enough punters about to make it worth the expense, the funnel also belches theatrical smoke to enhance the effect.

Bottom: The beautiful little Cardiff 1021 engine, with its long but undistinguished career as a shunting engine around NSW rail yards, forms the centrepiece of an object theatre. This display uses many of the impressive tricks of the audiovisual trade to shunt visitors down a journey through the history that flowed around the engine while it stoically went about its job.

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Photographer: Brian Shirley

Photographer: Brian Shirley

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Photographer: Brian Shirley

Photographer: Sarah Grosse

Trainspotters‘ Playground: Trainworks is home to many dozens of items of rolling stock. The vast exhibition hall (right) is enveloped in the soundscape of a bustling railway station at the height of the age of steam. Ten speakers supply an ambient background whilst a further 22 speaker cabinets concealed around the hall, provide spot sound effects that coincide with the exhibits.

enormous change during that time. In 1916 when the 1021 went into service, Australian troops were dying in their thousands on the Western Front in Europe. While the nation was struggling through the Great Depression, 1021 kept shunting, and continued to do so through the Second World War and the great national changes that followed. So the story of Australia’s history is subsequently told, mostly via dialogue between changing generations of workshop staff servicing the little engine.

The end product in this object theatre is a tale presented through dialogue, with a linking narrator, a strong son et lumière interface, information projected on to the floor, archival video footage displayed on a plasma screen and the appearance of (Pepper’s) ghostly characters within the stage set.

The signature feature of many Shirley Spectra projects, there are two Pepper’s Ghost systems in the Cardiff 1021 Theatre. The cab of the locomotive is brought to life using images reflected from a tightly-squeezed 42-inch (1.06m) LCD panel, while the workshop bench area display is based on a 65-inch (1.6m) LCD panel.

The audio and video for the Pepper’s Ghosts, the plasma screen, and the video projector in the theatre are sourced from four Brightsign HD1010 sign controllers. In turn, these are controlled via AMX NetLinx, which also triggers the Enttec DMXStreamer controlling the lighting.

The lighting in the Cardiff 1021 Theatre was designed by Braham Ciddor of Lightmoves in Melbourne [Disclosure: The Editor of this magazine is not related in any way to his brother – Ed]. “LED and moving lights were a priority for energy savings and flexibility,” he said.

“Bulletproof and reliable basic principles also form my design philosophy, although I would have preferred a dull steam engine rather than a bright, shiny, highly reflective and highly polished one to light,” Braham quipped.

The system has been running unattended and faultlessly for months. This raises the question of maintenance. Other than changing projector lamps three times a year there is little maintenance

required. Apart from two Martin MAC250 Entour moving lights, most of the illumination in the object theatre is LED-based and is expected to last many years without requiring significant attention.

STAYING ON TRACK

There are heritage-sensitive issues that needed to be addressed when devising the installation.

In particular the Powerhouse Museum’s 1905 Governor General’s carriage required UV-free LED lighting at a specified maximum intensity after curatorial concerns were raised.

Deploying the audio and lighting fixtures into heritage-sensitive rolling stock like the Prison Van, had to be done without drilling holes or applying fasteners. As an example, all wiring and power was passed upwards through the lavatory outlets to the inside of the prison van. False bulkheads had to be manufactured and treated to blend in with old superstructure and then applied to the existing surfaces so lighting could be attached.

As with all projects, last-minute changes and clarifications on messages needed to be addressed during the work in progress. “There is a very particular nomenclature for locomotive class numbers and for a significant loco mentioned in the theatre piece,” reports Ann Frederick, Trainworks’s Public Programs and Events Manager. “But mistakenly, the class number was recorded as ‘one-nine-zero-five’ in the soundtrack when it should have been ‘nineteenoh-five’. Although a seemingly small detail, it was important to get it right in terms of Trainworks representing itself as an authority on railway history. This change was easily made seamlessly.”

Every aspect of the AV installation is controlled by AMX NetLinx. This includes the Dynalite lighting system and the eight additional Brightsign sign controllers that are used for the digital signage throughout the building, although these ones are accessible to the Railcorp staff via BrightAuthor for content updates. All plasma screens used for both signage and interpretative displays are from Panasonic and all LCD panels came from Samsung.

