AV issue 9

IGNITE THE MUSEUM M MELBOURNE MUSEUM SREADS ITS AUDIOVISUAL WINGS IT

ARIA AWARDS: AND THE WINNER IS… TDC

ANOTHER DIMENSION: 3D TECH EXPLAINED

EDUCATION REVELATION: WESLEY GETS STRAIGHT As

$6.9 $6 $6.9 .95 95 inc in nc gs nc gst

CommeRCial lCD

DVR seCuRity

Display Wall Cubes

pRojeCtoRs

Resolia™ leD

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

Mitsubishi Electric has the visual solution to meet your needs, no matter how small or large the task. With the freedom to choose from a large range of commercial LCD displays, Digital Video Recording and security control systems, large format Resolia™ LED billboards, home or business projectors and Display Wall Cube systems, the possibilities are only limited by your vision.

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

Proud partner of the Australian Centre for the Moving Image

RELIABILITY YOU CAN DEPEND ON FOR YEARS. 4 Year Projector Warranty* 1 Year Lamp Warranty** 1920x1200 WUxgA Resolution 6000 Lumen Brightness 10,000 Hour Maintenance Free Filter 6 Lens Options

Epson, the number one in projectors world wide introduces the EB-Z8000WU projector.

A large venue’s new best friend in Big, Bright, HD Images.

EB-G5100

EB-G5200W

EB-G5350

EB-Z8000WU

For information on our range of projectors call 1300 130 194 or visit epson.com.au *4 years or 10,000 hours. **1 year or 750 hours.

www.magnasys.tv Distributed in Australia by: Magna Systems and Engineering, Unit 2, 28 Smith Street, Chatswood, NSW 2067 Australia Tel: (02) 9417 1111 Fax: (02) 9417 2394

INTRODUCING THE CHRISTIE

M SERIES GAME-CHANGING PERFORMANCE Setting the pace…taking the lead…no matter how you say it, the Christie M Series is changing how the game is played. Brightness, versatility, reliability and the most compact in its class, Christie’s dual mercury lamp platform provides high-performance, affordability and the most features to ensure you win every time.

(NOW THE COMPETITION HAS A NEW GAME – IT’S C A LLED C ATCH-UP)

christiedigital.com/mseriessvc AUSTRALIA 16/20 Depot Street Banyo, QLD 4014

www.vrs.com.au

ph: +61 7 3844 9514 info@vrs.com.au

SINGAPORE ph: +65 6877 8737 sales-singapore@christiedigtal.com

2010

AV AWARDS CATEGORIES BEST INSTALLATION $1m+

BEST USE OF AV IN POST-SECONDARY TEACHING

Represents the most innovative, best conceived and consistently excellent audiovisual installation of the year.

This award covers audiovisual projects and installations in the postsecondary education sector.

BEST INSTALLATION UNDER $1m

BEST USE OF AV IN K-12 TEACHING

This award provides smaller installers and integrators the chance to show their wares. The install that best meets the unique demands of the project wins. Doesn’t need to be the most glamourous or highest profile project going around.

This award covers audiovisual projects and installations in the K-12 (Kindergarten to Year 12) education sector.

BEST AV PRODUCTION

This award isn’t tied to any one event or installation. It recognises a nifty ‘idea’; a solution to a curly problem; a unique perspective on an existing technology. In other words, anyone reading this could potentially win this award with their wit and cunning.

for th

e audi

ovisu

al prof

essio

nal

This award covers all staged events – commercial product launches, made-for-TV spectaculars, one-off events etc. The winner won’t necessarily be the most lavish production but, rather, the best conceived application of AV technologies and design.

INNOVATION AWARD

ALIA 24 – 26 AUGUST 2010 integrate-expo.com

AV AWARDS: SUBMIT YOURSELF It’s a new year and the time for talking is over; the time for hiding your light under a bushel has gone: we want to hear about your good work.

WHY SUBMIT?: I can’t believe you need to ask that! Think of the accolades, the bragging rights, the free lunches, the red carpet reception at Integrate 2010, the faux marble statuette… More seriously, the AV Awards represent a unique opportunity for your company/organisation to show its wares. Winning an award will please your marketing department no end as it demonstrates your organisation’s ability to exceed customer expectations with genuinely innovative solutions. In other words, winning an award is not only a nice thing, it’s a valuable thing. Furthermore, more altruistically, you’ll be contributing to the improving of standards in this region.

WHAT DO I NEED TO ENTER?: An online entry form will be available which will provide you with a step-by-step

checklist. But you will need to think about why your project has ‘something about it’ – a level of innovation that sets it apart. A clear explanation of the technicalities, testimonials from clients, stats to back up contentions… it’s a case of collecting a dossier of relevant information, packaged in a concise, persuasive fashion. Nice photos will help.

DOSH: Each submission will attract a $100 fee. This money will be kept in an AV Awards bank account and used

to defray costs in assesing the awards.

HOW WILL IT BE JUDGED?: We’re in the process of finalising a judging panel, with the assistance of industry

associations InfoComm, AETM and ALIA. The panellists will be top-draw working AV professionals.

CONFIDENTIALITY: “I don’t want to share my trade secrets with the rest of the industry!” Fair enough, and if there are any commercially sensitive aspects to your submission, you can be assured it will be treated in confidence.

ELIGIBILITY OF PROJECT: The AV Awards are for any projects completed in 2009. The project must either be

located in the Australasian region or have been primarily the concept of an organisation based in the Australasian region.

We’re currently working on an entry form to make the AV Awards submission process as easy as possible. This will be available as a download from the av.net.au website in due course. But don’t delay, now’s the time to have that conversation about which project you think is worthy of attention.

The feedback we’re getting unequivocally points to these awards being a good thing. Recognising excellence and innovation goes a long way to raising standards. But a new awards program needs a critical mass of entries for them to be meaningful. Which is why you should give this serious consideration right now.

INTEGRATE ONE-DAY CONFERENCES ADDED TO PROGRAM Video Conferencing (VC) Conference Companies are finding VC a compelling proposition for business-to-business communication and VC will be enjoying considerable growth in coming years. Regardless of whether you’re an integrator and installing VC or you’re a technology manager looking for the right VC system, this day long conference has you covered. The day begins with an overview of the future of telepresence technologies, touching on eye-to-eye, high definition, picture-in-picture, multipoint control and desktop conferencing away from the boardroom. From there attendees can pick one of two streams: integrators can go into the nitty gritty of firewalls, complex DSP audio, interoperability etc; while Technology Managers can learn more about design elements, appropriate lighting, as well as choosing the right system and future-proofing their investment. The conference will also include practical demonstrations of VC in action.

Your comments and suggestions are not only invited they’re required. Please get in touch.

Get online to view the proposed Awards categories: www.av.net.au Christopher Holder Co-Director of Alchemedia Publishing & Events chris@alchemedia.com.au

Andy Ciddor AV Editor andy@av.net.au

08

Editorial

The Pursuit of Excellence (& Other Paths to Mediocrity)

to reduce the level of safety in the community and particularly in our industry. Aside from the widespread abuse of this standard by ruthless companies who make a lot of money from bullying the community into repeatedly testing and tagging equipment that is not particularly at risk, there is a more serious problem. I’m referring to the far-toopervasive belief that a recent test tag is a magical form of protection from electrical faults.

Before test tags were widely used, those of us who worked with electrical equipment and who wished to go home alive at the end of the day, would visually check that each piece of gear was safe, every time we used it.

Today too many of us see the test tag and don’t actually confirm that the item hasn’t been damaged since it was tested on the bench – days, weeks and kilometres ago. Certainly compulsory testing and tagging means that every piece of gear gets tested regularly. However, regular testing doesn’t prevent the wear and tear, and accidental damage between tests, that can make a device lethal. The standard leads many people to believe that they are achieving best practice, when what they are doing is the absolute minimum required to avoid prosecution by a court.

I’m not suggesting that we should abandon standards – far from it – I’m suggesting that we need to consider some standards as a minimum level of attainment, not an end in themselves.

If you believe in going as far as possible beyond the minimum, then you should be thinking about which category of AV Industry Award you will be nominating for.  Andy Ciddor, Editor Get in touch with AV and share your stories of clever designs, interesting ideas, and strategies, products, and projects that exploit useful technologies and equipment.

Contact AV’s editor, Andy Ciddor at andy@av.net.au

for th

e audi

ovisu

al prof

essio

nal

Standards are a very mixed blessing. While it’s blindingly obvious that some standards are essential to the very existence of the AV industry and the technologies we use to weave our wonders, there are other standards that actually impede our efforts to excel. At a time when we are just beginning to develop AV-specific standards this may smack of heresy, but these are not the standards I’m bothered by.

Of course, it’s imperative that all connectors of a given type actually mate properly, and that all of the applications for that connector use the same pin outs, signal types, protocols and data formats. That’s a total no-brainer (except for the ‘no brainers’ I’ve come across which made DMX equipment with the wrong number of pins, dangerous voltages on some pins or decide to reverse the data polarity!).

What I’m really bothered by are standards that enshrine mediocrity, or worse, encourage low expectations. Perhaps the best and most misunderstood (or maybe misrepresented) example of this problem is the much-touted ISO 9001 standard for Total Quality Management.

This standard is not so much about the management of quality, but the quality of management, which is often not the same thing.

ISO 9001-compliant organisations have well-documented management and operational procedures, which they follow in a repeatable way. There is nothing to suggest that what they do is good, bad or anywhere in between; merely that whatever they do is consistent and repeatable. So, if they ship the wrong goods for this order, then there’s an excellent chance that they will do so for the next one – totally consistent and repeatable. Some organisations go through the ISO 9001 compliance process because they believe in becoming excellent and staying that way, others go through it so that they can meet tendering or bidding requirements, but don’t make any improvements in their practices.

Another example, very close to my heart is AS/NZS 3760, the document that sets the standard for the safety testing of portable appliances. Although well-intentioned, this standard has the potential

Not just a magazine www.av.net.au AV Industry Jobs Board: the best place to hire & be hired

Auto dimming sensor

Ready-to-use templates for many common systems Fully configurable user interface

7" High resolution touchscreen

Full-motion video display Backlit buttons

Motion sensor

Speaker Volume knob Adjustable tilt screen

Fully Configurable Touchpanel A/V Control Systems Powerful Control Without Programming Introducing Extron TouchLink™, the first fully configuration-based touchpanel control system with ready-to-use templates and the power to handle the control needs of single display rooms, dual display rooms, divisible rooms, multi-image systems, and video conference suites.

Extron pioneered configurable A/V control systems with the MediaLink family of push-button controllers. Now, with TouchLink, Extron is set to revolutionize the way you design, install, and maintain touchpanel systems.

Three new TouchLink panels feature a high resolution touchscreen with field-labelable backlit buttons, full-motion video, and many more features.

Key Features:

With our ready-to-use templates and drag-and-drop configuration software, TouchLink Control Systems can be deployed much faster than traditional programmable control systems and are easier and less costly to support. TouchLink Systems integrate seamlessly with Extron’s awardwinning GlobalViewer® Enterprise and Free GlobalViewer® software for complete A/V resource monitoring, management, and control over a computer network.

• Drag-and-drop design tool with master pages, popup pages for transport controls, multistate buttons, 3D effects, video windows, dynamic text, and more

• Three TouchLink Panel models: Wall mount and tabletop versions with 7" touchscreen, and a Cable Cubby® version with 3.5" touchscreen • No programming required; TouchLink control systems use Global Configurator, the same configuration tool used for MediaLink systems • Free GUI Configurator software with full-color templates for out-ofthe-box control of popular A/V system applications

• TouchLink and MediaLink systems integrate seamlessly using Extron GlobalViewer and GlobalViewer Enterprise software for A/V resource management and remote control

NOW SHIPPING

NOW SHIPPING

TLP 700MV

TouchLink 7" Wall Mount Touchpanel

TLP 700TV

TouchLink 7" Tabletop Touchpanel

Australian Distributor of Extron Products

Free Call 1800.EXTRON

TLP 350CV

TouchLink 3.5" Cable Cubby® Touchpanel

www.extron.com

+65.6383.4400

MEDIORNET

Re-Defining Fiber-Optic Networks

• Fiber Signal Transport for Multi-Channel HD/SD Video, Audio, Intercom & Data • Supports any Combination of Network Topologies • Integrated CWDM Multiplexing • Uncompressed Real-Time Signal Distribution and Routing • Supports 3rd Party Router Control • Software-based Signal Processing and Conversion • Future-proof Hardware Platform www.mediornet.com

Crew Since 1982 Gep has at various times been a musician, writer, composer, location sound recordist, student, resource manager, audio director, actor, film maker, improvisor, producer, traveller, and teller of bad jokes.

His latest adventure is musical director/improvisor for This is Your Laugh, a 16-episode light entertainment series for Ch7 HD.

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) Editorial Director: Christopher Holder (chris@av.net.au)

Currently a technical director at G1 Productions, Paul 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.

Paul lives in the Southern Highlands of NSW with his wife and three daughters and commutes daily to Sydney.

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) Circulation Manager: Jenny Temm (subscriptions@av.net.au) Butterfly cover image credit: Source Museum Victoria Photographer Benjamin Healley

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 Š 2009 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. 22/1/2010

Mandy Jones is Events 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.

Rod Sommerich is the Asian & USA Channel Manager for SpinetiX, a Swiss manufacturer of Digital Signage Appliances. Rod has worked for a number of Australian Pro AV, Consumer and Broadcast distribution companies for the last 25 years. Prior to that he worked in editing and telecine for broadcasters and post production facilities in both Australia and the United Kingdom. Rod holds InfoComm CTS certification.

Samsung Commercial Plasma Displays

Take a closer look Samsung is now Australia’s and the world’s top selling brand of Commercial Large Format Screens**. Our comprehensive range of LCD and Plasma displays totals over 50 models, designed to meet the diverse applications for Digital Information Display.

• Our new Plasma Models include built in hidden down firing speakers.

• No added cost and no unsightly bolt on speakers to take away from the sleek design and uniform bezel.

• Lower power consumption without compromising image brightness or quality.

• 3 year Commercial Warranty for peace of mind • Full HD in 50 and 63 inch models • Available in 42”, 50”HD, 50”FHD and 63”FHD Models Samsung’s new Plasma range… performance and reliability in commercial applications. **(source DTC Figures Qtr 3 YTD 2009)

Call your authorized Samsung Distributor for more information. The new pricing may surprise you!

moving with technology

WORLDS BEST TECHNOLOGY

Ph: 1300 362 363 www.wbtd.com.au sales@wbtd.com.au

Ph: 07 3866 5000 evan@xitd.com.au

Ph: 03 9541-8841 sales@westan.com.au www.westan.com.au

www.samsunglfd.com Ph: 1300 666 099 sales@idt.com.au www.idt.com.au

HARRISMOVEMENTENGINEERING

Superbly engineered “solutions that demonstrate a thorough understanding of the client and the application

”

Harris Movement Engineering (HME) Unit 1, 35 Birch Street Condell Park NSW 2200 t. (+61) 2 9708 6614 www.harrismovement.com.au

STAGING INTEGRATION CONTROL

Issue 9 REGULARS NEWS News from the AV world

12

INFOCOMM NEWS Regional news from InfoComm

64

TERMINATION Sinking into the immersive future of 3D.

66

FEATURES

30 36

56

AV GOES WILD Melbourne Museum takes a 21st Century approach to its wildlife collection.

24

TOP OF THE POPS The 2009 ARIAs were a visual treat.

30

A+ AV Perth’s Wesley College audiovisuals are in a class of their own.

36

INTERFACE AUDITIONS AT UTAS The never-ending search for the perfect lecture theatre control interface.

40

DOWN 'N DIRTY The Black Arm Band's dirtsong sweeps the Melbourne Festival off its feet.

42

CUSTOMISING YOUR STAFF Vizcom roll its own training program.

44

TUTORIALS COMING RIGHT AT YOU 3D display technologies examined in depth.

56

EVERY PIXEL IS SACRED Part II of our edge blending tutorial.

60

STANDARDS – WHO NEEDS THEM? Why on earth should the AV industry bother with standards?

62

AUDIO MIXERS A quick look at the basics of the audio console.

65

REVIEWS

24

50

54

LIGHTPANELS LED softlights with an AA rating.

46

ARX USB AUDIBOXES USB additions to ARX’s ever-useful Audibox range.

48

BARCO DML-1200 The first, and so far only, Digital Moving Light.

50

SOUND DEVICES 552 FIELD MIXER Some impressive improvements to a proven industry workhorse.

54

016

NEWS

1

2

3

1/INCREDIBLE SHRINKING iLIVE

2/THAT SINKING FEELING

3/NO, IT’S NOT AN ASHTRAY

Allen & Heath has added two new ‘footprint friendly’ models to the iLive digital mixing series: the iDR-16 3U MixRack and iLive-R72 rackmountable Control Surface, together providing a lightweight digital live mixing system with the same performance and flexibility of the larger iLive systems. The iLive-R72 features a fader strip layout with 12 faders in two banks and six layers for a total of 72 colour assignable channel ID control strips. A built-in touchscreen has access to the processing, memories and system configuration. Connection to the 3U MixRack with its 16 mic/line inputs and eight XLR outputs is via Cat5 cabling to a maximum of 120 metres, while a further eight in/outs are available on the iLive-R72.

Internal DSP in the MixRack provides the usual bells-and-whistles channel FX processing on all inputs and outputs that we expect from any digital rig these days. All the iLive series share the same firmware, so system configurations can be migrated easily from one to the other using USB. And with the smaller size, of course comes a smaller price.

Technical Audio Group (02) 9519 0900 or www.tag.com.au

Barco is hoping its clients will experience nothing less than a serious, sinking feeling in the new installation of an 18-projector display system for the US Navy’s prototype Submarine Bridge Trainer (SBT) program being developed at the Naval Undersea Warfare Center in Newport, RI. Okay – they don’t really get to pull any klaxons and yell, “dive, dive, dive!”. The facility simulates the view from atop the submarine’s flying bridge or sail and enables up to eight trainees and one instructor to conduct pre-deployment and mooring training. Face it, parking a billion dollar submarine needs more than just a close eye on your rear-view mirror. Barco installed Sim5 projectors focused on a semi-spherical dome, 8.5m in diameter creating a 360° x 70° field of view. Source imagery for the system, including models of vessels, is from existing US Navy harbour, piloting and navigational databases (aspiring spies take note). The simulator can also mimic electronic binoculars, periscopes, and of course the submarine’s roll and pitch. If enough admirals are impressed – and so far they are – further simulators will be built at other ports.

Barco: (03) 9646 5833 or sales.au@barco.com

A member of the Touchlink product line, the Extron TLP 350CV TouchLink 3.5-inch Cable Cubby Touchpanel is a clever, compact 3.5-inch tilt-up screen to provide a room AV controller designed to be mounted into any horizontal flat surface, such as a tabletop or lectern, and have a minimal, neat profile when not in use. Flipped open and activated, the touchscreen is full colour and can display full-motion video if a Preview mode is incorporated into the system design. Touchlink’s free GUI Configurator software application allows designers to build completely custom control combinations, however, one of a wide selection of templates will probably do the trick and the drag-and-drop setup gets things up and going quickly.