ON-SITE TRAINING

The Shirley Spectra additionally train the client’s staff on routine maintenance, such as cleaning and fault finding, “…but maintenance is not a problem,” Brian Shirley said. “We have major installations in every mainland state of Australia – and maintenance is the least of our concerns due in the main to our ‘get-it-right-the first-time’ philosophy.”

Trainworks’ Ann Frederick echoes this: “We’ve only been open to the public since April 4, but so far maintenance has been very easy. The main reason for this is that Brian Shirley is available at any time to answer any questions we have. For example, we recently had an after-hours function for the local tourism organisation and wanted to depict Trainworks at its best,” she said. “But we needed some urgent assistance to get the theatre show up and other interactive displays running again, as they’re on auto timers that switch them off at 5pm. Brian walked us through the steps for each display and even called back late in the night to ensure all had gone well.”

Ultimately, such installations are a team effort, with the goal of satisfying both the public and client’s expectation. The Office of Rail Heritage’s Sarah Jane Brazil, the project director for Trainworks, said “The multimedia has breathed life into the majestic items of rolling stock, creating an immersive experience for Trainworks' audience. Particularly challenging was enlivening the 50 large static rolling stock items in the Great Train Hall, and the soundscape of a working rail yard gives the display another and engaging dimension.”

Brian Shirley sums up: “Truthfully, there is nothing we would wish to change in the AV work we have done for Trainworks. However, the attraction is so vast with so much in its collection, we believe that more multimedia interpretive programs, particularly audio and Peppers Ghosts, would always further enhance the visitor experience.” 

InfoComm Means Business InfoComm International®, the trade association for the commercial AV industry, provides you with discounted products and services aimed at advancing your business and career.

¡ Make connections with your peers at member roundtables and industry networking events. ¡ Expand your skills with industry training. ¡ Improve your business performance through industry standards and best practices. ¡ Demonstrate your knowledge by earning the Certified Technology Specialist (CTS®) credential, the only AV industry certification accredited under the International Standard ISO/IEC 17024. ¡ Gain a marketing edge by showing your company’s commitment to certification and training through our AudioVisual Solutions Providers program. ¡ Promote your business through AV iQ – InfoComm’s online catalogue solution for the Oceania Region.

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Contact Jonathan Seller, CTS, InfoComm International Regional Director at oceania@infocomm.org, phone +61 2 8206 0979 or visit infocomm.org for more information.

044

REVIEW

Adobe Audition 5.5 Adobe’s Audio NLE Goes Post Text:/ Graeme Hague When Audition 3.0 was released in 2009 I remember beginning my review of that software with a suggestion that, finally, Audition had almost completely shrugged off the last of its ties with Cool Edit Pro – CEP being the original DAW application developed by Syntrillium that Adobe snapped up to reincarnate as Audition. AA, as it’s known, had come of age. Now with Audition 5.5 released, leap-frogging two and a half version numbers and a similar number of years, you’d expect CEP to be a distant memory. But no, dammit–I was wrong (that’s twice this millennium I’ve been wrong… a worrying trend). More than just remnants of Cool Edit Pro are still visible within the Adobe-style GUI. The good news is: that’s a positive thing.

On the negative side and causing much mumbling and grumbling among the Audition community is the number of features that have been jettisoned, albeit possibly temporarily, to get AA 5.5 out on the shelves and available as a component of Adobe’s Creative Suite 5.5 (CS 5.5). Audition is still a stand-alone product too, but the strong theme behind this latest version is the integration with CS 5.5 and ‘roundtrip editing’ between the various CS applications, particularly Premier Pro and Flash Professional and After Effects. The idea of ‘roundtrip editing’ is that the only changes made to the file are the ones that you specifically make. The other CS applications won’t secretly meddle with files by compressing, resampling, transcoding or otherwise ‘optimising’ them during the editing process.