In addition to the touchscreen options employed the TLP 350CV has 10 customisable backlit buttons for assigning critical or oft-used functions. Tucked inside the cavity are data, AV and power connections for hooking into the network. Cable Cubbys are available in a black, anodised finish or brushed aluminium.

The Touchlink line also has seven-inch wallmount and table-top panels.

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

NEWS IN BRIEF

Barco has added to its range of Galaxy projectors with the Galaxy NW-7. Resolution is WUXGA (1920 x 1200) making it well suited to simulation and training applications and it boasts a liquidcooled, sealed optical engine to reduce operational noise to a minimum. The NW-7 shares many of the features of the earlier Galaxy NW-12 high-brightness model, but with a 7000 lumens light output the NW-7 is more suited to mid-level setups.

Barco: (03) 9646 5833 or sales.au@barco.com

Lab.gruppen is now a fully certified member of the Crestron’s Integrated Partner Program following the co-development of a Crestron Integrated Partner control module, which allows Lab.gruppen amplifiers and Lake products to operate with other hardware in an open-platform Crestron systems environment. Crestron and Lab. gruppen are already working towards expanding the capability to include Lab.gruppen’s PLM series.

Crestron: (02) 9737 8203 or www.crestron.com.au

Crestron’s new ‘affordable’ Prodigy series of control products is aimed at the domestic market not large-scale commercial projects. Around the house Prodigy can currently control such things as home theatres, background music, air conditioning and alarm systems, but you’ll have to wait until April for lighting control to become available. Both wired and wireless interfaces are possible. In March 2010 a colour touchscreen remote will be released.

Crestron: (02) 9737 8203 or www.crestron.com.au

Florida-based company Alcorn McBride, manufacturers of show control, audio and video equipment for the themed entertainment industry, has announced the appointment of Larry Howard to manage sales of the Eastern US, the UK, Asia... and us, Australia – looks like Larry’s going to rack up some frequent flyer points. Apart from his experience in sales and customer support Howard is well recognised for his skills in technical training.

Alcorn McBride: www.alcorn.com

Staging Connections has purchased another Yamaha M7CL digital mixer for its inventory, adding to existing similar consoles already available in Sydney and Melbourne branches. The new M7CL will be used throughout the Staging Connections network in several of their facilities.

Staging Connections: www.stagingconnections.com.au Yamaha Commercial: jason_allen@gmx.yamaha.com

Tune in to the comprehensive

4

pro audio range from Sony

4/CAMCORDERS TURN PRO Sony has released the first of its NXCAM series of camcorders aimed at professionals: the HXR-NX5P model with Advanced Video Codec High Definition (AVCHD) technology. The AVCHD format can be burned to a standard DVD disc, then played in a Blu-ray disc player in high definition, effectively bypassing the need for a Blu-ray disc burner. HXR-NX5P can record 1920 x 1080 images at 24Mbps (50i or 25p), as well as supporting 720/50p and standard definition recording.

A neat trick up its sleeve, the HXR-NX5P also features a GPS function which embeds GPS metadata when recording. Both the time and location can be displayed on playback. Recording media can be Memory Stick Pro Duo, SD/SDHC cards or Sony’s optional HXR-FMU128 128GB flash memory unit. Described by Sony as an entry level file-based camcorder, it provides XLR input for PCM recording and HD/SDI video output. Up front is Sony’s newly designed G Lens in combination with 3 x 1/3-inch Exmor CMOS Sensor system.

Sony Australia: 1800 017 669 or proaudio.au@ap.sony.com

The Professional Choice From wireless and wired microphones to versatile A/V mixers offering integrated control with a variety of projectors - Sony’s comprehensive range of pro audio solutions offers an assurance of reliability, quality and consistency.

With a host of systems and accessories to choose from, together with proven performance in broadcast, production and AV applications, it’s hardly surprising that Sony’s pro audio range is the professional choice.

Amber Technology has been awarded a contract with the State of Victoria, through Victoria Police, for the supply and installation of David Horn Communications (DHC) Digital Interview Recording Equipment. The contract has a final estimated value of more than nine million dollars over five years.

Victoria Police has deployed well over 500 of these units as part of the Digital Evidence Capture (DEC) project.

Amber Technology: 1800 251 367 or www.ambertech.com.au

Digigram‘s AudioManager VU, is a software package for planning, deployment, management and supervision of multizone audio systems. The application auto-discovers the network and its attached devices and handles all kinds of data such as IP audio equipment, soundcards or Ethersound audio networks.

AudioManager can also be used to control information broadcast over a schedule. It’s compatible with third-party control protocols.

Major Music (02) 95252088 or www.majormusic.com.au

Projectiondesign‘s MIPS WB2560 is a multi-image processing system with blending and geometry correction for 2D and 3D displays. It operates on a per-pixel basis, is infinitely scalable and allows any number of channels to be combined.

Anything from a simple twochannel blend to complex multichannel, geometry-corrected 3D stereoscopic images can be displayed on any projection surface.

Amber Technology: 1800 251 367 or www.ambertech.com.au

PCM-D50 Linear PCM Recorder The latest addition to Sony’s family of portable audio recorders, built rugged and compact to withstand the demands of any environment.

• 96kHz/24 bit, virtually noise-free recording quality • 4GB internal Flash Memory, plus expandable Memory Stick Pro-HG Duo™ slot for up to an additional 4GB

www.sony.com.au/production proaudio.au@ap.sony.com 1800 017 669

018

NEWS

2

1

3

1/NOW AN EZ CHOICE

2/QSC TAKES CONTROL

3/EARNING FLYBAR POINTS

Radio Design Labs (RDL) has a series of EZ Modules now available in Australia. The EZ series is quite comprehensive and offers a range of both video and audio switching boxes and processors including more esoteric video gadgets like a two-input to fouroutput VGA/XGA Switcher/Equalised Distribution amplifier down to a humble microphone preamplifier.

Several designs come in either single or multiple configurations–the mic preamp has a mono or stereo model for example. There’s a 20watt stereo amplifier with or without EQ that should catch the eye of folks with Cash Converter domestic stereos running their studio monitor speakers. In fact, RDL pretty much have something for everyone. Most of the units are 1/3 rack mount size with some a rather awkward 1/6 sizes, although you can buy chassis mounts for multiple units (and 1/3 drawers or blanks to fill gaps). The cases are metal, power supplies are included with international adapters and all the EZ series come with a three year warranty. RDL promises value prices thanks to their ‘renowned automated manufacturing’.

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

QSC is hoping audio engineers will put all their processing eggs in one basket with the new Q-Sys system – a digital audio signal routing and processing platform for anything from small multizone venues right up to the largest imaginable PA stacks. A system of almost any size can be designed from microphone, line-level, or digital input all the way to amplifier or loudspeaker output without extra processing required – although third-party control products are supported, if you insist. Using premium converters and Gigabit Ethernet, the Q-Sys architecture can produce a total system latency of less than 2.5 milliseconds between any input and output with ‘audiophile quality’ processing throughout. Available in three sizes ranging from 64 inputs x 64 outputs to 256 inputs x 256 outputs, the Q-Sys Core works in tandem with Q-Sys I/O frames, 1U modules that accommodate up to 16 channels of audio using four-channel Q-Sys cards and dual Ethernet ports to support system redundancy. Q-Sys is compatible with any analogue-input power amplifier or powered loudspeaker.

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

Thern Stage Equipment in Minnesota, who specialise in theatre rigging and flying systems has applied some long-overdue commonsense to counterweightweight cradle design and come up with the Brickhouse series of cradles and matching counterweights. Cradles are completely front-loading with a locking vertical bar that swings aside for inserting weights and during operation fits into slots in the metal ‘bricks’ to keep them in place. The cradles are divided by shelves allowing you to load weights only in the upper sections if the flybar distance above the stage puts the cradle at a difficult loading height, and the shelves are angled slightly down at the rear letting gravity hold the bricks in, too.

Provision is made so that an extra cradle, if required, is bolted directly to the side of the first, not slung underneath – assuming the flyrail design has enough room. Finally, the mould of the bricks has a carry-handle hole incorporated.

Thern Stage Equipment: www.thernstage.com or info@thernstage.com

MIDAS WELL HAVE THE BEST

with the purchase of Midas and Klark Teknik from Bosch Communications Systems, the name is certain to become a fixture of the pro audio lexicon.

The sale also marks an agency switch, with National Audio Systems (NAS) winning exclusive distribution rights for Midas and KT in Australia and New Zealand.

It capped off a stellar 2009 for NAS, which celebrated a GFC year that most others would care to forget, with strong revenue growth and staff recruitment.

Although the two deals (the sale

When the Music Group announced in early December 2009 that it was acquiring the Midas and Klark Teknik brands, many in the professional audio community were heard muttering the obvious question: “Who the hell is the Music Group?”

The Music Group is a newly formed holding company owned by Behringer magnate Uli Behringer and his long-time business associate, Michael Deeb. The company owns a number of related audio brands, most notably Behringer. Now,

and the agency change) are obviously related, NAS made its pitch to Midas not knowing about the boardroom-level discussions between Bosch and the Music Group. NAS made the pitch knowing that Midas had been looking at its distribution in 2009 in many territories and could well be won over by a business that had done so well in pro audio markets.

NAS Director/Sales Manager, Shane Bailey: There had been changes in distribution of the Midas and KT brands in other

territories around the world.

We saw this and pitched in anticipation of any changes in Australia and New Zealand. They agreed that Midas and Klark Teknik were a great fit - in d&b we have a top-of-the-range PA brand, in Midas we have a topline console brand and in Klark Teknik we have a top-of-the-line processor brand – this works very well!

AV: So you have stock?

Shane Bailey: Yes. We have another shipment coming in now [end of January] and another

order in place.

AV: What’s the future of Midas large-format analogue consoles?

Shane Bailey: There’s no doubting the future is digital but I believe there will be a minor renaissance in largeformat analogue. What with the expanding festival circuit I think there’s plenty of life left in analogue. But certainly the likes of the Pro6 is where the growth will be coming from.

AV: Sounds like the agency switch and the Behringer takeover were all-but coincidental?

Tune in to the comprehensive

pro audio range from Sony

4 4/NEW TOA LINE ARRAY TOA has a new line array. The Type C system offers a choice of 15° and 5° vertical dispersion angle modules, together with a 15-inch subwoofer enclosure for low-end reinforcement. Different modules can be combined if a combination of short- and long-throw coverage is required, and all three boxes are also available as IPx4-rated splash-proof enclosures. Both mid-high modules can be run in a choice of single or biamplified modes and TOA has a wide variety of optional purpose-designed mounting brackets to provide solutions for those trickier installations. If things ever go awry, Type C cabinets are designed so that drivers can be serviced from the rear. For projects that require greater output and more low frequency grunt, a two-way multi-amplifier driven speaker system with a 30cm low frequency driver and two compression drivers is available.

Audio Products Group: 1300 134400 or www.audioproducts.com.au

The Professional Choice From wireless and wired microphones to versatile audio/video mixers and recorders - Sony’s comprehensive range of pro audio solutions offers an assurance of reliability, quality and consistency.

With a host of systems and accessories to choose from, together with proven performance in broadcast, production and AV applications, it’s hardly surprising that Sony’s pro audio range is the professional choice.

Shane Bailey: We heard on the grapevine that a buy proposal was on the table but that was about it.

AV: What’s the feeling like in Midas circles about the Behringer takeover… excitement or dread?

Shane Bailey: There’s a real sense of excitement. I’ve not met Uli Behringer but everything I’ve heard about the man suggests he’s a passionate and driven individual, with a keen head for business and a love for music.

AV: What can Behringer bring to

the Midas brand?

Shane Bailey: Uli is clearly cashed up – The Music Group manufactured 2.4 million products in 2009, an incredible figure. They will bring investment and R&D to the table for the Midas and Klark Teknik brands, which will free them up to bring next generation products to market quicker. The other spin off is the shear buying power that they can bring to bear with purchasing raw components.

AV: So you’re not afraid that Midas and KT will simply be

cannibalised?

Shane Bailey: No. There’s no crossover with the product range as far as I can see. And Behringer is too smart to make the mistake of watering down the Midas or KT brand. I like to think of it in the same way as Ford owning Aston Martin. No one mistakes an Aston for a Ford, but Aston benefits from Ford’s global reach and buying power.

National Audio Systems: 1800 441 440 or sales@nationalaudio.com.au

UWP Series UHF wireless microphone package Each package has a transmitter and receiver so you’re up and running straight from the box!

• Space Diversity Reception ensuring stable signal reception • Rugged and lightweight to provide reliability and mobility needed for field and venue applications

www.sony.com.au/production proaudio.au@ap.sony.com 1800 017 669

020

NEWS

2

1

3

1/SET & FORGET MIXING

2/UPPING THE PIXEL ANTE

3/CALIBRE TAKES AIM

AKG’s DMM422 Automatic Digital Microphone Mixer “automates the mix to deliver worry-free audio for installed sound customers”. The DMM422 has four balanced/line XLR inputs and two stereo aux inputs.

Once you’ve set your inputs up with switchable mic/ line and phantom power selections and done any further tweaking using high- and low-shelf filters, plus a bass cut filter, then processor-controlled algorithms automatically take over and look after the gain and gating of each input to provide reliable set-and-forget mixing. A dbx compressor is applied to the signal as well. Output is mono via an XLR connection although a pair of RCAs are supplied as two-track send outputs.

DMM422s can be cascaded with an expansion connector and overall control is possible thanks to a 26-pin SubD port. Last Mic On and Best Mic On priorities can be assigned to any channel. If sticky fingers might be a problem a software lockout is included. The DMM422 is a single 19-inch rack mount unit and is available now.

Price: $2199.

Audio Products Group: 1300 134400 or www.audioproducts.com.au

At the recent Interservice/Industry Training, Simulation and Education Conference (I/ITSEC) held in Orlando, the Norwegian firm Projectiondesign unveiled its new F35 Series DLP Projector. At the heart of its circuitry the projector features a Texas Instruments WQXGA DLP chip, which provides a pixel resolution of 2560 x 1600 and is said to represent 78% more pixels than its predecessor (the WUXGA chip weighs in at a ‘paltry’ 1920 x 1200). Overall, it’s five times the resolution of a standard XGA display. The F35 Series is aimed at facilities such as blended, multi-image flight simulators, training simulators and the like. The projectors won’t be available until the second half of 2010, but Projectiondesign is confident the new technology is so impressive that end users and system designers will take note and plan accordingly.

Amber Technology: 1800 251 367 or display@ambertech.com.au

Not only hoping to impress its own immediate market, but with the aim to attract a distributor in Asia and Australia, UK-based company Calibre has unveiled its HQView range of video processors, which comprises eight different compact or IU rackmountable models capable of performing sophisticated warp mapping and seamless soft-edge blending of multiple projected images. Calibre claim its products have a smaller footprint, a straightforward user interface, and apparently, most importantly of all, ‘very attractive price points’. The HQView line-up offers the integrator a wide choice of input types and configurations from simple format conversion at the start of the range through to the full warp mapping and soft-edge seamless blending of multiple projected images mentioned above, offered by the most sophisticated models. Customers can select between operating in low-latency or highest imagequality modes, with Picture-in-Picture (PIP), Pictureand-Picture (PAP) and Picture-on-Picture (POP) output all possible. Calibre has been in the business for 21 years developing products for ProAV, aerospace, defence, medical and industrial markets.

Calibre: www.calibreuk.com

NEWS IN BRIEF

The Videoplus Group combines talents of Videoplus and Showcorp. Based in Sydney, the group has, respectively, over 40 and 17 years in the business and has now achieved the much-coveted ISO accreditation.

ISO accreditations are awarded sparingly and this represents a significant feather in the cap.

Videoplus: (02) 96903400 or www.videoplus.com.au

Hills SVL has passed on the tip that Crestron TPS-6X wireless touchscreens can be set to allow roaming. A PDF that explains how it’s done can be downloaded at www.crestron.com/downloads/ pdf/product_misc/qs_tps6x_roaming.pdf or you can get in touch with the folks at Hills and check they haven’t brought down any passing airliners, before you try it yourself.

Hills SVL: (02) 9647 1411 or www.hillssvl.com.au

SM Pro Audio has tinkered with the original DiDock iPod docking station and come up with the DiDock Live, which lets users mix external signals with the iPod audio stream and set mix levels for the combined signals independently at the master and headphone outputs. The new Aux inputs are RCA, but the outputs are XLR and transformer isolated, so connection to any kind of mixing console should be clean and buzz free.

SM Pro Audio (03) 9555 8081 or www.smproaudio.com

InfoComm has commissioned a report that explores the convergence of industries like AV, security, information transport systems, telecommunications, IT and mechanical, electrical and plumbing. ‘Building Automation – Opportunities & Challenges for the Audiovisual Industry’ addresses the opportunities/ threats plus examines the types of building projects that are a logical fit for AV companies. Price: $50 for InfoComm members, $250 for non-members.

InfoComm: www.infocomm.org

Gefen has released the HDMI v1.3 over Cat-5 ELR (Extra Long Range) extender. This sender/ receiver system sends hi-def video with audio, Ethernet and IR back channel up to 100m over just one Cat-5 cable – nearly double the distance previous systems could reach using two Cat-5 cables. Note, we’re talking hi-def here with resolutions up to 1080p/60 full HD, plus 8.1 digital audio with Dolby TrueHD and DTS Master Audio.

Amber Technology: 1800 251 367 or www.ambertech.com.au

Hitachi.

Number

one

in ultra short throw.

o P o P o P o P o P o P

Vastly reduced screen shadowing Eliminates eye glare for better communication with your audience Screen bigger pictures in the smallest spaces True to life colour and sharpest detail Reduced projector fan heat and noise World leader in Ultra Short Throw Projectors*

The astounding Hitachi CP-A100 projector has a dramatically short throw distance, producing a 60� image just 9.6cms from the screen. This means vastly reduced shadowing and no presenter eye glare, leaving you to present in comfort and style!

Check out the full range of Hitachi ultra short throw projectors, including the new widescreen CP-AW100N. Visit www.ultrashortthrow.com.au for info on the range and a chance to win a Hitachi Ultra Short Throw projector! *Source: Global Sales Figures, Futuresource Consulting - December 2009

WIN THROW PROJECTOR! A HITACHI ULTRA SHORT

CP-A52

ED-A111

CP-AW100N

Enter now at www.ultrashortthrow.com.au

For more information on Hitachi LCD Projectors or for your nearest authorised dealer please visit www.hitachi.com.au or call usForonmore 1800 HITACHI. information visit www.hitachi.com.au or email dps@hitachi.com.au

For more information visit www.hitachi.com.au or email dps@hitachi.com.au

022

NEWS

2

1

3

1/ENTTEC GETS INTO LEDS

2/SMAART MOVE FOR V7

3/MORE BLACK MAGIC

Australian lighting electronics manufacturer Enttec recently entered the LED engine market with the introduction of the Aleph 1 series of LED linear strips. Designed for cove, under-cabinet and display applications, these medium-powered strips are available in warm white, cool white and RGB, in 300mm, 600mm and 900mm lengths.

The warm and cool white strips are controllable via constant LED 12v driver or Enttec’s own DIN rail mountable DINLED4PX, a DMX controllable driver which can also run the RGB Strip. The Aleph 1 modules can be daisy chained in any length supported by the users’ controller, and the company anticipates that hardware will shortly be available to daisy chain around corners.

Balanced Technology: 1300 305 832 or info@balancedtech.com.au

With the latest release of Smaart, the acoustic test and measurement software, the designers chuck in for free a new company as well. Not only have they stripped Smaart back to the bones and rebuilt the software code base from the ground up, but the Smaart crew have jumped ship from their long association with EAW and formed Rational Acoustics, a much smaller and independent organisation that allows them concentrate just on Smaart itself. The result is a complete overhaul for the software now labelled Version 7 with features like object-orientated architecture, enhanced data acquisition, an improved GUI and some serious tweaking to the heart of Smaart, the measurement engines, all of which went under the microscope and got anything from subtle to ‘quantum leap’ improvements.

With so many changes implemented RA kept an eye on the GUI, making sure it didn’t get over-complicated and introducing simpler drag ‘n’ drop functions into the workflow. Basically it’s a whole new Smaart that’s developed and supported by a whole new company, but if you drop them a line the same old faces will answer.

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

Blackmagic UltraScope is the combination of a PCI Express card with BNC SDI inputs as well as optical fiber SDI inputs working in conjunction with accompanying software that allows a 24 inch monitor to simultaneously show six waveform monitor displays. The various formats and video standards are automatically detected by the software. It’s a serious tool for video master monitoring, quality control, edit suites, colour correction, equipment rooms... anything video engineers need to monitor. Blackmagic Design has announced a software update, UltraScope 1.1 which adds a new composite waveform view. The composite waveform view is digitally synthesised from the SD or HD video input and will let editors align video levels in a more familiar and traditional way, yet stay in a software environment that provides more technical accuracy. The Blackmagic Ultrascope 1.1 upgrade is freely available for all existing Ultrascope users.

New Magic Australia: (03) 97229700 or www.newmagic.com.au

LAVA LAMP UAE STYLE

Think ‘United Arab Emirates’ and images of technology excess come to mind. Indoor ski runs in the middle of the desert, towering skyscrapers with tennis courts on the terrifying helipad, air conditioned beaches to ensure six-star toes aren’t scorched… now you can add a fully-automated volcano. It’s not quite Pompeii in full swing, but with a 15,000W JBL and Yamaha PA, 14m RGB LED wall and machines for smoke, fog and mist – plus someone flicking a match at 80 litres of propane

in just three minutes – quite the spectacle. Everything is under tight supervision thanks to a Medialon Show Control Machine with a custom-designed touchscreen allowing the theme park staff to remotely control the volcano (as against the punters who are expected to stand really close) and all its fiery effects. For the record, it needed 3000m of electrical cable, 385m of pipe, the burning propane jets reach 15m in height and the ‘fireballs and thermionic explosions’ get to 20m. The press blurb assures

us, ‘for safety purposes an emergency stop button has been created’. Can’t imagine why.

Show Logic: (02) 9906 1889 or info@showlogic.com.au

024

FEATURE

AV goes Wild Amazing animals in a changing world.

Text:/ Mandy Jones Images:/ Heath Warwick (Museum Victoria)

Over the last 12 months Melbourne Museum’s natural history displays, housed in its Science and Life gallery, have been undergoing a major redevelopment. At a cost of over $7 million, the finished project will deliver four new long-term exhibitions and will showcase more than 3,000 objects from the Museum’s vast collection, some of which have never before been on public display.

Dinosaur Walk, the first phase of the redevelopment, was launched in April 2009.

The exhibition features all the usual suspects you would expect in any dinosaur display, but through its clever design, enables visitors to walk amongst the skeletons on an elevated ramp to get a real sense of the scale of these incredible creatures.

Phase two of the redevelopment was completed in November 2009 with the launch of Wild: Amazing animals in a changing world, an exhibition about biodiversity, Victoria’s environments, and human impact on nature.

Joe Coleman, Technical Co-ordinator for the Science and Life gallery redevelopment project, is responsible for the delivery of lighting, audio and visual elements of the four exhibitions.

Having been with Museum Victoria’s Digital

Media Systems team since 2001, he has worked on many exhibitions, but nothing like the scale of the 1600sqm redevelopment, of which Wild is a considerable milestone.

ANIMALS, ANIMALS, ANIMALS

Wild’s design brief was for an object-rich exhibition that would showcase the Museum’s enviable collection of mammals, reptiles and birds from all around the world, with particular emphasis on the fauna of Victoria.

To accommodate more than 700 natural history objects (stuffed animals) into the 400m² space, the design team needed to make full use of the space’s soaring curved walls.

The most spectacular part of Wild is the tiered display of animal specimens that dominates the gallery. The majority of the animals in the exhibition are featured in this menagerie of world wide diversity.

The display is separated into five geographic regions, each of which has its star specimens: an Okapi, African Wild dog, Asiatic Lion and Secretary Bird from Africa; toucans, a Jaguar, armadillos, sloths and monkeys from South America; a Great Horned Owl, Giant Panda, Arctic Fox and polar bear from Eurasia and

North America; an Indian Rhinoceros, Asian Palm Civet, Sri Lankan Giant Squirrel and Luzon Bleeding-heart Pigeon from Southern Asia; and a Southern Brown Kiwi, Thylacine (Tasmanian Tiger), Red Kangaroo and Dingo from Australia and the South Pacific. Some of these specimens will be well known to visitors having been on regular public display at Melbourne Museum, while others haven’t been shown in over 100 years.

For all its hundreds of animal specimens, the display is clean and minimalist against the white terraced plinth, largely due to the absence of signage and labels. The necessity for visitors to access information about each animal such as the species name and origin as well as a desire to be able to give visitors close-up and 360° views of the specimens led to a clever adaptation of existing technology.

Joe Coleman had previously seen and been impressed by a device called a Panoramic Navigator which was developed by Professor Jeffrey Shaw, from iCinema at the University of New South Wales. Shaw produced the device for the lobby of ZKM, the Center for Art and Media, Karlsruhe, Germany as a means for visitors to find amenities via a touch screen

FEATURE

025

Not a glass display case in sight. In addition to its 700+ specimens, the Wild exhibition showcases a range of AV technologies, from projection and moving gobos, to soundscapes, interactive touch panels, IR blob recognition and Bluetooth phone links.

interactive overlay using a live camera feed of the space.

“We borrowed the idea because we realised that with more than 700 specimens on display we couldn’t have text panels for all of them, particularly the specimens up high on the terraces, so using the Panoramic Navigators was a great way of getting around that limitation,” explained Coleman.

Rotary encoders on the X and Y axes of the navigator register the location of each specimen and send the co-ordinates back to the computer, triggering flags to pop up on screen to identify each of the specimens and access more detailed information. The initial design included cameras to enable a live feed of the display but they were dropped from the final design once it was realised that a gallery full of visitors would soon obstruct the view through to the animals, so instead visitors track through a large preplotted panoramic image of the finished display, eliminating the need for a live feed.

Construction and execution of the Panoramic Navigators was undertaken by Melbourne company Megafun, and the finished products have been extremely well received.

“Megafun has done a great job with

the Panoramic Navigators, particularly the industrial design and the interface. As a device, I think they are a real highlight of the exhibition and are a mode of delivering information that we would like to use again,” said Coleman.

Around 80% of the animals on display have been photographed in 360° by the Museum’s photographers and those images have been transformed into animations for the Panoramic Navigator screens, enabling visitors to view the animals from every angle. Visitors can even download a compressed version of the animation to mobile phones and other portable devices via Bluetooth, and a Wi-Fi-friendly higher resolution version is being developed for iPhones and other smartphones.

Assisting in the interpretation of the animal display is file footage of various animals in their natural habitat projected onto the curved wall at the rear of the tiered specimens. Requiring a clear image over a throw distance of 17 metres, Coleman specified a Panasonic PT-DZ12000U, a 12,000 ANSI Lumen, 1920 x 1080 HD, three chip DLP projector, for the job.

“It was priced much more competitively than comparable projectors with similar output and resolution, so we decided to give it a shot.

In terms of bang for your buck I think it’s a great machine, it has loads of features like inbuilt geometric transform to compensate for odd shaped surfaces like we have, and it’s really bright,” Joe explained.

The projected footage of animals folds and unfolds like origami and Joe explained that this design motif reflects the terraced nature of the space and was inspired by the small, wedgelike window on the northern side of the space which looks out onto Carlton Gardens and allows passersby to peek into the Museum.

The folding effect was achieved by mapping the footage onto a 3D animation of the fold using LightWave and then rendered out at 1080 lines as an MPEG2 video. All video editing and post production including the folding animation sequences was done in-house by Stephen Dixon of MV Studios, the Museum’s production studio.

Supplementing the Panoramic Navigators in the world wide diversity space are five Samsung 40-inch (101.6cm) integrated infrared touch LCD panels with onboard PC (Samsung 400TSn). Joe ordered five 1366 x 768 resolution units and was pleasantly surprised on delivery to find that three of the units had been upgraded to

026

FEATURE

Touch screens provide supplementary information about each of the five regions represented in the exhibition.

the HD 1920 x 1080 model for the same price.

When the two remaining 1366 x 768 panels developed faults in the backlight power supply, Samsung also replaced these panels with the 1920 x 1080 model.

SOUNDSCAPES

Complementing the stunning visual displays in Wild are a series of soundscapes produced

by Sonia Leber and David Chesworth of Melbourne company Wax Sound Media. The main soundscape uses file material of animals such as herds of Wildebeest, roaring lions and bird calls to add a sense of life and movement to the terraced animal display.

“Parts of the soundscape are quite abstract and there are human sounds mixed into it to give the impression of human impact on the environment and on biodiversity,” explained Joe. Comprising eight discrete channels of audio, the world wide diversity soundscape uses two channels of BOSE Panaray low frequency speakers, and six channels of FeONIC F1.3 transducers, all powered off

QSC CX168 amplifiers. Much to the delight of the exhibition designers, all of the speakers for this soundscape are built into the under-side of the terraces so there are no visible sources of sound. All of the soundscapes in Wild are played back off a dedicated computer running a MOTU 24 I/O unit which integrates easily with the house PIVoD show control system.

LIGHTING

Lighting Designer for the Science and Life gallery redevelopment is Brenton ‘BJ’ James, a veteran of lighting theatrical and museum environments. BJ had a challenging brief to respond to in lighting the Wild space, balancing the need to make the exhibition bright enough for visitors to see the detail of the displays while also meeting the restrictions of object conservation lux levels in lighting the animal specimens.

Lighting the terraced animal display was further complicated by the fact that the ceiling height is 14metres and there are no overhead lighting positions, so a perch position was installed and a balcony rail added to the

mezzanine level. BJ used 23° – 50° Selecon Pacific Zoomspots with 1kW halogen lamps to achieve a flat wash of the animal display, not an easy task given the limited angles available.

The displays that make up the Victorian environments section are lit with Acclaim PCs and Aureols with beamshapers which are effective from the five metre grid height in picking out text labels and graphic elements, while the showcases are internally lit using Osram Dragon Eye LEDs and LED strips.

BJ chose five Anolis ArcPad 48 LEDs to create saturated colour washes to represent the transition from day to night in dry forest environments. Synchronised with a soundscape of forest animals, the effect is atmospheric and evocative. Describing the Anolis LED fixtures as “incredibly punchy, even running at just 70%”, BJ was very pleased with the effect.

Control of all lighting in Wild is straightforward with all fixtures being patched to Dynalite dimmers and overall control via the house ControlSoft system.

With Wild now complete and being enjoyed by hundreds of visitors daily, the project team

AKG

DMS 700

The new DMS 700 is a revolutionary digital wireless solution designed for the future: The First Professional Digital Wireless System

The Panoramic Navigators allow visitors to get up close and personal with any of the specimens scattered across the exhibition. Shaft encoders linked to an image database give the effect of the visitor panning and tilting the Navigator around the exhibit and allow the display of much more information than would be possible with conventional signage.

• Up to 110MHz 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 CREEPING CRITTERS Colour and movement is added to the floor at the entry to the Victorian environments section by way of a roaming gecko and other moving critters. For this, Joe chose a Panasonic PT-D6000 XGA 6000 ANSI Lumen single chip DLP with a Rosco IQ Mirror unit attached to it.

“I liked the idea of using a projector because we know that technology well and the mirror gave us the best range of movement for our purposes and budget. It was a great way of livening up the space and the kids love it,” said Joe.

028

FEATURE

UNSTINTING DEDICATION An experience aimed at kids but enjoyed equally by adults is an animated interactive table that shows the migration paths from Melbourne to Siberia of tiny rednecked stints. Visitors get to pair up the male and female birds and then guide them through their migration. Developed by New Zealand company Lumen Digital, this interactive display uses a Projectiondesign F12 4000 ANSI Lumen DLP with 1920 x 1200 resolution, rigged vertically above the table surface. The table is washed with infra-red floodlights and an infra-red firewire camera sends data back to a computer that tracks the objects using blob recognition.

‘Chrome plated’ Selecon Pacific spots and Acclaim fresnels make no attempt to hide their presence, while the track-mounted luminaires are a slightly more subtle black. Note the vestigial camera port on the rear of the Panoramic Navigator.

FURTHER INFORMATION

have turned their attention to the two remaining exhibitions in the Science and Life gallery redevelopment. The first exhibition, which will include some impressive animatronics from the Creature Technology Company, is due to open mid 2010 and will recap the last 600 million years of Victorian evolution for those that missed it. The final exhibition, to be delivered in late 2010, will include a cylindrical immersive projection space, in which visitors are surrounded in 360 degrees of stereoscopic projection, to examine the dynamic nature of the Earth, from tectonic plates and earthquakes, to meteorites and volcanoes. Keep your eye on AV for more about these projects.  Mandy Jones is Events Manager for Museum Victoria, responsible for producing special events across the organisation’s four Museum sites including the recent launch events for Wild.

Museum Victoria www.museumvictoria.com.au/scienceandlife Megafun www.megafun.com.au Wax Sound Media www.waxsm.com.au iCinema www.icinema.unsw.edu.au Lumen Digital www.lumendigital.co.nz IBS Audio Visual (Samsung) www.ibsav.com.au DRM Audio Visual (Panasonic) www.drmav.com.au Soundcorp (Panasonic, MOTU) www.soundcorp.com.au Clearlight Shows (Philips Selecon, Rosco, Anolis) www.clearlight.com.au PIVoD Technologies www.pivod.com Lightmoves (ControlSoft, Dynalite) www.lightmoves.com Bose worldwide.bose.com/axa/en_au/web/home/ page.html JEA technologies (FeONIC) www.jeatech.com.au Bishop Audio & Lighting (QSC) www.bishopaudio.com.au

030

FEATURE

Top of the Pops The 2009 ARIA Awards were an audiovisual treat.

Text & Images:/ Tim Stackpool

Working in-the-round provided for quick changeovers betwen acts and presenters but created a vast space to fill with lighting and video background elements .

With a much-anticipated performance by a major international artist and plenty of speculation as to who would take out the major gongs, the ARIA Awards for 2009 left little room for mediocre production elements or poorly considered visuals. And certainly none were delivered. A venue packed full of industry luminaries and an equal measure of die-hard fans were treated to a visual fiesta worthy of the Australian recording industry’s premier event.

Lighting designer Hugh Taranto, along with TDC’s video display specialist Toby Waley spent a relatively short lead time (isn’t it always?) hammering out a plot to meet the demands of a brief needing to satisfy both the stadium and TV audience. Once again staged at Acer Arena in Sydney, as many as 20 awards and eight performances were presented during the broadcast, watched by more than a million viewers.

For both the lighting and vision components, a major feature of the production was that the event was staged in the round. And while this does present obvious challenges, it also allowed the designer and suppliers to flex some creative muscle. Technical Direction Company (TDC) were engaged to supply all the staging video production hardware, with Toby Waley fulfilling the role of Video Production Manager. “There was a large team behind the ARIA’s this year,” Waley noted. “The main artistic design was driven by Kim Buddee, who issued us with 3D drawings, based upon the technologies he had selected to use.”

LED TO DISTRACTION

The technology was extensive. Four Barco R20 Projectors were used to throw IMAG (Image

MAGnification) vision onto 9m x 5m rear projection screens for the audience to view the proceedings. As part of the presentation, eight 42-inch high definition LCD displays hung in portrait mode were flown in and out of the various hosting locations to form a visual kicker alongside the presenters and awards recipients. Stationed around the entire venue, LED technology was a significant visual element. Some 200 panels of Vuepix P25, 25mm resolution transparent LED curtains, enveloped the audience, complemented by a further 200 panels of Vuepix P18 (18mm resolution). Finally 18 panels of Soft-LED drapes completed the picture.

“The 25mm LED was used around the audience seating on Level One of the venue to add some depth to the in-the-round design, mainly to feature in the background of all the TV angles,” said Waley. “The Soft-LED was used to completely surround the VIP guests on the floor level, covering the arena in a full 360° LED vista.

Additionally we used two P18 screens as the main staging element either side of the room to provide a dynamic backdrop to the performances on the tight camera shots. The 42-inch LCDs were the backdrop to host positions, with each pair of screens flown in and out on an independently controlled Kinesys system.”

With such an extensive video brief, the management of the various feeds was controlled by a Barco Encore system. Rod Morris of Interactive Originals supplied five Apple Macs running Isadora that triggered, synchronised, and replayed all the various video files. Across the entire production, as many as five Encore video processors were deployed, along with up to 14 LED processors. Toby Waley calculates that the video elements at the event pulled a

total of around 740 Amps.

Apart from the challenge of the staging, being a television event also presented some inherent considerations that ultimately had little impact on TDC’s approach to the gig. “The fact the show is broadcast doesn’t necessarily introduce any unusual hurdles,” said Waley. “However, being an entertainment industry event, it can be unsettling to know the venue is also full of clients and colleagues.” Together with that, the relatively short prep time of a mere four days, and a rig time of two days, made for the familiar landscape of scurrying techs and sleep deprivation, none of which was reflected in the result.

Of course, video is only part of the show, and it must be integrated with the other visual elements of the awards. “These days video and lighting are so closely tied in. Lighting Designer Hugh Taranto had a great deal of input in the design. It’s great to work with an LD like Hugh who understands video LED and how to make it work with his lighting rig,” Waley said.

THE AUDIENCE AS SCENERY

For Hugh Taranto himself, working in the round and for TV meant there was no ‘backdrop’ as such to light. “We were forced to light the audience and the venue as the set in the background,” he told AV. “We had to be very aware that lamps being used as backlight could suddenly become frontlights as the talent turned around to face the other direction. As such we had to be much more aware of this than in a more prosc-arch-style stage and audience arrangement.”