REBUILT FOR COMPATIBILITY

At the core of all the supposed trouble is the fact that Audition has been entirely rebuilt to be cross-platform and compatible with Mac OSX 10.5.8 or higher – yes, you can hear Syntrillium turning in its grave. It must have been a mammoth task and not surprisingly Audition isn’t quite what it used to be. After Adobe tried fending off much of the backlash with comments along the lines of, “why redevelop CD burning in AA, when there’s dozens of perfectly good freeware applications out there?” it came clean and admitted the development team preferred a (comparatively)

stripped-down release that was rock-solid, rather than a buggy version crammed with features that didn’t work. That’s not a bad idea, but with MIDI capability also being one of the casualties, it’s effectively taken Audition out of the Digital Audio Workstation (DAW) scene. It can’t be compared, let alone compete, with the likes of Cubase, ProTools or Sonar without that MIDI. For many long-time Audition users it’s a disappointing step backwards that has them still entrenched in Audition 3.0 until Adobe comes to its senses.

NOT A MIDI IN SIGHT

For mine, Adobe can roll with the punches and be confident that it’s delivered a good product here. At a guess, it doesn’t want Audition to be another DAW capable of running a zillion MIDI-generated virtual instruments. Audition is now firmly a post-production audio editor to complement Adobe’s multimedia creation software – and that’s a job it can do very well thanks to that Cool Edit Pro legacy.

CEP was a great audio editor that lost none of its shine morphing into Audition, and Adobe is plainly happy to keep a good thing going. The workflow of Audition focuses on getting individual wave files perfected in the editing window, before you think about dropping them into a multitrack session timeline. Of course, you can record in the multitrack environment just like any other DAW software, but the real appeal of Audition is the high quality effects and wide variety of tools you can use to clean up any audio mess in those individual files first, and thus make the mixdown process much easier. For example, Audition has had an excellent noise reduction feature since long before other programs offered anything similar as an optional extra. All the same, AA 5.5 has a new ‘dehumming’ and ‘de-essing’ feature, but I don’t know why they’ve bothered. That noise reduction facility already catered for every annoying noise possible, including some vinyl restoration tricks.

The Editing window has its own effects rack and history… ah, rack. Effects can be applied in real-time, reordered and turned on or

045

REVIEW

off. You can save your rack configuration as a preset, then call it up in the Multitrack Mixer window and apply it to whatever track you’ve assigned the wave file. Alternatively, you can process the wave file and send the final result over to the multitrack session where it won’t need any further real-time processing, thus conserving CPU resources. This approach is a bit of a hangover from earlier Audition versions (and CEP for that matter) where the quality of the effects usually didn’t allow for real-time mixing without choking your system to death–you had to render files first. These days, you get a choice.

The History Rack likewise lets you turn editing processes on or off regardless of what order you applied them. In fact, rather than a history it’s kind of an undo/redo rack. Very handy. Tasks such as cutting, pasting and selection can be zoomed into views for infinite precision.

A GUI FOR BUSINESS

All of the effects and processing tools come in a no-nonsense, utilitarian interface. Lots of sliders and parameter values, without any shiny knobs or dancing graphs. Usually, I’d be unhappy about this. I’m a fan of having a bit of glitz, colour and movement to keep the workspace visually exciting and inspiring. In Audition, Adobe manages to get away with it – all the GUIs are professional-looking without being bland.

Most of the editing processes are available as Effects in the Multitrack Mixer window. Here you have the standard Arrange timeline or a virtual mixer to put everything in its place. Automation envelopes are possible for all the usual suspects. New to AA v5.5 is full 5.1 capability.

Individual 5.1 tracks can be created and appropriate surround panning, placement and surround-specific effects such as reverb become available.

What you’ve got with the AA 5.5 mixer view is a true, highly-detailed audio console that has eschewed all that complicated MIDI VST stuff

in favour of working with ‘real’ recordings and to be honest it’s kind of refreshing. There is a wealth of rocessing possibilities, but at the heart of each track must be a proper wave file… which is as close as you’ll get to a reel of tape for the old salts, these days.

But now we’re edging back into DAW territory, more traditional music-making and mixing whereas, as I suggested earlier, Audition is largely turning its back on all that. More than anything, Audition 5.5 is for film, video and radio post-production, using much closer links with the rest of the CS 5.5 package. Having said that, by the way, Adobe acknowledges that its Premier Pro isn’t for everyone and Audition now provides export in XML format and import through the Open Media Framework.