To meet the 360° staging brief, Taranto developed a symmetrical truss design that encompassed the entire venue and provided audience and effect lighting from a variety of

FEATURE

031

032

FEATURE

it can be unsettling to know the venue is also full of clients and colleagues

The venue format with three main stages and four satellite stages required all technical systems to be designed for maximum flexibility. In this photo Hugh Taranto has dropped the concentric truss rings into a conical format to both change the look and to give a wide spread of angle from the truss-mounted fixtures.

angles. The trusses on the perimeters were often employed as effect and depth lighting in the background. With this in mind Taranto trimmedin the perimeter trusses as low as possible and lit them internally, while still allowing clear sight lines to the stage from the upper suite levels.

An arrangement of circular trusses was then hung over the main stage, attached to further Kinesys-controlled motors. This allowed them to be raised, lowered and even tilted to various positions throughout the night.

In terms of lighting inventory, an exceptional variety of fixtures were used. For the primary front lighting of hosting talent and performances, 10 Robert Juliat 2.5kW followspots were arranged on the upper seating level around the venue. The lighting in the trusses utilised a wide array of robotic luminaires including Martin MAC 700 washes and spots for colouring the stage. Along with these, Vari-lite VL3500 washes, VL3000 spots and Martin MAC 2000 coloured the audience. Of note, Taranto also deployed 18 of the newly introduced Martin MAC IIIs. The trusses also supported LED pars as truss toners, Chromabank LED strips and a

variety of conventional DWE Molefay audience blinders. Making use of the technology, Taranto also took the initiative of using robotic lighting for much of what was flown. This meant that very little of the higher-rigged fixtures required manual focussing and needed no crew to scale the trusses and manually adjust the luminaires.

“This saved a considerable amount of time,” Taranto reported.

Further, eight lighting risers where placed in the crowd at the lower seating level, upon which lighting was rigged for the background of shots.

For this, Taranto chose two bright High End Showguns and two Chromabanks. UK superstar Robbie Williams performed during the evening, with lasers positioned on these same risers adding to his performance.

TOTAL CONTROL

In terms of control, the lighting was driven through a network of grandMA consoles and NSP (Network Signal Processor) nodes. Two operators (Taranto himself, with assistant Kath Peck) tag-teamed in a multi-user session, with each assigned different luminaires in their own

‘worlds’. “This allowed us to allocate different groupings of fixtures between the two operators without having to think about separating them onto two separate DMX networks and the associated cabling and fuss this would create,” Taranto explained. This approach gave them significantly more freedom to allocate the lighting fixtures between each of them. The three consoles (two live, plus a hot spare) could each run all, or merely parts, of the show at any time. Each console also acted as a back-up for the others. The NSPs were also spread into different zones around the venue, and data was routed to these via a fibre and UTP network.

The roof data and power was fed to the trusses from satellite systems on the north, south, east and west portions of the unused upper seating level. For the followspots, a separate caller, Inica Vardy, was employed to manage the timing and cueing of the 10 operators.

Hugh Taranto spent round eight weeks prior to the event designing and preparing and CAD drafting. His lighting plans were drawn using VectorWorks Spotlight 2010. The lighting was pre-programmed using grandMA PC and

INTRODUCING RED!

Control City – More video displays than you can shake a stick at.

The new Remote Ethernet Device, RED-1.

Lighting Team:

TDC team:

Hugh Taranto: Lighting Designer/Director Kath Peck: Lighting Console Operator Inica Vardy: Followspot Caller Brad Gander: Chameleon Account Manager Rob Baker: Lighting Crew Chief Cliffe Bothwell: Lighting Rigging Supervisor – Kinesys Operator Daniel ‘Bob’ Perrin: Lighting Systems Tech – Roof Systems Andrew ‘SOS' Richie: Lighting Systems Tech – Perimeter Systems Jhett Slattery: Lighting Tech Jeremy ‘AJ’ Moore: Lighting Tech Grant Hickey: Lighting Tech

Toby Waley: Video Production Manager Pete Gibbs: Senior Systems Technician Steve Cain: LED Systems Technician Steve Alberts: Pineapple Matt Hanson: SoftLED god Leif Wilson: LED assist Peter Lynas: Front Line Support Show Support – Local Crew

The first graphical remote control from Biamp Systems.

Easy to use. Easy to install. And easy on the eyes.

RED-1 is the control you’ve been waiting for.

FOR YOUR NEAREST DEALER: Australia: Call 1300 13 44 00 or visit www.biamp.com.au New Zealand: Call 0800 111 450 or visit www.audioproducts.co.nz

034

FEATURE

Top: The The ring truss system retracted into a single plane and tilted towards one of the main stage areas. Middle: Pairs of 42-inch displays in portrait mode were flown in next to the prestenters when they appeared on the satellite stages. Right: Lasers are back in vogue to accompany Robbie Williams' performance on the centre stage.

grandMA 3D. Kath Peck and Hugh also spent a day at ResolutionX in Melbourne to prepare the show on their consoles. For the Thursday night show, on site programming commenced on the Monday prior, and continued over three days with modifications made while rehearsing host walk-throughs and camera blocking.

SOUNDS OF ARIA

In a departure from recent years, the 2009 ARIA Awards weren’t a festival-style cavalcade of live bands and double stages. In this case the performances were a combination of live vocals over backing tracks. Inside the arena, Jands Production Services took care of the live sound, as it has done for many years. George Gorga was the audio director for the event.

George Gorga has built himself a mobile production unit, which allows him to mix, monitor and record in comfort. Come showtime George kicks off proceedings by hitting ‘go’ on his Steingberg Nuendo DAW. A stereo feed of the backing track is then routed to the Gearhouse broadcast truck (where it joins the rest of the broadcast mix) and a feed (via an Opticore fibreoptic ‘multicore’) goes to JPS’s FOH and monitor position in the arena.

George will then monitor how the Gearhouse broadcast mix is faring from his van. It’s important to keep the broadcast mix live and exciting.

There are eight ambience mics in the room, along with a number of open presenter mics – in fact, there are 20-odd wireless handhelds in use over the course of the evening. George notes how disconcerting it can be for awards broadcasts to leap from live/ambient performances and presentations to dead-dry pre-recorded promos etc. George is a stickler for keeping the broadcast mix’s energy consistently up.

A 56-channel Pyramix system records all the live material from stage, direct from the preamps. That way, if the unthinkable happens – a glitch in a console, for example – Pyramix can chase the Avid video system and call up the missing audio in an emergency post production session (the telecast is delayed by about half an hour post the live show).

Back inside the arena, JPS’s Greg Rosman (FOH) and Bob Daniels (monitors) keep the performers and the punters happy. From the outset it’s obvious this isn’t a no-holds-barred live show pumped to 11 – it’s a television spectacular. There is plenty of PA hanging in the air, but largely because of the 360° coverage

dictated by the in-the-round configuration.

Four JBL Vertec arrays do most of the work, while four smaller L-Acoustics ARCS arrays fill where there’s not enough overlap in the Vertec coverage. Come showtime, the system gently ticks over in an EPA-friendly fashion – conservatism rules, as the greatest sin is for feedback to hit the broadcast mix.

ARMCHAIR RIDE

Irrespective of watching the event from the venue or the armchair at home, the entertainment experience is unique from either perspective, and this situation brings to bear the position modern vision operators and designers find themselves in today. The expectations of the high definition widescreen viewing TV crowd bring millions more audience to any such concert event, sometimes from across the world, where confetti cannons, lasers and mere ‘left and right’ audio just don’t cut it any more. And the challenge within the arena itself will continue as live audiences demand an experience to match that of multiple live camera angles, interactive overlays and simultaneous internet elements enjoyed at home. The end is certainly not in sight. 

036

FEATURE

A+ AV Perth’s Wesley College audiovisuals are in a class of their own.

Text:/ Graeme Hague Salubrious: The Joseph Green Centre at Wesley College Perth.

Wesley College in South Perth was established in 1923 and not surprisingly has a kind of ‘old school’ feel about it. There’s much tradition and history and, of course, an Old Wesley Collegians’ Association.

But the school’s attitude to modern audio visual facilities, both as a part of the college’s infrastructure, and to be included in the students’ curriculum, is far from 20th century thinking – there’s a serious commitment to giving students a decidedly 21st century education.

A broad network of equipment gives the staff access to AV resources in over 50 classrooms via a Crestron RoomView system running on a Crestron Media Manager Server. Each AV point is matched with integrated C-Bus lighting control.

And that’s just the beginning. It’s not only about the classrooms and display systems for the students’ benefit or the impressive Joseph Green Centre, which is the school’s main auditorium. Fitting out the college for hands-on learning was a big part of the AV installation, and the boys get to operate their own recording studio, venue control room and even a well-equipped video production suite complete with high quality cameras and post-production hardware and software.

Probably about the only things you won’t find at Wesley College are a blackboard and a stick of chalk!

CLASS UNDER CONTROL

Starting with the classrooms, Crestron’s RoomView management software allows control of an AV source point, projector and screen from either in the classroom, or remotely from the server. A teacher can use the network interface in the room, via a connected laptop, to navigate through the database for the material they want to display. Alternatively, the information can be requested and another operator can do the virtual legwork at the server, before sending it through. In fact, the process can be much more refined that that. The teacher can program RoomView

to begin transmitting the data to the room (or rooms) of choice at a designated time, with local control for pause, play or zoom settings. Specific classrooms can be locked out of a broadcast to restrict sensitive exam material only to those areas where it is required. Alternatively, a bulletin can be broadcast across the entire school for public announcements and priority settings can be applied for emergency announcements and fire alarms.

JOSEPH GREEN CENTRE

The Joseph Green Centre is a multi-purpose space for large gatherings like school assemblies, theatre productions and other big performances. Retractable seating offers the possibility of large open areas or, if things need to be scaled down, an operable wall allows for more intimate productions.

The same wall allows the stage to become a drama studio while the upper gallery of seating transforms into a lecture theatre.

The sections become places with identities of their own, thus you end up with the Stage, Central Hall and the Ryan Lecture Theatre.

When Vizcom Technology won the contract for this project, the Joseph Green Centre presented a range of interesting design challenges, with its requirement for AV systems to enable operations as both a single venue and a series of full-capability independent spaces.

One large motorised screen drops down in front of the stage and remains visible to the seating even when the drama studio behind it is in operation. Vision is projected by a 5500 lumen Panasonic projector fed by a Crestron QM-MD7x2 matrix mixer via a QM-RX QuickMedia receiver. By fortuitous accident it was discovered the projector also worked well on the white scrim at the rear of the stage space. This has turned out to be very useful in a full-house assembly where more seating is required. With the divider wall in place, the Ryan Lecture theatre has its own projector that focuses on the intentionally – white divider panels.

CLASSY SOUND

Similarly, the audio for the entire centre is completely flexible for each room configuration. As one whole PA, it’s a Turbosound system with TQ310 boxes providing left, right and centre FOH. A TQ308 adds some centre fill, while a TSB212 subwoofer punches out the bottom end. Upper and lower pairs of TQ230 units act as either fill for those seating areas or, when needed, can be programmed as part of any surround sound configuration. With the divider wall in place, these speakers independently cater for the individual spaces. Similarly, the foldback outlets on the stage become the drama studio’s principal source of audio.

The versatility of the centre demanded a mobile mixing desk that could handle all the different configurations thrown at it. The answer was a Mackie TT24 Digital Console matched with a Cat5 digital snake to 16 channels on the stage. With the Cat5 connections rather than a multicore, it was easier to provide multiple mixing positions throughout the room. A Media Matrix Nion DSP controller takes care of the signal distribution to a rack of Lab.gruppen amplifiers, and there’s the usual array of ancillary gear like CD player, DVD player and four channels of radio microphones.

To complete the triad of vision, audio and lighting, a Jands Vista T2 looks after four bars of stage lighting for a total of 48 outlets. The lighting bars are electrically winched, as is the house curtain (will these kids ever see a flybar rope and a pair of gloves?!) and of course there’s sub-divided areas of auditorium lighting to match the independent spaces.

All up, you’re looking at a significant amount of equipment that requires configuration and operation on a daily basis, not to mention maintenance. To this end, Wesley College has appointed Kingsley Matheson as the house AV technician for the facility. Over time it would be expected that some of the students will develop the interest and the skills to run the systems.

FEATURE

037

038

FEATURE

Left: The Joseph Green Centre in full theatre mode, with the control positions on the level behind the operable wall that divided the Ryan lecture theatre from the full auditorium.

Right: The staff room has its own presentation facilities for use on out of hours functions.

However, reliance on either Kingsley or the students isn’t imperative due to the inclusion of a Crestron wi-fi tablet touchscreen controller that communicates with an AV2 processor running nigh-on everything. To provide simple operation the wi-fi tablet offers a selection of single-press presets for the entire room or its smaller divisions such as ‘Welcome’, ‘Presentation’ or ‘Assembly’.

These same presets, which can be further tweaked at any time and new ones easily created, can also be activated via a laptop installed with the appropriate software interface or they can be triggered back at the main server.

HIGH SCHOOL MUSICAL

Most of the first floor of the Joseph Green Centre is taken up by the Wesley Music department including several rehearsal rooms and smaller teaching studios. By now you will have realised that Wesley College doesn’t do things by halves, so it’s no surprise there is a recording studio equipped with active monitors, an Allen & Heath Zone Zed R16 Digital mixer and a multicore link to the nearest (and largest) of the rehearsal rooms. A Mac desktop computer with DAW software completes the studio system.

But wait, there’s more! (For someone whose high school music department consisted of a cardboard box filled with a rather unsanitary collection of wooden recorders this is getting tough to deal with.)

The music department also has two portable recording trolleys that each have an Alesis Multimix USB mixer, monitor speakers and laptop stand. Audio can be recorded and

played back locally, or sent digitally to the recording studio via the network of RJ45 inputs found in most rooms. It’s a two-way system and the resulting mix and talkback signal communications can then be sent back to the room via another network of balanced XLR connections and played back on a set of active Turbosound speakers (no less!).

MEDIA STUDIO

Last, but certainly not least, the first floor also contains a media studio and control room.

To all intents and purposes this is a video editing suite complete with the latest NLE software and hardware, including three highquality cameras. Between the studio and the control room students can record interviews and similar small productions. However the main attraction is the audio, video and talkback lines extended to the auditorium so that performances on stage can be captured from three different angles and then mixed live in the control room, or captured for post-production in the NLE suite.

Altogether, the music recording facilities and video editing equipment can offer an impressive grounding in the skills required for these industries. You have to agree that any student who’s graduated from Wesley and wants a career in AV and multimedia will be a step ahead of the competition.

ROOM & BOARD

In the staffroom there are the usual network ports, plus a motorised screen and a projector controlled by a Crestron processor and operated from a 100mm wall-mounted touchscreen. Here the teachers can preview

and further prepare material they want to present in the classrooms. The room is also often used for business functions (and, by the way, has superb views of the city skyline) so everything is designed to be neatly tucked away into the ceiling if necessary. With such functions in mind, the staffroom has its own single-channel radio microphone.

The college boardroom boasts a similar setup with a Crestron-controlled and networked projector that can be lifted out of sight, a motorised screen, ceiling speakers and a 150mm touchscreen mounted on the wall. Although it also has plenty of network connections, the boardroom has a dedicated PC with a wireless keyboard and mouse.

STRAIGHT A’S

It’s clear that Wesley College understands the impact of audiovisual technologies both in the learning environment and in the general community, and has taken the time and invested the money to make these resources available for teaching and learning. Every student who passes through the college will not only benefit from the ready access to information that these technologies provide, they will also be equipped to interact with and employ those technologies in every aspect of 21st century life.  Details Wesley College, WA www.wesley.wa.edu.au System Design & Installation: Vizcom Technologies www.vizcom.com.au System Consultant: David Jones

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.

040

FEATURE

Interface Auditions at UTAS Finding the winning configuration in the UTAS idol competition.

Text:/ Andy Ciddor

system 1.

Although university teaching is generally undertaken by very knowledgeable people, knowing more than anyone else in the world about operating system memory allocation strategies doesn’t prepare you for the complex task of driving the AV facilities in a modern lecture theatre. Tertiary institutions have long been amongst the leaders in the application of technology to the teaching process, but the introduction of new technologies tends to occur in substantial intermittent steps rather than as smooth incremental changes. While there are always small groups in any organisation who will be trying out new techniques and technologies, it takes a serious effort on the part of the technology administration and the financiers to make the commitment to move the entire institution forward the next big step. The University of Tasmania (UTAS) is in the process of preparing just such a step, with its major teaching spaces about to go dual screen, with all of the source scaling and routing issues that such a transition involves.

NEXT BIG STEP

In addition to all of the decisions about projection and source processing technologies, the UTAS AV department is taking great care to ensure that the user interface for the upgraded teaching spaces is not only updated to operate the new facilities, but also made simpler and more sophisticated. While there has long been an AMX control system driving each of these teaching spaces, the system design was fairly

basic and didn’t exploit the full capabilities of AMX. Its main function has been to act as a centralised control panel for the facilities in the room.

The intention for the upgraded systems is that there will be more activity-related control functions such as ‘start a session’, ‘record a lecture’, ‘show a video’, ‘show a document’ and ‘end a session’ rather than simply ‘lights full’, ‘lights half’ and ‘projector on’. As the upgraded teaching spaces will also have electronic annotation for at least one of the displayed images, the new user interface will need to incorporate some form of digitiser input. Of course, the gamut of possibilities for such systems, with the range of devices and technologies currently available, is immense, and the AV department was not interested in dictating its opinion to the people who will have to use the systems for years to come.

With all of these possibilities in mind, the AV department set about getting meaningful end user input by running a beauty pageant between some of the possible systems and user interfaces that could meet the requirements for the upgrade. To make the comparison truly useful, the UTAS AV department and Wizard Projects set about designing and implementing three completely functional lecture systems that incorporated different control, user interface and projection options. This would allow the teaching staff to gather real handson and eyes-on experience with the range of available technologies and hopefully also

system 2.

system 3.

generate additional requests and suggestions once some of the possible futures had been glimpsed.

THREE CONTESTANTS

In October 2009, as demand for lecture theatres petered out during the pre-exam study break, prototype systems were lashed up from gear that was mostly begged and borrowed from equipment suppliers and installed and programmed by Mark Chatburn and Adam Breau from Wizard Systems in the ACT, Brett Victory from Marcom Watson in Launceston and Malcolm Gregory from Production Works in Hobart.

The three systems (imaginatively named Systems 1, 2 and 3) were temporarily installed in two small lecture theatres on the Hobart campus, where they were available for handson trials for several days, then packed up and taken to a similar location on the UTAS Launceston campus, for trials by the remainder of the UTAS faculty. Invitations were sent out to all teaching, library and IT staff, plus the entire staff of the Centre for Advanced Learning and Teaching, to ensure that every stakeholder had an opportunity to participate in the test, suggestion and selection process.

CORE PLATFORMS

Because this project is an upgrade rather than an exercise with a clean slate, many elements of the new system will be re-used from existing systems, or must at the very least be compatible,

FEATURE

041

system 1 schematic.

both from the interface and the maintenance perspective, with existing inventory and spares stocks. The core platforms for the new system will therefore remain AMX for integration and control, Biamp Nexia for audio signal processing, Dynalite for lighting control/energy management, AKG for radio microphones, Lectopia/Echo 360 for lecture capture and video conferencing, and Extron for video switching, scaling and distribution.

The demonstration systems were all capable of projecting two video streams selected from such sources as the lectern’s desktop computer, a local notebook computer, a document camera, a local DVD player, network video streams and the lecture capture/replay system. System 1 achieved this by using a single Panasonic PT-DZ6700E, 6000ANSI lumen WUXGA DLP projector.

Systems 2 and 3 took the more usual approach of using separate Panasonic PT-FW300E, 3500ANSI lumen WXGA projectors for each video display(in their lecture theatres UTAS actually use PT-6700E and PT-6300E projectors).

NOT JUST A PRETTY INTERFACE

The most significant differences between the three demonstration systems were the user interface devices. In System 1 the primary user interface was an impressive 30-inch Dell monitor fitted with a NextWindow touch overlay. Through an AMX TPI-PRODVI interface, the touchscreen looks and

behaves like an oversize AMX controller, complete with AMX TakeNote annotation software. However, it can also display multiple, windowed video streams on the one big screen. This single, unified interface provided quite a wow factor for many of the testers. However, while facilitating screen annotation on both video streams, the touchscreen interface offers limited precision for annotations.

With one 19-inch touchscreen and one standard 19-inch LCD monitor, the interface for System 2 was effectively a slightly less spectacular version of System 1. The TPI-PRO-DVI interface connected to the touchscreen has the same AMX functionality as System 1, but is limited to annotating the single video feed displayed on that screen.

The second video stream is displayed to the presenter on the standard LCD monitor, but cannot be annotated.

The interface for System 3 took a completely different approach, by providing all of the AMX control functions on a standard 10-inch AMX NXT CV10 touch controller. One of the video streams was shown on a standard 19-inch LCD monitor while the other was displayed on a Wacom 21-inch LCD graphics tablet which provides the user interface for the AMX TakeNote system. This type of pen-driven tablet enables very accurate video annotation.

Along the way, the design team were also asked to solve the privacy requirement

to notify students that a lecture is being recorded. As the traditional red On Air light is not an immediately obvious indicator, their solution was to get AMX to literally spell it out, in letters 150mm high: on an LCD monitor mounted on the front face of the lectern. The monitor will no doubt acquire other information functions as programming proceeds.

As you might have guessed, there was no outright winner to the competition. The new system will be based on the System 1 touchscreen which was hugely popular, but with elements from the other interfaces and modifications that came out of feedback from the user trials. ďƒ­

042

FEATURE

Down ‘n’ Dirty The Black Arm Band were the big hit of the festival circuit with ‘dirtsong’.

Text:/ Jason Buchanan

Contemporary indigenous music company, The Black Arm Band, returned to the Melbourne International Arts Festival in October 2009 with a new work produced in collaboration with Alexis Wright, author of the Miles Franklin award-winning novel Carpentaria. ‘dirtsong’ is almost entirely sung and spoken in languages no one in the audience had a hope of understanding. No matter, the production drips with atmosphere and emotion – it’s a heartfelt paean for a culture dying from a thousand cuts… a loss of language, country and culture are all themes explored by ‘dirtsong’.

AV spoke firstly with John O’Donnell, sound designer and production manager, and Graeme Trott from Haycom Staging regarding the significance of the production and technical aspects.

STRIPPED BARE AV:

Nullabor, starts the show in complete darkness and he reveals himself from the sand, and there is this whole imagery of light through the sand both on stage and on screen, so the two really work in together. The whole production is very rich and great to work with. People may talk about a lack of Australian culture, but they just haven’t been looking in the right places.

AV: To create this impact, the screen and projection needed to be very bright and large.

Graeme, what did you use and how did you achieve this goal?

Graeme Trott: You’re right, it did need to be bright and it needed to have an impact. The images were all shot with this in mind, and were all in 1080p high definition. We projected onto the State Theatre’s rear projection cyc which is 16m x 9m. Our brightest available

“the production drips with atmosphere and emotion”

How did the visual content for the production come together?

JO: We had been touring as part of Black Arm Band with the film company Daybreak Films who had funding to make a documentary on the Black Arm Band.

They were also employed to make the visual content for the show, so that content itself is very new and fresh. Each song has its own specific content. A good example is when you have Archie Roach starting a piece. His totem is the eagle, and so there is this beautiful image of an eagle flying in slow motion, with another joining it, all shot in black and white. When this is projected in high definition on a 16m x 9m screen with very minimal lighting it’s very evocative.

AV: Tell us some more about the approach to the visual elements.

JO: We had two main visual elements for the production: the screen and film, and very basic lighting. Downstage on prompt side there was an interesting element: a light box about 1.2sqm with orange gelled fluoros inside. The whole thing was covered with red oxide that looked like sand from the Kimberley. One of the performers, Bunna Lawrie, a dancer from the

HD projector was the 12k and the next was the 10k, which in perceived brightness is pretty close, but a single projector was not going to cut it, so we used a fixed focal length 1.1:1 lens and double-stacked a 12k Christie HD12 with a 10k Christie HD10M. We probably achieved about 18 to 20k lumen equivalent brightness on the screen by double-stacking.

AV: Given it was such a large surface, did double-stacking provide any issues in relation to position and distance from your projection surface, especially with two different kinds of lenses?

GT: The initial placement of the projectors is critical – they have to be level and perpendicular to the projection surface – so we used the 12k as the reference point (as it has the fixed focal length lens) to get the right distance for the required image size. We then took the 10k, which uses a short zoom lens and is a bit longer than the fixed lens in the 12k, and sat it physically a little bit behind the 12k. Both

being Christies at the same output resolution, the internal test patterns are the same, so you can match it pixel for pixel. If they are level and perpendicular, then you should just lens shift to match the image. However, as the 10k has a zoom lens, there was a bit of back and forth to get it right, but in the scheme of the show itself, it was a pretty seamless setup.

CLEAN FEED AV:

Given the importance of the language and lyrics, how did you approach the sound design?

JO: I had to make what was being sung incredibly clear. I had to make what the audience can’t understand incredibly clear, because there is a certain responsibility. I used an LCR setup. Left and right, I had Meyer MSL4, with a centre cluster of L-Acoustics Kudo. This whole project is about restoring language, so you needed to feel the emotion, but in saying that, it was about mixing for the arrangement, so with the LCR mix, I can get the vocal sections up in the mix without being so loud.

The audio component itself was pretty involved. There were 56 channels of audio off stage, with various percussion, orchestral lines, with reeds and horns, as well as a number of vocals and an interesting bush drum kit where the rack tom was a petrol tank of a motorbike.

So I ran an analogue console for front of house, with a separate side console to take care of additional choir channels and instruments that were likely to stay the same throughout the performance.

All monitors were done on the Digico D1, as there were 30 wedges on 20 sends. The nature of the piece is a revolving door, where soloists come on and off stage on a song-by-song basis – so monitors benefited from the snapshot automation. For me out front, it was just one or two channels that really change at any given time and I like the feel of analogue console, so I was comfortable with that option.

Basically the design of the show is very organic – the concept is continuously evolving… a far cry from a stale theatre production. 

FEATURE

043

Production Crew

Vision Equipment

Production Management and Sound: John O’Donnell Stage Management: Brock Brocklesby & PJ Rosas Design Consultant: Paula Levis Lighting Designer: Jenny Hector Screen Visuals: Natasha Gadd & Rhys Graham Vision Production: Haycom Staging Project Manager: Graeme Trott, Show Technician: Matt Townend

Christie HD10 , DLP, HD, 10K ANSI projector with 1.16-1.49:1 lens Christie HD12 , DLP, HD, 12K ANSI projector with 1.1:1 lens, Folsom Screen Pro II HD/SDI 8+2+2:1, Mixer/Scaler with remote control Grass Valley Turbo iDDR 1 video record/replay

Heartfelt: The State Theatre’s 16m x 9m screen was used to project specially-commissioned black and white footage. The bush drum kit is well worth a look. No, it doesn't come in mother of pearl.

044

FEATURE

Customising Your Staff Can’t find the training scheme you need? Why not roll your own?

Text:/ Graeme Hague

What do you want to be when you grow up?

A highly–paid jet pilot? No problem, just join the air force and defect to Qantas when you get your flying badge. An architect? Easy, go to university for a few years and scribble a bunch of polygons. An AV technician? Piece of cake, just go to… hmm. Hang on a second, where do you go? While you’re thinking about that try defining the AV industry, too. Tricky? At best, it’s a conglomerate grown from a mix of design, professional audio, lighting, communications, electrical engineering and staging production with a generous dash of IT, thrown in.

Anyone working in AV can be running Cat5 cables one day, rigging a lectern the next, and on the weekend be linking countless Barco LED modules to reveal in enormous, highdefinition video that Britney rarely sings and only occasionally remembers her undies. And that’s only the sweaty end of the business. In the high street, corporate clients are demanding intricate control systems to manage just about everything electronic in the building including flushing the toilets.

So it’s not surprising that, as Gordon Anderson pointed out in AV 5, proper training of AV staff can be a bit hard. Project designs and requirements in all facets of the industry are changing fast, driven by customer demand and manufacturers immediately taking advantage of the latest improvements in technology. How do you keep up? In fact, is it worth doing at all? It

doesn’t help that right now good AV technicians are almost impossible to find, making it difficult to replace people who leave or to increase staff numbers as companies grow.

Vizcom Technologies based in Perth have developed a policy to start people from the ground up, train them exceptionally well and convince them to stick around. They’re a company that prides itself on their commitment to maintaining a high level of qualifications in their personnel and since I’ve dealt with Vizcom several times over the past few issues, reporting on some recent projects of theirs, I figured it was an opportune time to quiz them on what exactly they believe is the best approach to staff training. I managed to trap a very busy Stephen Pearce, Vizcom’s Technical Director, in a conference room with a hands-free phone that you’d expect should work really, really well.

EXCELLENCE SELLS

Vizcom believes that a well-trained staff will provide benefits that far and away outweigh the negatives incurred, such as costs and downtime attributed to crew absences at courses. Vizcom sees it as their point of difference to offer technical excellence – and no one will argue with that. The company is only four and a half years old and aside from its existing tradespeople who are also subject to rigorous training, they currently have two apprentices with a plan to employ a third soon. However, there’s no definitive Vizcom

apprenticeship. The core qualification provided in conjunction with TAFE is a Certificate III in Electrotechnology and Computer Systems (the correct name can vary from state to state) with trainees completing skills to be a ‘normal’ electrician – for want of a better description – plus have an extensive knowledge in servicing devices and components such as computers and control equipment. The end result is to be certified as an electronics technician. From there Vizcom grabs the TAFE ball and provides further training that’s more specific to the AV industry, sending its staff to courses offered by the likes of Crestron and AMX. Vizcom is also an accredited Clipsal programming partner and all Vizcom’s crew, where appropriate, are given training in C-Bus programming, not the least because many of its clients ask for extensive lighting and curtain control devices.

Herein lays one of the drawbacks to giving education a high priority, particularly for a company based in WA. Most of the seminars are held on the east coast and recently one of its people was sent to the US. The travel represents added costs to the training and extra lost time, but Vizcom is adamant it’s worth it.

At the same time Stephen Pearce is working with the various manufacturers and trying to co-ordinate the courses they offer, even perhaps creating concurrent ‘modules’ of subjects that will minimise the expenses. You’d imagine it will work for the manufacturers too, avoiding

045

FEATURE

the chicken-before-the-egg approach you often see, where expressions of interest are asked for before anyone commits to conducting a seminar, thus allowing a certain ambivalence on both sides – resulting in things just getting too hard and little happening at all. Seminars are poorly attended.

I suggested to Stephen that it sounded like Vizcom was setting itself up for a fall, spending time and money without any real guarantee that an employee wouldn’t hit the door running the minute their apprenticeship was finished.

Especially when good techs are thin on the ground and offers from other companies might be whispered through the window. Stephen’s response was that Vizcom share the problem not just with other AV organisations, but across the board of any industry; the challenge to keep up (and afford) a workplace environment that encourages staff to remain loyal without getting too unreasonable or greedy.

BROADENING HORIZONS

Stephen assured me that as broad a range of manufacturers and services as possible was canvassed by the training.

COUNTING THE COST

The constant training and education of its staff is considered an investment by Vizcom and the returns it enjoys are in providing a faster, more efficient and knowledgeable service to its clients. Answers are never far away in a business that can throw problems at you thick and fast.

Someone, somewhere in the Vizcom team will have a solution or at least know where to look for it.

The costs of the training can mount up and Stephen admits that sometimes the logistics of staff management can be difficult to wrangle, but what Vizcom is ultimately paying for is a solid reputation. And that, as we know, can be priceless. 

for th

e audi

ovisu

al prof

essio

nal

Vizcom has added to its portfolio the exclusive agencies in WA for Sony, Panasonic and Grass Valley video and television production services, so its apprentices are also given experience in these plus the content creation side of things, like NLE software and DAW applications.

The idea is that while knowledge of these is obviously useful for Vizcom’s business there is the added side-effect that many of the

formats and standards used in broadcast have migrated to the AV industry. When the staff is assembling a projection job they’ll have a good understanding of how the image was created as well.

Another difficulty in the training system is the speed with which technology improves, and frequently renders even recent information almost obsolete. Part of the planning at Vizcom is designed to pre-empt this by having discussions with the manufacturers and ensuring that upcoming events will have some relevance for a significant period – albeit ‘significant’ for the AV industry can be measured in months rather than years.

This prompted the question of just how genuine the seminars offered by the manufacturers can be – after all, the bottom line for them is to hopefully sell their own equipment.

The answer is, interestingly, that participants at the training courses can fail. Nobody is given a token handshake and photocopied diploma just for attending. As Stephen explained, it’s not in the manufacturer’s best interests to have people out there – regardless of who they work for – looking confused and inexpert while they try to configure an installation using their products. Another potential issue I raised was whether Vizcom’s approach risked making their technicians too product-orientated. As in, if it ain’t Crestron (who for example provided the training) no one’s going to have a clue. But

Not just a magazine www.av.net.au AV Industry Jobs Board: the best place to hire & be hired

046

REVIEW

Litepanels LED now has a AA rating.

Text:/ Andy Ciddor

Despite my (well-deserved) reputation for being a tech-head who always wants to try out the latest technologies and ideas, I remain very conservative with the light sources I chose for creating pictures. When it comes to making images of familiar things like people’s faces and clients’ products, I am ever-so-slightly obsessive about colour accuracy. While I’m well aware that that our beloved viewers have the power to completely nullify our efforts at colour accuracy with the press of a key on their remote control, I nevertheless hold firmly to the ideal of supplying them with better quality images than they rightfully deserve. One consequence of this conservatism is that I have regularly been among the last to move to new generations of light sources for portraiture and product lighting.

(DI)ODE TO A LIGHT

As an enthusiast who has been playing with electronics since the age of eight, I was fascinated by the idea of LEDs, and used them as indicators on my projects as soon as I could afford to buy a few from Radio Parts. It was impossible to imagine that these dim, monochromatic, red indicators, that were so easy to blow up when prototyping, could ever become a useful source for illumination. And for a very long time they didn’t.

The LED’s main strength – its high efficiency at just one wavelength – is also its major downfall for general lighting applications.

The familiar traditional light sources such as the sun, simple oil lanterns, fires, candles, and even filament electric lamps, all produce light by heating something up until it glows (incandescence). The heating process produces a very broad mix of light wavelengths that we identify as ‘white’ light. Unfortunately, almost all of the light produced in this way is in the invisible infra-red band, which doesn’t help our eyes to see or our cameras to shoot naturalistic pictures. Incandescent sources have a deservedly bad reputation for energy efficiency.

The light emitting diode chip, on the other hand, uses a much more refined physical process to produce just one wavelength of light, much more efficiently than simple heating.

The output wavelength depends on the mix of semiconductor materials that the diode chip is built from. As longer wavelengths such as infra-

red and red light are the easiest to cajole out of semiconductor chips, LEDs of these wavelengths were the first available. We continue to use highefficiency infrared LEDs in the vast legions of remote control units that burrow into the crevices of our furniture.

Further developments in LED semiconductor materials eventually led to the production of shorter wavelengths and hence to yellow, green, cyan, blue, mauve and eventually even ultraviolet LED chips. It became possible to cluster a selection of LEDs to produce a mix of wavelengths that roughly approximate the white light from incandescent light sources.

These clusters are what we see used in LED display screens and in the variable colour LED effects lighting that appears everywhere in contemporary television production, from Idol and Deal or No Deal to the 7pm News.

While producing white light for general purpose illumination is clearly possible with clusters of LEDs, it is neither a particularly cheap nor particularly energy efficient approach.

The overwhelming majority of today’s white LED light sources are based around a single blue-emitting chip embedded in a fluorescent phosphor material that glows yellow when illuminated by blue light. The resulting (blue + yellow) light from the LED appears to be a cool white, and everybody applauds the application of this new technology to the current problem of energy efficiency. Today’s LEDs may be thousands of times brighter than their forbears, but they still need a protected and nurturing environment to thrive, and are usually being driven so hard that they require complex heat management strategies to avoid self immolation.

The really big problem with the modern white LED however, is that the output spectrum often has a noticeable magenta cast and is more than a little lacking in the red area of the spectrum – the very area that is so important when lighting skintones.

SOUTHERN LIGHTS

Given my trepidation for using LEDs in production lighting, it was very interesting to receive a Litepanels Micro softlight to evaluate.

Part of a well-designed system of light sources, mounting accessories, battery packs, power supplies and filter frames, the 3W Micro is very

cute, but as I didn’t have a project to use it on at the time, I passed it on to Pete Curtis ACS, a news and current affairs cameraman at the ABC in Hobart, for a workout.

He put it in with his camera kit, pulling it out occasionally to use as a soft fill for close-ups when he was in a hurry and didn’t have time set up a mains-powered light source (the Micro runs for over an hour on just four standard alkaline AA cells). The Litepanel really came into its own when Pete was sent on assignment to cover the inaugural flight of the new air route from Hobart to the Antarctic, but given an absolutely miniscule weight allowance for his camera gear.

The only lighting equipment he took with him was the little LED Litepanel and a box of AA ProCells. Judicious selection of camera positions and the battery-powered LED softlight to fill the holes enabled him to get the quality of results he had hoped for, despite the serious baggage restrictions. Pete went on to win a 2009 Silver ACS award for Current Affairs with the material he shot for this doco. After the Antarctic trip the Litepanel came out more often and was passed around between news crews who were shooting in unusual locations.

The news cameramen were impressed with the concept of the Litepanel softlight; even though the Micro was sometimes struggling to produce enough light to do the job (its built-in dimmer rarely ran at anything less than 100%).

As a result, they encouraged the ABC to purchase the Micro’s larger (8.5W) sibling: the MiniPlus.

The news crews now have a single head kit and a dual unit kit of MiniPlus units, complete with lithium ion battery packs, chargers, filter and diffuser kits, and a range of mounting brackets and other grip gear. The Litepanel Micro has since been passed on into the eager hands of the next generation film and video makers doing the VET media course at Rosny College.

I recently had an opportunity to use the ABC’s MiniPlus heads on a shoot that was part of an ACS lighting course for would-be cinematographers, and was impressed with the panels’ output considering their size, weight and portability. The Litepanels were recently borrowed from the news department for a night shoot for a small drama production.