There are rumours – or perhaps it’s only wishful thinking – that with CS6 Adobe will bring back that missing MIDI ability, the CD burning features and ReWire capability, but for the moment I’m not fussed.

There are, as Adobe itself has said, plenty of applications that do those tasks much better. I’d rather Audition stick to what it does best – and still does best – working with audio and providing very good audio editing features.

You can’t go wrong with that.  www.adobe.com New via download: $532 (no GST to pay) Upgrade via download from AA V 1.5, 2 or 3: $148.75 (no GST to pay)

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046

REVIEW

NEC V651 AVT LCD NEC V Series 65-inch Multisync Commercial LCD Display Text:/ Paul Newton

The first thing we (I enlisted the help of multiple colleagues just to remove the box) noticed upon opening the box was the simple, unprepossessing appearance of the chassis: matte black powder-coated finish with hard edges. Very stealth-like. There is nothing especially modern-looking or aerodynamic about this screen, which is why it will blend seamlessly into any corporate boardroom or interior design, without the need to advertise itself with illuminated branding. The second thing we noticed was the weight – 54kg. At this point, I learned a valuable lesson; when reviewing screens over 50-inch, request a table stand.

This display family utilises an A-MVA LCD panel (Advanced Multidomain Vertical Alignment). This is the new flavour of MVA panel that has improved on the delivery of off-axis colour viewing problems that MVA panels traditionally suffered from. Good colour uniformity from all angles is a very important feature of this type of ‘public’ display as the audience views the panel from a range of different angles depending on the installation.

Speed/latency has also improved with the A-MVA panel technology, resulting in a noticeable reduction in ghosting and trailing on high-speed content.

The menu structure on the V651 is very simple, yet detailed. I had no problems becoming very familiar with the software interface, which has a nice balance of icons and text. Simplicity of GUI is something hard to achieve when the device has a lot of controllability, and getting this right has eluded a lot of manufacturers.

FROM THE SOURCE

The panel boasts the usual inputs – HDMI, DVI, VGA, standard analogue video composite/YC/component. I tested the panel with a range of signals, including an Apple MacBook Pro outputting 1920 x 1080p down DVI, our Sony NX5P HD camera running HDMI, a Sony Blu-ray player running HDMI and YBR, and a VGA PC laptop outputting only 1366 x 768 (to test the scaling ability). I used a range of test material from fast moving sports content to fine detailed high resolution artwork with lots of shadows. Internal scaling and processing reproduced all the signals accurately. Unsurprisingly, I witnessed all of the expected imperfections

that are present with MVA panels, such as a mild off-axis colour distortion and a some minor latency issues. The internal scaling ability is quite impressive: even 800 x 600 scaled well. The V651 has a 5000:1 contrast ratio and a frequency range of 15-91kHz. Image adjustment for all sources is very thorough and easy to manage – although when I re-sized and shifted my VGA source (the auto adjustment overscanned it), switched to another source, and then returned to my VGA source – my settings weren’t remembered. Aside from this, the process was relatively quick and painless. All the numerical values you see in the menu system are based on real pixel values (rather than percentages), so it is really easy to accurately fine-tune your image to the display.

Colour control and adjustment is equally impressive, with a healthy adjustment range for all colours, RGB and CMYK, as well as the usual preset colour temperature settings you’d expect from a display of this quality.

The Picture In Picture (PIP) and ticker options are very detailed. PIPs can be positioned and sized anywhere within the main image. The only restriction was PIPing a digital source (HDMI) over another (DVI) digital source. It just can’t do it. Digital signals are not scalable – they are what they are. Other than that, there’s no restriction with PIPing. The ticker allows another source to be superimposed over the main source (like video overlays), which is useful for special announcements or scrolling newsstyle information overlays.

The screens can be connected in groups and networked via Cat5/UTP cabling. Customised software (that I didn’t have the opportunity to test) allows remote control of screens, either individually or in banks. The panel can even email you to alert you of any issues it might be having.