They acquitted themselves very well, especially when mounted on microphone fishpoles and

047

REVIEW

surreptitiously slipped in to the setup as the Steadicam ‘tracked in’ from an ultra-wide shot to a medium close-up.

LIGHT ON ITS FEET

Everything I’ve learned about the Litepanels is very positive, with the sole exception of their colour rendering. When used in the field for capturing news footage on the run, a highly efficient, lightweight softlight is a bountiful blessing. Getting an image at all is a major achievement in some news situations, so if the skin tones have a magenta cast in places, while not exactly ideal, it’s still acceptable. After all, the dichroic daylight correction for the

Quartzcolor Redheads was always noticeably magenta, and they saw action around the world for decades before the advent of portable metal halide fixtures.

When used in conjunction with other nominal ‘daylight’ colour temperature sources, the news cameramen have found that a 50% covering of half-density plusgreen fluorescent correction gel (Rosco Cinegel 3315 / Lee 245) takes care of the magenta cast. However, I would want to do some more controlled camera tests before mixing these LED sources with HMI, daylight or tungsten on something as critical as a studio talking head or a client’s iconic can of rich, red tomato soup. 

PRODUCT DETAILS Price: Litepanel Micro $458.70 (in GST) Litepanel MiniPlus two-head kit: $3278 (inc GST) Lemac (02) 9436 0333 www.lemac.com.au

048

REVIEW

ARX USB Audiboxes Some USB additions to ARX’s range of useful audio tools.

Text:/ Graeme Hague Way back in issue No. 1 I got to play with a bunch of ARX’s Audibox units and in case you didn’t read it, I was impressed. ARX tout these things as a kind of mini-rack of processors and signal modifiers, but I reckon they’re much more of a Swiss Army knife collection of fix-it gadgets.

I’ve just done a couple of very long weekends running PAs for festivals where feral-looking people with odd instruments come up to you with all sorts of requirements… and they’re serious about it. More than once I went looking for an Audibox to help me out – but not in any rack.

Audiboxes are usually lurking somewhere on the floor of the van where they’ve been crunched by a road case or two, or they’re rattling around in a milk crate. No problem, they’ll still work.

That’s the beauty of the Audibox range.

ARX make them tough on the outside and the inside. They use a solid metal case, all the audio connections are fixed to the case itself rather than the circuit boards inside and where there are knobs or switches the case has a slight overhang for added protection. These things will take a beating.

THE SAME BUT DIFFERENT

The three new models reviewed here are similar, with only slight differences. What they have in common is being a straightforward audio USB interface between your computer and balanced audio. In other words, you no longer have to rely on your laptop’s headphone out for an audio link to a mixing desk or, more importantly, have to endure the dodgy audio quality they provide.

These Audiboxes allow you to divert the Windows default audio device directly to them via any USB port and, even better, they do it without any device drivers required. Windows simply sees the Audibox as an ‘ARX USB’ you can select and off you go. I had a small fright when I saw no mention of Mac OSX in the instructions, but a

quick visit to the ARX website assured me that it’s supported and later I saw that the pamphlet with the USB I/O (the most recently released unit of the three), also gives OSX a thumbs-up. In fact, Win 98SE will work as long as you still have the original Windows installation disk. If you do, the Smithsonian Institute wants to talk to you…

The basic model is the USB DI providing a USB input on the front with a true groundlift switch, thanks to the isolated transformer XLR connections on the back. There’s also a small LED that flashes to confirm that a signal is being received. Output is a balanced line-level signal that’s clean and uncoloured; none of the Audiboxes add any character to the tone that I could hear, except to say they sound sort of flat since you’re bypassing any trickery offered by the onboard sound device drivers to enhance the headphone signal.

Next up is the USB DI VC, which is exactly the same thing except it also has a volume control that will attenuate the signal only– there is no boost –right down to zero. At first I was sceptical this was a useful addition, since in most PC-driven situations there are enough volume controls to deal with, right? Between your hardware mixer, whatever software you’re using and your OS’s global volume setting it’s already all a bit much…

But I’d forgotten the value of having an obvious red knob you can lunge for when things get suddenly loud. Forget scrambling in panic for the mousepad and trying to click on a virtual slider. The ARX DI VC’s volume control will save the day. Plus ARX point out a more practical application of being able to connect a PC directly to powered speakers like JBL Eons and having a simple volume control to hand. See? (Slightly) greater minds than mine have been thinking this stuff through.

And finally we have the USB I/O which gives you a pair of line-level, balanced XLR inputs as

well. Essentially you’ve now got a USB audio interface which can connect to any kind of preamp and deliver clean audio into your PC without any pesky drivers or the need to install some sort of ‘LE’ software first. I had a bit of trouble with Vista insisting the input was unavailable, but a restart fixed that, so we’ll blame Bill Gates for that one.

NOT HEARING ANYTHING

As a test rig for this review, I used Sony’s Sound Forge 10 as my recording interface, plugged a Rode microphone into a DBX preamp then went balanced into the USB I/O. The result was a faithful reproduction of the microphone’s signal and the rather unfortunate level of background noise the preamp causes. Never mind. Then I connected both channels of the USB I/O to a Soundcraft mixer and repeated the experiment in stereo and without the preamp being needed.

Again, everything went perfectly to plan.

It’s that easy – and it’s precisely what ARX are offering. A seamless, driverless and uncoloured D/A A/D USB connection into your computer, that’s 100% reliable. What more could you ask for?

Well… I wouldn’t mind a headphone output in all three models, possible one that can be isolated from the main outputs so you can sneak in a quick monitor of your signal if need be. Without a mixing desk in your signal chain there’s no way of doing this, because using the Audibox bypasses the computer’s headphone output.

Aside from that, the sheer simplicity of these units makes them impossible to fault. They’re all bus-powered and the supplied USB cable is a decent length. Chuck in their rugged construction and you’ve got a winner. All you have to do is choose which one suits you. 

PRODUCT DETAILS Price (RRP): USB DI $325 USB DI VC $345 USB I/O $445 Review units supplied by Ian Ross at Audio Source: (08) 9354 3185 or www.audiosource.com.au

Left: The front panel of the VC model differs from its brethren in having a comforting red attenuator knob to grab when the input levels go wild.

Right: The I/O model differs from the rest of the USB gang by having both input and output capabilities.

Australian Distributors: The Resource Corporation (03) 9874 5988 or www.trc.com.au

2010

AV AWARDS PROPOSED PROMOTING INNOVATION, REWARDING EXCELLENCE PROPOSED AWARDS CATEGORIES BEST INSTALLATION $1m+

BEST USE OF AV IN POST-SECONDARY TEACHING

This would represent the most innovative, best conceived and consistently excellent audiovisual installation of the year.

This award would cover audiovisual projects and installations in the post-secondary education sector.

BEST INSTALLATION UNDER $1m

BEST USE OF AV IN K-12 TEACHING

This award would provide smaller installers and integrators the chance to show their wares. The install that best meets the unique demands of the project would win. Doesn’t need to be the most glamourous or highest profile project going around.

This award would cover audiovisual projects and installations in the K-12 (Kindergarten to Year 12) education sector.

BEST AV PRODUCTION

This award would cover all staged events – commercial product launches, made-for-TV spectaculars, one-off events etc. The winner wouldn’t necessarily be the most lavish production but the best conceived application of AV technologies and design.

HAVE YOUR SAY NOW:

INNOVATION AWARD

This award won’t be tied to any one event or installation. It will be recognition of a nifty ‘idea’; a solution to a curly problem; a unique perspective on an existing technology. In other words, anyone reading this could potentially win this award with their wit and cunning.

www.av.net.au

050

REVIEW

Barco DML-1200 The world’s first, and so far only, Digital Moving Light.

Text:/ Paul Collison

The DML-1200 from Barco hit the market almost two years ago with much hoopla and fireworks. It was heralded as the first truly digital moving light.

Descriptions such as ‘super bright moving light source’ and ‘high quality video projector’ were thrown around with gay abandon. What do these things mean? Was it? Is it?

I recently worked with eight DML1200s on the National Games in China, where I learnt a lot about them in a short space of time. They were possibly out of their comfort zone in a massive stadium, but what better way to put something through its paces?

The DML has light source of four, 300w high-pressure mercury lamps driving a single chip DLP projector. You can run all four lamps or just one. This can help with extending lamp life which is great when you’re only doing positions or testing. Generally speaking, output with all four sources is similar to that of an average 1200w moving light fixture.

There are two configurations for the optical system: Light mode and Video mode.

In light mode the fixture projects only black and white images which can be tinted by the CMY colour system. The images can be static or video files. The ‘beam’ is round, I suppose to make you feel as though you are using a light rather than a projector.

In video mode, you guessed it; the DML becomes a certified video projector with a rectangular beam and a native resolution of 1440 x 1050 pixels. The specs say that output is increased by almost 20% when using light mode compared to video mode. This is definitely significant when using the fixture against top level 1200w and 1500w fixtures or for longer throws.

Swapping between the two modes can take a second or two, and there is definitely a ‘lump’ in the transition.

THE LIGHTER SIDE

As a light, the DML has some great features. Firstly, because you are not limited to glass or metal gobos, you can create interesting aerial effects and ripples that are near impossible on traditional fixtures. Simply upload your own Photoshop doodle or After Effects animation and away you go. Greyscale logos, and even moving footage, are possible in light mode, but you are still limited to the greyscale.

A subtractive CMY colour mixing system allows for overall tinting and colour manipulation in both modes.

There are mechanical shutters that Barco calls ‘Blanking Shutters’ although disappointingly, these shutters only work in parallel to the X and Y axis. They can not be angled as you would in a traditional profile, nor can the Blanking mechanism be rotated. Consequently this means that as long as your projection surfaces are offset on either the X or the Y axis then you are ok. Projecting off on both axes means these blanking shutters become effectively redundant. There is a mechanical iris, which helps control the diameter of the beam. Dimming is achieved through a nice balance of mechanical and digital dimming. This allows for a decent fade from 0% to 100% and most importantly means you get a true blackout and not the normal DLP grey out.

Pan and tilt aren’t fast by any definition. With a speed of just 68 degrees per second, it takes roughly seven seconds to get from one end of the pan to the other. One would assume that with fittings like these, you won’t (and can’t) be moving around too quickly.

A respectable 11° to 40° zoom range across both modes means that you don’t need a complement of lenses for different applications. It also makes the DML more versatile within the same show. A

REVIEW

wider zoom would be nice of course, but this would undoubtedly require a much larger fixture and result in less output. Even at the longer throws in the stadium, 40°seemed a tad narrow at times, depending of course on content.

THE (SLIGHTLY) DARKER SIDE

As a projection unit the DML has some limitations. The built in horizontal and vertical keystone correction is quite limited. I had my fittings spread around a stadium projecting at best 40° off axis. Whilst trying to soft edge blend in to each other, I could not correct the keystone enough without having to go to separate warping software. Using a warper tool to manipulate your media server is not uncommon, however it is a little surprising in a fitting that has 540° of pan and 270° of tilt, that you can’t keystone correct too far off axis. It seems, as long as the DML is fractionally off on either X or the Y axis then there is enough scope to edge blend and keystone correct. Stray too far off that line and you might get in trouble.

One other limiting factor is the lack of 16bit resolution in the rotation for media and ‘gobos’. At first thought this seems unnecessary, however in Jinan we used the DML-1200s to project fish swimming around the stadium floor. Inevitably we needed to rotate the fish in order to keep them swimming in a fashion akin to the direction the light was moving. With only 8bit rotation, you are left with just 255 points in 360°. Consequently, live rotation is out of the question as it becomes unbearably steppy.

This would surely cause problems in a corporate environment, getting that all-important corporate logo straight.

There are a few options when using the DML in video mode.

Onboard there are RGBHV and component inputs as well as HD/SD-SDI. There is also a genlock BNC to sync all external inputs. This gives all users the ability to employ separate media servers and simply use the DML to point the light in the right direction. To make things simple, Barco can deliver your DMLs with a version of the Green Hippo V3 media server installed internally. It has been slightly modified by Barco to run in two modes: Original Hippo Express mode or ‘Barco’ mode. There is a master layer, mask layer, and two media layers (four in Express mode). Barco have introduced a feature where you can change media on the same layer almost seamlessly. Having tried this, I would have to say that ‘seamlessly’ is not a word I would use to describe the transition. There aren’t many shows where I feel this type of transition could be used and not noticed. There is a noticeable glitch.

The media server is simple but effective. For use in the DML as a light I believe it is fine. Even as a media server for basic use the Hippo Express or Barco mode is fine. For complex media

DENON DN-F300

Denon Professional has long set the standard for innovative, versatile and dependable audio designs. The new DN-F300 marks the next generation in audio players, further raising the bar with digital solid-state design that features no moving parts, maintenance-free operation, unparalleled reliability and the best performance available at any price.

Key Features: • Compact, single rack-space design conserves valuable rack real estate • Plays uncompressed CD-quality WAV (44.1 kHz) and MP3 files • Plays back from both SD/SDHC cards and external USB connected media (HDD or Flash drives) • ±20% pitch control • Control via front panel or compact, wearable RC-1135 IR remote (included) • Dual microphone inputs with level control and music ducking for paging functionality • Front-panel headphone output with level control • Random, Repeat All and Repeat Directory playback modes • Easy-to-read front panel navigation

Barco Media Wing

Four 300W sources operate in tandem in projector mode .

manipulation and management I would look to use a separate media server to manage media on DMLs. WELL MANAGED MEDIA

One of the very cool things the DML-1200 media server does is with media management. Loading media requires either a PC (or mac) installed with the free management software, or a Barco Media Wing (which is essentially a tablet PC in a custom housing). The DML will transcode all media as it is imported and turn it in to what is fast becoming the standard codec for the media server industry: MPEG2 interlaced. The management software also allows the user to readdress fixtures and manage media. As soon as another DML-1200 is added in to the system, media can be spread to the new units simply and easily. Of course this does require a gigabit network between your fittings and one of the management tools. The upside being you can also then run your fittings on the same network via Artnet.

The management software has some other fancy features. There is an in-built warping tool for those more creative keystone challenges.

Diagnostic tools are provided to ensure your system is working properly, and identify what may or may not need maintenance. As Barco would prefer you to buy the Media Wing rather than use the free software, they do limit your

access to six fixtures at a time via the free software. In addition to the features of the manager software, the Media Wing allows for configuration and media management for 100 fittings, as well as an output preview for your devices.

So should you buy one? At 1.1m high and a whopping 72kg, the DML-1200 is not a fitting that will sit unobtrusively in most venues. As a light, it is intriguing and its possibilities are extensive. However, as most of us have learnt, extensive possibilities usually require much more preparation than limited ones. This is not really a fitting that can be thrown in a truck and used the next day without some sort of forethought about operational matters. As a projector, the DML is definitely limited, but still workable.

The upsides are that you aren’t limited by traditionally optics. Fading from one ‘gobo’ to the next is possible with a DML-1200 without a jump of the gobo wheel. Although it’s funny how that jump can sometimes be something you actually want!

of products, simply as they are really the only competition to the DML. Although given that the DML-1200 is significantly brighter than the DL fixtures, there really is no competition in the DLP moving head market.

It will be interesting when the fallout of both the DML and DL ranges are compiled and then merged into a newer digital light under the Barco banner. Then we might start to see some advancement that will make the industry talk.

We will see more of them, and probably sooner rather than later. Certainly production companies keen to be at the forefront of technology are purchasing units. DML1200s are available for rent in most parts of the world.

Time will tell just how popular they become with designers, and whether or not digital projection lights will become the norm.

One thing is certain: the DML-1200 is revolutionary. However the real question is, are we ready for that revolution? 

FAMILY TIES

Unlike its new DL3/2 stepbrothers from High End, the DML does not have a camera on board. Whether this is good, bad or indifferent, I’m not sure. It’s apparent that for some people, the camera is a big thing. In the short term, there will always be a comparison to the DL family

PRODUCT DETAILS Price: DML-1200 with Media Player $63,400 DML-1200 without Media Player $57,070 Barco Systems 03 96465833 www.barco.com

Tune into the Benefits of Membership at InfoComm International InfoComm International is the leading non-profit industry association serving the professional audiovisual industry.

Member Benefits Include • Discounts on professional industry education and publications

• Local Roundtables, tradeshows and in-person networking opportunities

• Access to a robust social media program

• Members-only business tools and templates

InfoComm is dedicated to advancing AV — be a leader in the development of the future of the industry. Strengthen your business and save money at the same time — join InfoComm today!

Australia & New Zealand Ph +61 2 8206 0979 australianz@infocomm.org www.infocomm.org/asia-pacific

054

REVIEW

Sound Devices 552 Field Mixer Some impressive improvements for a seasoned industry workhorse.

Text:/ Gep Blake

For those of us who get excited about such things – you know who you are – the shiny new Sound Devices 552 field audio mixer is definitely something to get excited about.

While five-channel mixers aren’t exactly a new concept in the world of portable sound recording, this little box of innovation also sports a two-track 24-bit audio recorder and enough advanced features to warrant an involuntary “oooh!” from the most discerning user.

The 552 supersedes Sound Devices’ extremely popular 442 four-channel model which has been used all over the planet since 2001, and it looks set to build on the 442’s reputation for being cost-effective, light, reliable, feature rich and versatile.

The Sound Devices range of field mixers now consists of the mix pre – a two-channel stereo mixer; the 302 – a fully-featured threechannel mixer widely used in electronic news gathering (ENG) applications and the 552. One wonders at first why they would choose to discontinue the evergreen 442, until you realise the boffins have somehow managed to squeeze in quite a bit extra, such as: there’s an extra channel; the 24bit digital recorder records in WAV or MP3 format; there an AES/EBU digital output; a timecode input; more comprehensive metering and even the ever helpful SVEN (Synthetic Voice for Enhanced Navigation).

All this into a package with effectively the same size, weight and power consumption as the old 442, and for a comparable price.

SVEN ANSWERS BACK

On the road this sound device is nothing short of a joy. No, they’re not paying me to write this! [No we’re paying him. Too much it seems, if he’s having this much fun - Ed] Honestly, I’ve been looking for faults and this is the worst I can do. The multi function joystick that operates the recorder feels like it has the potential to get bumped and possibly broken in particularly adverse situations; the slot for the SD card is placed at the bottom of the unit and while I’m not quite sure where else you could put it, it’s certainly not conveniently positioned for a quick change in the middle of the interview with the leader of the opposition, but then, chances are there’ll be a quick change of the leader of the opposition in the middle of the interview anyway; and then there’s SVEN. He adds a whole new meaning to talk back. The voice synthesizer announces menu settings, status information about files in the recorder and time and date information when recording.

Don’t get me wrong, this is a great idea, and I suspect one day it will be a very useful tool, but it can be disconcerting to hear what sounds like a cross between the Swedish Chef from the Muppets and Stephen Hawking in your headphones while you’re trying to concentrate on pristine audio.

From a usability perspective the 552 is very well put together. Everything you need is at your fingertips and the faders feel just right.

Input trim pots, high pass filter and balance controls for each channel have independent pots which recess when you don’t need them

and each channel has a Pre-Fade Listen switch (PFL) which also performs several secondary functions on the input menu. A great feature is the fact that although the front panel is bristling with LEDs it’s quite intuitive. Even with the broad range of input / output and operational adjustment parameters, after a short period of familiarisation, it’s easy to get a comprehensive snapshot of your key settings at a glance. The sturdy construction is enhanced by a gasketed front panel which provides excellent protection from the elements.

The five transformer-balanced inputs each have a two-stage gain control, PFL, limiters which are almost imperceptible, and pre and post-fade direct outputs. There are multiple, balanced output connections, including XLR, Hirose 10-pin, and TA3. The 552 can output AES/EBU at sampling rates of up to 96KHz on either XLR or 10-pin multi-pin, giving you two connections for four channels of digital output.

The metering on the 552 is via two large 21-segment LED displays, which use highly efficient GaN LEDs. These can be seen clearly in direct sunlight and can be dimmed. Sound Devices claim the meters are unaffected by shock, temperature or humidity extremes and while metering preferences can be a subjective issue, with selectable ballistics (VU, Peak, Peak + VU, Peak + Peak Hold) and ‘Zoom Mode’, which allows the user to quickly display the output levels in 1 dB increments from 0dBu to +20dBu, the metering is more than ample. The LED display is also a straightforward interface

REVIEW

for menu operations – basically the top row of LEDs indicates the parameter being adjusted and the bottom row indicates the degree of adjustment. Although this means you sometimes need a ‘cheat sheet’ to remember where to find a particular parameter, it doesn’t take long to learn where the most commonly used adjustments are and SVEN is helpful if you don’t know what you’re looking for. Any tweaking of menu settings is generally a set and forget proposition, but if you do have to make modifications on the run, the menu can be accessed without interrupting the normal audio flow throughput.

BUT WAIT…THERE’S MORE

Given the availability of very compact high quality recording devices the inclusion of the digital recorder is hardly surprising, but it’s a great idea and it blurs the line between mixers and recorders. (In a good way!) While the inbuilt recorder is only two tracks, the 552 still has the ability to output four discreet digital audio channels and accepts time code, automatically recognising and adjusting to any format. Although the 552 does not have an internal time code generator per se, if no time code input is present, the recording will default to Time of Day code. Australian distributor, John Rowley of Soundequip, has been working with Ambient Recording in Germany to develop a third party device to enhance the time code capabilities.

Overall, the Sound Devices 552 is a very welcome addition to the world of location audio recording and mixing. It’s robust, versatile, cost effective and brimming with useful attributes. Equally at home on the road or in a studio setup, this is a really useful box for sound recording professionals, corporate production facilities, event companies… in fact anyone that needs a portable device to record or mix high quality audio.  Price: $3850 (inc GST) Soundequip: (03) 9596 7272 or www.soundequip.com.au

056

TUTORIAL

Red/cyan anaglyph image of the Apollo 17 lunar rover. To view in 3D, grab a Lee swatch book and hold a piece of Lee 106 over your left eye and a piece of Lee 115 over your right eye. The image now looks 3D and you look pretty st upid. Image courtesy of NASA/JPL

TUTORIAL

FEATURE

057

Coming Coming Right At You 3D Display technology looms large as the ‘next big thing’.

Text:/ Rod Sommerich

There’s nothing new about three dimensional displays. The first stereoscopic viewing system came not long after the invention of photography, and public stereoscopic viewers have been popular attractions since the middle of the nineteenth century. The first patent for a 3D film process was filed by British film pioneer William Friese-Greene in the 1890s, with commercial cinema dabbling in 3D as a gimmick since the 1950s. Today, as the technologies for creating and displaying 3D images have become more affordable, the commercial imperative to make games and movies more immersive has once again brought stereoscopic imaging systems to the fore.

There are two main display technologies used for moving images, Active and Passive Stereo.

Active stereo denotes that the display system has an active component, presenting alternate left and right eye images. Most passive stereo systems work on the principle that both images are presented simultaneously, but filters present only the intended image to each eye. Active Stereo requires a set of glasses with electronic shutters (usually LCD panels changing from transparent to black). These shutters synchronise to the content via a pulse of IR or visible light (such as DLP-link). Active stereo, while more complex, is often superior to passive stereo, however passive technologies are increasingly improving in both quality and convenience.

PASSIVE

Passive stereo systems use filters to route images, or image differentials, to each eye. Among the currently available passive technologies are Anaglyph, Polarisation, and Spectral Notch Filtering. The most recognised version of these is the anaglyph system where a red and a cyan filter each cover an eye and allow the viewer to see the differences between two images presented on a

single screen. A recent alternative to the red/cyan anaglyph is ColorCode, a patented anaglyph system which uses yellow and dark blue to create the colour separation for the viewer.

These colours are easier to reproduce on a CRT or plasma screen than the red and cyan used by anaglyph.

The most common 3D system seen today is polarisation which has become the standard for theatrical presentations. In this system the left and right images are polarised in different directions with polarising filter glasses selecting the appropriate image. Polarisation offers better colour accuracy than anaglyph, as the glasses have a neutral density to the eye and image separation is also better, although there are a couple of issues which effect the presentation of polarised stereo.

When projecting polarised stereo images the light reflected from the screen needs to be kept as parallel as possible, because scattering reduces the differential polarisation. The most common solution is to use a beaded silver projection screen, which unfortunately also limits the range of effective viewing angles. A further problem with horizontal/vertical polarisation systems is that when the viewer tilts their head, the polarised image is no longer correctly aligned with filters in the glasses. However, the more recent adoption of circularly polarised filters eliminates this issue.

Both silver screens and circular polarisation add to the cost of a 3D system.

LATEST & GREATEST

Another passive system, known as Interference Filter Technology or Chromatic Notch Filtering, is also available and being used in digital cinema applications around the world. Similar to the anaglyph, this system uses specific wavelengths of light for each eye, however the glasses appear almost clear when viewed in white light, with a

slight tint of colour. This technology provides colour accuracy for most people, as the colours are in specific wavelengths rather than the broad spectrum areas used in anaglyph. Chroma Notch Filter technology does not require a silver screen and the angle of the viewers head does not impact on the stereo effect, but the cost is much higher as the filters for the glasses are expensive to manufacture. Several companies have adopted this technology for commercial use, including Infitec and Dolby.

Some manufacturers are currently offering LCD and plasma screens capable of displaying 3D content – virtually all of them being active systems. While, until recently, passive solutions had not been commercially viable, there are now several major 3D system manufacturers working on passive solutions. Polarised and Chromatic Notch Filtering are not yet commercially available due to technical and cost limitations.

Among other 3D technologies available for plasma and LCD is the lenticular filter which does not require the viewer to wear glasses. In this system a screen overlay matches vertical segments of the image to vertical lenticular lenses to direct images to the left and right eyes. This system requires precise viewing angles and if the viewer moves even slightly the 3D effect is lost and the image becomes un-viewable. The singular benefit of lenticular systems is that there are no glasses required for the 3D effect to be seen.

Unfortunately some viewers complain about headaches and other problems when viewing images for more than a few minutes.

PROJECTION TECHNIQUES

There are a number of projection techniques employed for both active and passive presentations. The most common system used for digital cinema employs a single projector capable of displaying 120 frames per second,

058

TUTORIAL

Top left: Filters and glasses for Chromatic Notch Filter system. Top centre: Stacked projectors with separate filters. Top right: Filter wheel for a single-projector system.

Bottom left: Active LCD glasses. Bottom centre: Red/Cyan anaglyph glasses. Bottom Right: Polarised glasses.

located behind a synchronised wheel with 50/50 segmentation for the two filters used. These filter wheels can be either polarised or Chromatic Notch Filtered. The alternative approach is to use two separate, synchronised projectors, running at standard frame rates, each filtered and showing one of the stereo images.

Active stereo is becoming the preferred option for home, education and corporate applications as the costs begin to drop in a larger market and where content becomes more available. Texas Instruments’ DLP division has recently developed an active pulse system called ‘DLP Link’. This technology eliminates the need for a separate emitter to synchronise the active glasses by using the white segment in a DLP projector’s colour wheel to display a short, subliminal burst of white light between the frames for synchronisation.

VIZ & SIM

Areas where 3D technology have seen significant growth are in visualisation and simulation. The technology is being employed in industrial and defence applications to provide training and allow control of equipment remotely. Industrial applications such as visualisation and design

allow users to look at objects, locations and environments which may be hazardous or inaccessible. The Australian oil industry has been using 3D visualisations to teach drilling personnel how to manipulate and manage drill operations. These systems have become very reliable and comfortable, allowing would-be drillers to view content for many hours without square eyes. 3D has had to become unobtrusive in its use, which in turn has made it more accessible for the mass market.

THE FUTURE IN DEPTH

Digital cinema offers exhibitors [film studios?] the ability distribute product quickly and to maintain consistent image quality, but it has also enabled the screening of more 3D product, with the major studios producing animated and live action features. In addition, live events will start to be offered over the next 12 months in 3D. This year we will see the World Cup soccer presented in a number of cities around the world both live and in 3D. The matches scheduled will be shown in Berlin, London, Mexico City, Paris, Rio de Janeiro, Rome and Sydney in June and July 2010 [I’ll be hanging out for the 3D Moomba Parade – Ed.].

The future of 3D in cinema and corporate applications is assured, with industrial and educational applications becoming cost effective and engaging. Home users may adopt the technology subject to cost and convenience of operation, but most importantly there must be suitable content available. One part of the equation is if the studios support the technology and release 3D versions of their features on DVD and the recently announced ‘Blu-ray 3D’ format for 3D replay at 1080p. Perhaps the biggest factor for the average home user will be if broadcasters make content available via cable and free-to-air. Major sporting events such as the Olympics, football grand finals, tennis, and the soccer World Cup, will get 3D in your face and your home.

However, like it or not, the biggest factor in the adoption of any video technology over the last 30 years has been the adult entertainment industry, which has defined the de facto standards such as VHS, DVD and Blu-ray. If this vast market segment adopts and produces engaging 3D content, then it is certain to achieve deep market penetration. 

al fession for the

audiovi

sual pro

issue #7

issue #8 for the audiovisual professional issue #7

$6.95 inc gst 2009 issue #6

for the audiovisual professional

MASTERS IN AV

DA VINCI’S MASTERPIECE TRANSFORMED for the audiovisual professional

WHAT’S OPERA DOC?: SOH’S BRAND NEW CONCERT RIG HORSEPLAY: OUTBACK SPECTACULAR 2 HITS STRIDE AV8?: NEW FLIGHT SIM MOVES WITH THE TIMES

AWM IS ACE!: PETER JACKSON’S WWI DOGFIGHT REALISED HOT PRODUCT: DANTE – WHAT’S ALL THE FUSS?

issue #6

REVIEWED: LSC CLARITY CONTROLLER SONY HVR-Z5P HD CAMERA PROJECTIONDESIGN FL32 LED PROJECTOR $6.95 inc gst

2009 issue #5 for the audiovisual professional

issue #8

FUTURE PROJECTIONS THE LATEST, THE GREATEST, THE TINIEST & THE MOST IMMERSIVE

$6.95 inc gst

2009

GIVE A MOOT: SYDNEY UNI’S NEW LAW BUILDING AWAY FROM HOME: HDMI DEMYSTIFIED SHOOTING COWBOYS: INDUSTRY TRAINING MTC: MELBOURNE’S THEATRE OF DREAMS

issue #5

$6.95 inc gst 2009 AV_Cover_05.indd 2

AV_Cover_08.indd 1

25/11/09 4:11:43 PM

Is this your copy of AV? If you’d like to receive your own copy of AV or if you’d like to continue to receive AV

Register now!

Here’s how: Log onto www.av.net.au Click the Subscribe button Fill in your details AV magazine is sent free of charge to audiovisual industry professionals. If you’d like to be taken off the mailing list please email subscriptions@av.net.au

19/6/09 3:22:00 PM

060

TUTORIAL

Every Pixel is Sacred Blended Projection – Part II Text:\ Paul Newton

Specialised software lies at the heart of all multi-image systems. The application looks and feels like any other timeline, layer-based application such as After Effects, Final Cut Pro or Flash. The difference is that the multi-image systems are sending live graphics to projection hardware instead of simply creating a file to be played back later on a computer or website.

These applications are truly ‘live’. Programs such as Watchout, OnlyView, Pandora’s Box and Wings Platinum are the most common applications and have become the industry standard within the event market for creating widescreen multimedia shows. I will primarily refer to Dataton Watchout in this article due to the extensive exposure I have had with this product over the years.

All these systems operate in a similar manner - dedicated display servers ‘power’ each segment of the blend and are controlled via a ‘supervisor’ production machine or controller. If you are creating, for example, a three-projector blend you will require three display servers - one per projected image. This essentially means that you have the power of three high-specification computers and the combined resolution of their graphic cards to play and control your multimedia show. The connectivity between all the servers is usually a gigabit network switch and UTP (CAT5a/6) cable which makes live event control a breeze - servers can be located backstage and easily be controlled via a laptop at front of house. These systems can also often be interfaced/controlled via custom made controllers, timecode, MIDI, DMX or sensing devices such as motion sensors.

highly recommended, to utilise a multi-output vision mixer such as Barco Folsom Encore or Vista Systems Spyder before passing onto the projectors. Traditional mixing consoles allow a multitude of inputs to be sent to a common output.

Encore and Spyder are different in that they allow multiple inputs to be seamlessly processed/ routed to a series of linked outputs. Within the live event world - these consoles are required to layer additional input sources as PiP (Picture In Picture) on top of the hi-res background (e.g. powerpoint/keynote presentations, tape rolls and live camera). It is possible to input live sources directly into these systems - and free up the need for a complex, expensive mixing system - but the quality is pretty average ... and often delayed by a few frames - resulting in very obvious lip-synch errors. The other important function of the mixer is to allow backup system streams to be sent to screen in the event of a system crash.

These days, consoles are usually digital, using DVI and HD/SDI (High Definition Serial Digital Interface) connectivity ensuring signals remain clean and fast. Video latency (frame delay experienced while signals are being processed) can never truly be eliminated, but it can be reduced so that it is virtually unnoticeable to the untrained eye.

Another advantage of using a live mixer is flexibility. Being able to mix and cut live sources in a show whenever you need is a lot safer than relying on a cue on a timeline. Mixing consoles also have different wipes and effects, frame storing, extensive scene presetting ability and PiP enhancements such as bordering, drop shadowing and movement.

DATA MIXING AND PROCESSING

PROJECTOR PLACEMENT

While all the previously mentioned systems can be cabled directly to the projection devices, it is

Projector placement must be very precise. When blending, projectionists rarely utilise lens-

shifting or digital key-stoning to correct the image. Each projected image must be optically ‘square’ to perfectly overlap with the adjacent projection. With this sort of accuracy required for installation - projectors are often rigged with the assistance of laser measurers and spirit levels. If the projectors are flown, a single, unbroken line of truss is highly recommended as separate trusses increase the chance of one of the projectors physically drifting. If you have a single line of projection truss, and the truss moves for whatever reason, the whole blend will move together and resettle to its previous position (assuming that there is solid two to four-point attachment to the truss with rigid clamps, so it therefore becomes ‘part’ of the truss).

If projecting front or rear from towers, the stability of the towers is essential. A mere 1mm or 2mm movement at the tower results in much larger movement on screen. Complete isolation from the public is imperative - the towers need to be erected in ‘no traffic’ areas and bordered with bollards if possible.

PROJECTORS

Three-chip, high-powered (10,000–20,000 ANSI) DLP projectors should be the technology choice for this sort of stuff. You can just get away with single chip DLP projectors - but you will experience poor colour reproduction in some parts of the colour spectrum due to the use of an internal colour wheel to create colours with these projectors. This inability to reproduce true-colour is particularly noticeable with warm tones such as skin tones, sepia, etc). This can be a big problem if you need to use a warmer colour palette with your graphics or utilise lots of live camera in your event.

The ambient noise level of the projectors

should be factored in to the show design. Threechip DLP projectors are usually quite a bit louder than single chip or LCD projectors, so you’ll need to try and separate them from the audience.

SCREEN

Screen selection is very important and is the final piece of the puzzle. The video companies that involve themselves with this work usually have their own screen inventory that they rarely share with their competitors. They’re not really items freely available on the dry-hire equipment rental market in Australia. Blend projection screens are typically 2.5:1 – 4:1 in aspect ratio and usually custom made to suit the average-sized venue ... and the average corporate client budget.

Typically, three to four projectors are required to fill these screens.

High quality, seamless projection screens are an expensive, yet essential, part of the equation.

Cheap, incorrectly gained screens, manufactured from cheap material should be avoided - the screen is the final piece of the puzzle - there is no point getting perfectly timed, coloured and focussed pixels this far and not giving them a good place to sit.

The structural integrity of the frame is also an important factor. Frames that are old and tired (and mistreated) will not support a tight flat screen surface. The screen must be perfectly flat a warped screen will result in obvious alignment and focal compromises - remember, we can’t use any digital manipulation of the image to get us out of trouble here.

Avoid rear project blending if possible. It’s very difficult to avoid hot-spotting with rear projection and, I believe, it spoils the effect. Front projection allows a more uniform projected image because the light is ‘bouncing’ off the screen as opposed to transmitting through it.

Projecting onto cycloramas is commonplace when images need to be over 10-25m wide there are very few screens of this size available on the rental market. Cycs only really work as projection screens when they are kept taut with counterweights. Drafts and even air conditioning can slowly suck the cyc in and out resulting in focus and alignment issues. Creating truss squares and wrapping them in a cyclorama or similar cloth is probably the best method of mimicking a screen if you can rig them and find a neat way to deal with the excess.

Curved screen blending is also possible, but takes twice to three times as long to install. Most curved screens are a ‘surface only’ - they have no frame to dictate the radius of the curve. Rigging the surface usually requires truss that needs to be very accurately rigged to maintain a constant curve. The projector trussing has the same issue.

Working with a single line of projection truss and a flat parallel screen is so much simpler!

Mapping the displays to a curved or other irregular shaped screen can be very time consuming and adds another large layer of complexity to an already complex task. The amount of processing to make all of this happen will often add considerable delay to the signal path and make elements such as IMAG (Image MAGnification via a live camera) very hard to incorporate due to lip syncing.

STAFF

You need clever people to do this stuff - your average AV company will be not be staffed nor stocked with the correct equipment to do this properly. The technicians that setup these events are a rare and talented breed and know their equipment and the signal path very well. You need to engage technicians that live and breath projection and do it all the time. This type of work

is much more specialised and far less forgiving than traditional video work - if you don’t get it right - it’s very noticeable.

There are very few companies in Australia that specialise in this sort of installation. They include amongst their number Haycom Staging, Sloution Red, Electric Canvas, Massteknik and TDC. One of the pioneers of projection blending in Australia, and an example of how it is done properly is Technical Direction Company, for whom I worked for several years. I know that their attention to detail and servicing of their huge range of projectors and control equipment is exceptional, and I believe that this is the main reason for their dominance in this area.