TREADING LIGHTLY

This panel also has some neat environmental features that can help lower the total cost of ownership for the purchaser. In addition to the usual ‘economy’ modes, there is a carbon footprint calculation that displays the percentage of power savings achieved when certain settings (such as backlight, contrast, etc) are utilised. NEC even ‘Thank you for saving the environment’ if you can draw less than 100% power. It’s funny how these features were not initially taken seriously; but with a carbon tax looming,

047

REVIEW

everyone is finally on the hunt for environmentallysensitive AV solutions.

This screen can only be operated in landscape mode (unlike the 46-inch model), which is a little intriguing and somewhat restricting for the public display arena. The unit comes equipped with two eyebolts and is ready to fly out of the box. Table stand feet, wall mounting plates and audio speakers are all optional extras.

These NEC V651 screens have a Tile Matrix mode that allows up to 100 displays (10 x 10) to form a massive 16m wide x 9m high video display … provided of course you have the ceiling height.

Boasting a healthy array of advanced technologies (that promote extended use) the NEC V651 is an ideal public display for retail/restaurant markets, digital signage, control room and corporate boardroom environments. 

“the new flavour of MVA panel has improved on the delivery of off-axis colour viewing”

More information: nec.com.au Contact: contactus@nec.com.au or Tel: 131 632 RRP:$8997 (inc GST)

the AV Industry’s Lunchroom Noticeboard • Who’s doing what work where • What’s happening on the technology front • What training is available • Who’s hiring

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048

NEWS

InfoComm News News from the Oceania Region.

POST SHOW REPORT: INTEGRATE, IN ASSOCIATION WITH INFOCOMM INTERNATIONAL We’d like to start this report by thanking everyone who attended the show and those who participated in the InfoComm Academy programs. The 2011 show, saw an increase of over 50% in the number of people that attended InfoComm Academy education.

We would also like to thank those volunteers that formed the Educational Advisory Group. Their advice assisted us to produce an educational program that was both relevant and sought after. It’s a credit to their work that 100% of InfoComm Academy sessions offered were delivered. A final thank you to all the InfoComm Academy volunteer presenters, who gave their time to develop and deliver the seminars.

Many people visited us on the InfoComm booth and most had an attempt at winning one of three iPads that we gave away.

Congratulations to the winners, all three told us that they will be able to put their iPads to good use for work (and play).

The full show report is available from the Integrate website at www.integrate-expo.com LEGAL MATTERS InfoComm has retained the services of Michael Leahy, a commercial law specialist, to provide advice to our members on various legal matters. The first issue that we will be looking at, are changes to Australian Consumer Law that come into effect on 1st October 2011 and its impact on the procedures that need to be followed to collect debts owed by customers.

Michael will present a special webinar on the issue for InfoComm members only on 2nd November at 1pm. Please check the InfoComm Asia-Pacific region webpage for more details.

CALL FOR PRESENTERS – INTEGRATE IN ASSOCIATION WITH INFOCOMM INTERNATIONAL 2012 No need to look again, you got it right ! We have already opened the call for presenters for the 2012 show – visit us at www.infocomm.org/asia-pacific to submit your proposal. The call will close on the 31st of December, without exception. It takes time to put a program together and the longer we wait, the less time we have to promote the program to potential attendees. We learned a lot from the process for this past Integrate and in an effort to get the best possible program for 2012 there will be a webinar for all those that are considering submitting a presentation. To register for the webinar, to be held on Wednesday 19th of October, please go to www. infocomm.org/asia-pacific and look for the link.

And the winner is…

The webinar will cover: Submission process and timelines The role of the Educational Advisory Group The selection process Seminar information requirements once selected.

InfoComm RUs Until the webinar, here are a few things to think about.

You may put in as many submissions as you like, the more you submit the higher the chance you have that one of your presentations will be accepted.

Be comprehensive with your submission, the Educational Advisory Group can only interpret what you put down on the form. If you don’t submit enough information, you reduce your chances of success.

Think about the audience, the broader the potential audience for your topic, the more likely it is to attract people to attend.

Basic, Intermediate or Advanced; make sure you pitch your topic at the correct level. As an attendee, there is nothing more frustrating than sitting in a seminar that is far above or below your level of knowledge / skill.

Day to day, what are the common questions you get from the industry? The more frequent the question, the more popular a presentation on those topics is likely to be.

COMING EVENTS Roundtable meetings are fast approaching in Melbourne, Canberra and Sydney. These are the last roundtable meetings that will be open to people in the industry that are not members of InfoComm International. From 2012 Roundtable meetings will be for InfoComm members only.

The Dates for the Roundtable Meetings are: Melbourne 25th October Canberra 27th October Sydney 3rd November Wednesday Webinars: Integrate Call for Presenters Information – 19th October at 1pm AEDST Australian Consumer Law Changes, by Michael Leahy – 2nd November at 1pm AEDST Case study on Queensland Emergency Operations Centre and the deployment of an optical fibre AV signal transport system by Peter Sean Coman CTS, RCDD – 30th November at 1pm AEDST Registration Details for webinars can be found on the AsiaPacific Regional Webpage.

Billy Tankard from K Dub AV

Mmm… iPad-a-licious

049

TUTORIAL

Ohm’s Law The relationships between voltage, current and power.

This is an excerpt from InfoComm’s online course GEN102 Essentials of AV Technology Online, a comprehensive, introductory overview of science and technology for audio, visual and audiovisual systems integration, with more than 240 lessons and quizzes.

In the audiovisual industry, Ohm’s Law is used to predict the total electrical impedance of a group of connected loudspeakers. Another common use of Ohm’s Law is to calculate the amount of current required to power the AV equipment in a rack. Ohm’s Law can also be used to determine signal level. While Ohm’s Law solves for DC circuits, it also helps to approximate AC calculations (the results of AC calculations are frequency dependant). The results of Ohm’s Law calculations can be given to a professional electrician or an AV systems designer to incorporate into a design.

CIRCUITS

A voltage source with a wire connected from one of the source’s two terminals to the other constitutes an electric circuit. All circuits must have these three physical items connected together: Wires (conductive material) A voltage source (e.g. a battery) A ‘load’ (something which creates resistance or does work)

outside the conductor. Voltage is sometimes referred to as pressure potential or electromotive force. It is represented in maths by the letter ‘V’ and measured in Volts.

Resistance – The opposition to the flow of electrons in a circuit. Resistance comes from the load and the wires. It is represented by the letter ‘R’ for resistance, and measured in Ohms.

Power – The amount of flowing energy (or work) which occurs when current, voltage and resistance work together. It is represented in maths by the letter ‘W’ for Watts.

These four components interact in a predictable way. Here are three important interactions described verbally: CURRENT & VOLTAGE

Interaction No. 1: The current in an electrical circuit is proportional to the applied voltage An increase in voltage results in an increase in current if resistance stays the same.

Voltage is a kind of pressure which makes current (electrons) flow. Resistance reduces the flow of current. Here’s the same statement as a mathematical expression: Current = Volts ÷ Resistance Let’s use some numbers to demonstrate the interaction: Current = 1 2 3

Volts ÷ 1 2 3

Resistance 1 1 1

Resistance isn’t changing. Volts, however, are increasing. As the Volts increase, so does the current.

CURRENT & RESISTANCE

One of the simplest examples of a circuit involves a battery (the voltage source) and a light globe (the load). The extra item in the diagram above is an on/off switch. A physical continuous path, like a loop, is created when the switch is set to the ‘on’ position. The circuit is ‘closed’ and four invisible components instantly work together to make the light globe glow.

I, V, R, & W

Here are the definitions of the four components: Current – The flow of electrons through a conductor, represented in maths by the letter ‘I’ for Intensity, and measured in Amps.

Voltage – The static electric field which exists

Interaction No. 2: The relationship between current and resistance is inversely proportional An increase in resistance produces a decrease in current if voltage stays the same.

In this relationship, it’s the same formula but the situation has changed. Resistance is increasing and voltage is constant.

The table demonstrates this relationship: Current = 1 0.5 0.33

Volts ÷ 1 1 1

Resistance 1 2 3

As you can see, voltage is constant. Resistance, however, is increasing and pushing back on the current. As resistance increases, the current decreases.

As an analogy of the relationship between current and resistance, think of a bathtub with a plug. The water pressure in the bath is like

voltage. The water has the potential to go down the drain, but it can’t. If you remove the plug, the volume of water flowing through the drain is current. The pipe diameter is resistance. Water will have an easier time flowing through a wider pipe than a narrower pipe. The flow of water will therefore be higher (more current) in a wider pipe (less resistance) than the narrower pipe (higher resistance).

CURRENT & POWER

Interaction No. 3: Current, voltage and resistance work together in predictable ways to create power. Power is created when current, voltage and resistance are present. This is called electromagnetism. Unlike current, power is consumed as it travels through the circuit and doesn’t return to the source. It is used up. Here’s the same statement in mathematical form: Power = Current x Volts If current increases, so does power. If voltage increases, so does power. The table demonstrates this relationship: Power = 1 2 6

Current x 1 1 2

Volts 1 2 3

The Ohm’s Law Wheel shows all the formula variations used in AV:

050

Termination Keep it Stupid, Simple Text:/ Matt Caton

Drawing: Pharic McGregor

It never ceases to amaze me how complicated people like to make things.

I’m not sure if it is some admirable strive for excellence that drives people, or just a penchant for making themselves look clever by being difficult. Either way, I’ve seen this trend far too often in recent times in areas of live production and performance.

For those who work in an entertainment technology field, it can be sometimes easy to forget that the audience doesn’t pay money, battle traffic and car parking and sit in a venue to watch your work. In fact, it could be argued that the average punter at a live concert or theatre performance wouldn’t even notice the difference if you had decided to not turn up to work that day. It’s a ‘complementary’ field, whereby the technology complements the performance rather than upstages it.

When chatting with a prominent theatre reviewer recently I asked specifically how they review technical elements. The response was interesting: “If I didn’t notice it, then it was good. I barely ever notice if something has excellent sound, or amazing lighting, but I sure notice if it is crap, or totally upstages what is happening in the performance”. Yet with this in mind, we still see unnecessary moving lights, ridiculous speaker arrays and embarrassing large screens in venues and shows that really don’t need or cater for it.

With it currently being Fringe Festival time in Melbourne, I’ve had a wee bit to do with various shows popping up in various

“I barely ever notice if something has excellent sound, or amazing lighting, but I sure notice if it is crap” intimate inner city venues. One that particularly caught my attention was in a venue I was working in that was hosting three different productions. It seats about 60 people, it comes equipped (to slightly stretch the meaning of that world) with one 12-channel dimmer rack and a basic lighting grid that sits no more than three metres above the stage. Despite this, one of the three lighting designers (the only ‘professional’ one) decided to use a bunch of 1kW Fresnel spots which ended up only about a metre above the actors heads, then threw in a load of dimmable fluorescent tubes, two more dimmer racks and a heap of Par 16s that cut off half of the front row of the audience. I don’t think overkill is too strong a description.

Which in turn reminded me of a time many years ago – well before the introduction of today’s slender flat screen televisions – when a work friend invited me over for a Grand Final BBQ. He was hiring a big screen TV from Radio Rentals, and wanted us all to come over. Once we

got there, we realised just how small his lounge room was in comparison to the gigantic television; which was as deep as it was wide, as was the trend of the time.

While sitting huddled together, about four feet away from a screen that was burning my retinas, I realised that the experience would have been much better had I just sat at home on my couch, and watched it on my old crappy 18-inch TEAC. This trend is not limited to one level of performance though, I’ve seen it at all levels. There was the theatre Stage Manager/Engineering Student who tried to change a pulley system (that had been working fine for the first two weeks of the season) because he felt it looked unstable.

Only to see the pulley fail and drop a banner into a scene about six scenes too early, on the very night he ‘fixed’ it.

I also saw a professional show where a Technical Director ignored the Director’s wish to use a cleverly designed moving chair, that could be secretly ‘walked’ around on stage, and instead created a fully functioning electric motor chair; that failed three nights in a row.

Sometimes it’s best to just accept your limitations, and use them to your advantage. Sometimes, the wow factor is just counterproductive. Sometimes, keeping it simple, is the most effective thing you can do... Stupid. 

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