Projects are setup, colour balanced and tested in their theatre before they leave the warehouse, minimising onsite trouble-shooting or fault finding. It's this kind of approach that you should look for in a supplier.

In summary, you need to make sure that you: a) engage a good video supplier that regularly tests their equipment. b) allocate a healthy budget to the projection system and content creation - this work isn’t cheap, and nor should it be! c) find an experienced graphic studio that ‘gets it’. d) involve clients early and work out a storyboard as soon as possible. e) test, rehearse, test, rehearse.

I was working on an event in Singapore with a very abrasive American producer 10 years ago that kept referring to ‘EPIS’ amongst his team.

It seemed to be a touring ‘term’ that they kept amongst themselves during the four day event.

We ultimately bonded on the last night of the show, and he finally told me what it meant. Every Pixel Is Sacred. Too right. 

062

TUTORIAL

Standards – Who Needs Them?

Why on Earth should the AV industry bother with standards?

Text:\ Peter Swanson, CTS

Ah, the unbridled freedom of designing and installing systems in a standards-free world.

Nothing to stand between you and your best practice knowledge of the industry; nothing to reign in the client’s expectations, nothing to constrain your design genius!

In many ways, a world free of standards should be utopian. Each project would deliver precisely what the client required. Sadly, the truth is rather different. In an industry without standards, it’s hard to quantify why one offering may be better than another. It’s also challenging to determine whether reasonable expectations have been met and whether the end outcome is ‘fit for purpose’. Understandably, market forces have led to standards being developed in key areas first – for example in the safe and effective delivery of electricity, water, gas and other services to buildings. If the success of an AV installation was literally a matter of life or death, we would have had many standards in place governing the performance of installed systems long before now. Instead, AV installations are only metaphorically a matter of life or death. Think of the videoconference system that fails just prior to the CEO’s most important call, or the audio system that is desperately being configured to achieve ‘just enough’ gain before feedback immediately before the band starts or the keynote speaker makes their main address.

THE IDEALISTS’ VIEW

When younger and more starry-eyed, I thought that it was quite a good thing to be working in an industry with such freedom to design to the best of your abilities. However, over time I have realised that this very unrestricted freedom contributes to a number of key issues. Many in our industry face these issues on a regular basis, including poorly defined

briefs, unclear expectations of time and cost, mismanaged implementation and continual revisiting/re-working of projects long thought to be complete.

Those with experience in other industries – such as our increasingly-close cousin the IT industry - can vouch for the many standards and processes that are in place for project delivery. These standards and processes help people get on with doing the job at hand, rather than inventing yet another circular device for motion efficiency. [There’s actually a lot to be said for icosagonal wheels; but not for use on tea trolleys – Ed].

Companies in our industry have been developing internal standards and processes for many years. This is a clear indication that these things are beneficial to business, as few companies will expend any effort on something that doesn’t ultimately benefit the bottom line.

It’s now past time that our industry catches up and puts together a framework. We can then develop our own company processes in the knowledge that they dovetail with industry standards designed to enable more efficient project delivery and better outcomes for our clients. And in rides InfoComm as the champion to our rescue! Over the past 18–24 months, InfoComm has been establishing itself as a recognised Standards Development Organisation (SDO) with ANSI and for the

past 12-18 months has been developing a suite of initial standards to help support our industry. The first of these, ANSI/InfoComm 1M:2009 – Audio Coverage Uniformity was officially released earlier this year. This was closely followed by InfoComm 2M:2009 Audiovisual Systems Design and Coordination Components, which has recently finished the public comment round and will now be updated for final approval and release. Also in the wings are standards relating to lighting for videoconference use and projected images.

AV AS SHE IS SPOKEN

The current draft standard focuses on putting in place a framework for communicating to other members of the project team, the design, coordination and documentation activities relating to AV. The goal of this framework is to guide a project successfully from initial briefing to final handover of systems and AsBuilt documentation. Project team members are identified as typically including architects, builders, services engineers and other construction industry professionals.

Those of you who work for an integrator or consultant may well recognise a number of your own company’s processes in the text of the standard. For those that don’t have processes in place already, hopefully a read of the draft will give you some great ideas on

TUTORIAL

FEATURE

“Companies in our industry have been developing internal standards and processes for many years.”

how to more effectively and efficiently guide your projects (and clients) from start to finish.

The approach is very much that of a process standard (similar to ISO9001). This means that the standard does not tell you exactly what to do at all times, but rather is sufficiently open that existing company processes can continue to be used. Company processes would potentially be accepted as proof of compliance with the standard provided that all of the relevant activities in the standard are met in the project’s delivery.

The draft standard covers each typical phase of a major project, being Initial Planning, Briefing/Concept Design, Design and Coordination, Documentation and Construction Phase. The standard is written to enable use in a consultant-led or design and construct situation and is also intended to achieve flexibility/scalability for use on projects of various sizes.

The typical deliverables for each stage are described, both in terms of their format and extent of presentation and explanation as to their intent as part of the design and coordination process.

A proposed checklist/schedule is included for use as the basis for tracking project compliance. There have been discussions about how onerous it might be to keep this up to date on a day-to-day basis. However, most people have so far commented that the standard has great potential to assist in guiding projects and facilitating sign-off as each key task is completed.

STANDING UP TO BE COUNTED

While the comment period for the draft standard has now closed, you can still download a copy of the draft at www.infocomm.org/standards

if you’d like to get a more detailed understanding of the structure and extent of the draft.

At a broader level, the sheer energy that has been devoted by many people around the world is testament to the understanding that standards are important to our industry. This is something we all need to work together to achieve for our industry’s betterment – and the benefit of our own companies. As well as the nearly 100 volunteers directly involved in current standards working groups or committees, a register of over 200 has been gathered from around the world by InfoComm, ready to assist with future standards.

InfoComm has been at pains to ensure that there is as much international representation as possible on the various working groups.

Indeed, Australia’s own Jonathan Rutledge is currently part of the new Systems Energy Management working group. This group has been tasked with developing a standard to help guide the many good Green intentions in the marketplace.

While it might sound like a dry topic at first reading, I can highly recommend participating in a standards working group. Not only do you get the chance to have your say in the standards that will become the guiding principles for our industry, you can also test your knowledge through debate and discussion with other industry professionals. If you’re interested in getting involved, send an email to standards@infocomm.org with a short explanation regarding your industry background and areas of interest. 

063

064

NEWS

REVIEW

InfoComm News News from the Asia Pacific Region

GEN113 CTS Study Group VIRTUAL CLASSROOM Gen113 CTS Study Group Virtual Classroom Registrations are open. This class aims to assist those AV professionals looking to further their career by gaining their InfoComm CTS General Certification.

The Virtual Classroom format was introduced late in 2009. This is the first time the class will be presented in local business hours time zones. Presented by InfoComm Academy Staff Instructor, Rod Brown CTS-D, students will login to the class each week at the same time.

The class will run over five weeks beginning Monday 22nd February at4 pm AEDST.Students willalsohavetheopportunity to Log in again a couple of days later (each week) to discuss the class material or assignments with the Instructor. Ongoing class discussions can be held via the class discussion board.

Note: Detailed information including the full lesson plans can be found at www.infocomm.org/education This class is offered at AUD$600 for InfoComm Members (Up to $300 payable in Edubucks) and AUD$900 for Non Members. This class has 24 RUs to assist with certificant renewals and maintenance of your company AVSP status.

Design School Curriculum Regionalisation Meeting On Monday 14th December, a meeting was held in Sydney to begin the process of regionalising our Design School Curriculum. The volunteer members of the group participated in a day long discussion to assist our efforts to ensure that our Design School is appropriate for the Local AV Market. We would like to thank the following people for their contribution.

Peter Swanson, CTS, WSP Lincolne Scott (InfoComm Asia-Pacific Council chair) Peter Blackmore, AVDEC Pty Ltd Jonathan Garcia, CTS, Electroboard Nick Orsatti, Rutledge Engineering Michael Broadbent, KLM Group Reg Collins, University of Technology, Sydney InfoComm Academy Call for Presenters – Integrate Expo 2010 The InfoComm Academy has published its Call for Presenters at Integrate Expo 2010. We will be establishing an Educational Advisory Group to assist us to ensure the program is tailored to suit the market’s needs.

The InfoComm Academy program will again feature the ‘Super Tuesday’ Seminar program plus, new for 2010, a program of seminars with a potential for a wide variety of topics.

If you’re interested in presenting an InfoComm Academy seminar at Integrate 2010, go to our Call for Presenters page at www.infocomm. org/cps/rde/xchg/infocomm/hs.xsl/6990.htm Regional Round Table e-Group Just Launched Our Round Table Discussions often raise issues that deserve further discussion, we now have the place to do this. Our

Regional Round Table Meetings have a new InfoComm Community e-group discussion board. The e-group is open to anyone that has attended an InfoComm Round Table Meeting.

If you’ve attended a Round Table you can use your InfoComm Website User Name and Password to log in to the e-group.

Remember, The Round Table e-group is only available to those that have attended a Round Table meeting. Log in, and let’s keep the conversation going.

Regional Round Table Meetings The dates for next series of Roundtable meetings in Q1 of 2010 have been set, they are as follows: Brisbane – 23rd February Auckland – 25th February Perth – 8th March Adelaide – 10th March Melbourne – 11th March Canberra – 16th March Sydney – 18th March INS211 Install School Mark your Calendar, InfoComm’s Two-Day installation School is being offered in Sydney 28th & 29th April, 2010. The course is A$1000+GST with 25% payable in Edubucks. This class is suitable for those new in the Industry or for those who would like to sharpen their Installation skills. It provides ample opportunity to gain hands-on experience through its practical workshops. Note: Detailed information including the full lesson plans can be found at http://www.infocomm. org/education This class has 16 RU’s to assist with your CTS Renewal or your company AVSP status CTS Renewals In 2010, about 4,000 CTS holders around the world will need to renew their CTS – you could be one of them. To do this, you will need to have accrued 30 RUs. You can do this by attending InfoComm Academy Training or InfoComm Recognised Manufacturer Training.

Either way, you need to apply to renew your CTS. Information on the renewal process, the renewal application form, or InfoComm Recognised Manufacturer Training courses (and their RU rating) can all be found at www.infocomm.org/ certification If you have attended InfoComm Academy Classes, your education transcript on your ‘My Dashboard’ page of the InfoComm Website will show it. If you have attended Manufacturer Training, you should have received a certificate of attendance from the Manufacturer.

For further Information on any of the above please contact Jonathan Seller, CTS, InfoComm International Regional Director at australianz@infocomm.org” australianz@ infocomm.org or look on the regional web page www.infocomm.org/asia-pacific

TUTORIAL

FEATURE

065

Audio Mixers The Basics.

The following is an excerpt from The tutorial below is from the Event Setup for AV Techs Online course which is based on the AV Setup Guide, one of the references for the new CTS Prep Virtual Classroom. This course contains step-by-step procedures and best practices for those who are new to setting up audiovisual equipment for live events. This excerpt from the online course MIXERS

A basic audio system has three parts: An input sound source, such as a CD player.

A signal management device, such as a mixer.

A destination for that sound, such as a loudspeaker.

Audio technicians may need to manage dozens of audio signals for an event; for example, several microphones for panelists at a conference. All of these signals come together in the audio mixer. The audio mixer allows the technician to manage and control what the audience hears.

Audio mixers combine, control, and direct audio signals from active inputs to certain outputs. The audio output of microphones, CD players, DVD players, MP3 players and other devices can all be controlled by a mixer.

Some other common terms used to refer to a mixer include: • Consoles or mixing consoles • Boards • Mixing desks

1. Fader slider (gain) 2. Mute (push button) 3. Pan (knob) 4. Auxiliary send(s) (one knob per send) 5. Equalizing knobs (several knobs, number depends on model) 6. Pre-amp control (knob) 7. 6.35mm TRS input for line level source 8. XLR input for microphone The master section, on the right side of the mixer can have a variety of controls. The most important ones are: 1. Outputs to loudspeakers (XLR or TRS) 2. Master fader WHY USE A MIXER?

Here is an example of why a mixer is important… Assume you are using an audio system with two microphones that are connected to a mixer.

During an event, one presenter is speaking very softly into her microphone on channel 1, and the other presenter is speaking very loudly into his microphone on channel 2. You can adjust the individual audio levels on each channel so the audience can hear both presenters comfortably. The outputs of each channel are combined and sent to the mixer’s output.

This process, called ‘mixing,’ is the process of combining different audio sources or tracks and blending them for the best sound quality and balance. A good mix will result in the most realistic sound for the listening audience.

audio input from left through right output channels.

• Equalising: knobs that allow you to manage given frequency ranges for a specific channel.

When working with audio equipment, you are likely to see labels referring to these signal levels: • Mic, Line and Speaker These labels refer to the three different voltage levels of an audio signal — microphone level, line level, and loudspeaker level. These three signal inputs are incompatible with one another. Because of these differences, you must use the proper connectors and adapters that are designed to carry that specific type of signal level.

There many different types of mixers. Each type has its own capabilities. Work with your mentor or a senior technician for more information on how to use the mixers at your company. Also, consult the owner’s manual for setting gain structure, equalisation, and other operations.

CHANNELS (INPUTS)

Each incoming signal has its own input on the mixer. Each input is called a ‘channel’. Each channel has its own processing controls. A basic mixer only has gain (volume) knobs for each channel while an advanced mixer has controls for equalizing, muting, panning, and much more.

Every mixer also has what is called a ‘master’ control. This control sets the baseline audio output for all channels to the room.

Mixers are often defined by the maximum number of input channels they can handle.

An 8-channel mixer can take 8 separate inputs; a 16-channel mixer can handle 16 inputs, and so on.

Each channel is organized vertically, as in a column. The following controls are commonly found on a small to medium sized mixer:

TIPS ON SETTING UP A MIXER

When setting up for an event, take a piece of console tape or masking tape and label each channel on the mixer so that you know which audio source is on that channel. Consider using labels such as, ‘podium mic,’ ‘CD player,’ or ‘panel table left.’ Place the mixer in the back of the event room so you are not a distraction during the event. Here are common functions on a mixer: • Mute: a button that allows you to silence that channel only, without moving the volume knob.

• Phantom Power: a push button or switch that sends power to condenser microphones through an XLR connection.

• Pan: a knob that allows you to move a stereo

About InfoComm: InfoComm International is the international trade association of the professional audiovisual and information communications industries. Established in 1939, InfoComm has 5000 members from more than 70 countries. Its training and education programs, along with its separately administered Certified Technology Specialist (CTS) and corporately administered Certified Audiovisual Solutions Provider (CAVSP) company credentials, set a standard of excellence for AV professionals. Its basic general knowledge course ‘Quick Start to the AV Industry’ is available free of charge from its website at www.infocomm.org

066

Termination Dive into the immersive future of 3D… it’s boiling.

Text:/ Tim Stackpool

After sniffing around for 10 years or more, the renaissance in 3D cinema has finally come of age (now even your gran knows what ‘avatar’ means). And with 3D hitting the mainstream predictably it’ll be we at the coal face copping a broadside of unrealistic expectations. Ready for your corporate clients to request 3D for their ‘next big presentation’? You should be. Personally I can’t wait… Imagine the excitement; the anticipation; and the crestfallen pout when they hear about the logistics and cost. “I thought you just run it through some software or something”. Yeah, well, maybe James Cameron might have that ‘software doohickey’ to run a director’s cut of Titanic through, but it won’t be part of Microsoft Office any time soon.

One thing’s for sure: 3D serves up ‘wow’ in spades, and that’s why people want to know more. But what about the nerdy glasses… can I order mine with a Ray Ban logo stuck on?

When I first saw an early new-era 3D representation in 2001 that didn’t require glasses, I was mesmerised to the point of undergoing some sort of spiritual experience (it was in Vegas, so other factors may have been at work). And while glasses are fine for home and the cinema, the real breakthrough will come when regular folk walking in the shopping

mall view 3D as easily as they ignore regular digital signage today. We might not even call the display device a screen. It might be called ‘Special Projected Animated Message’ (SPAM) or ‘Character Replicated Automated Projection’ (CRAP). Either way, it will probably be more than 3D. It will simply be ‘real’.

This development could be the start of the next major change in sociology. Yeah, that’s right, AV gear will be the 21st century’s steam engine.

History tells us that entertainment systems like home cinema and gaming consoles put an end to the barn dance at the Mechanics Institute, the turkey-worship meetings at the Masonic Hall and the first date at the rollerskating rink. In the same way, modern 3D AV heralds another shift in how they relate to the world.

No longer will we merely click on an icon to order a pizza or pay a bill. With 3D AV screens and technology, we might ‘reach-in’ to select our choice of toppings, or hand over ‘cash’ to the merchant virtually standing in our living room. And as for ‘personal entertainment’, well, the possibilities are as endless as they are icky, but it’s a well worn truism that the adult industry will doubtlessly lead the technology charge, as it often does.

If you’re marketing director of Dulux, avert your eyes now.

Depending on how it’s developed, these 3D representations could act as virtual fascias overlaid on our real world. The cost and effort put into shop fitting, theatrical designs and architecture could all but evaporate. Our environment could become nothing more than mammoth 3D displays that we inhabit like, dare I say, avatars in a ‘second life’. Staging and lighting for our clients’ next event could be ‘constructed’ entirely on a laptop at the office, and then merely ‘applied’ to the venue’s ‘3D environment display system’. Much of this we already do today, but we’re still constrained by 2D environments. Add technology that simulates the sensation of touch when stimulated by virtual 3D ‘textures’ and we’re well on the way to transforming our world. It would spell the end of many auxiliary construction industries.

The new-world millionaires will the ‘3D habitat designers’.

And it all started with display. Viva la revolution! 

the

3D

AV

Something on your mind? Busting to relate a stirring tale? Then send your thoughts to the editor (andy@av.net.au) – he'll be gentle.

The EV-Innovation (EV-I) family of loudspeakers is the result of the largest development program in the history of Electro-Voice. Building upon a heritage of audio design excellence proven in thousands of prestigious installations around the world, EV-I systems offer an unprecedented combination of sonic performance, versatility, ease of use, and aesthetics, all focused directly on the requirements of installed sound systems.

At the heart of the EV-I family are brand-new and highly refined transducers, designed by EV engineers—th e most knowledgeable and passionate in the industry—using the very latest developmental and diagnostic tools, exclusive to Electro-Voice R&D. Manufactured to the highest standards in EV factories, EV-I systems collectively represent the most comprehensive family of loudspeakers the industry has ever seen.

• • • • •

Seven distinct coverage patterns from seven newly designed waveguides Six pre-designed finishes, including two weatherized versions Completely flexible installation accessories Intuitive input panels Three system formats: horn-load (EVH), front-load (EVF), and a true line array (EVA)

To learn more, visit www.electrovoice.com/evinnovation

Bosch Communications Systems Unit 2C, 6 Boundary Rd NORTHMEAD NSW 2152 Tel: 02 9683 4752, Fax: 02 9890 5928 Email: boschcomms@au.bosch.com • www.boschsecurity.com.au

I didn’t know did that!

Premium Projectors for Industrial and Professional

Projectors for Home Theatre, Business and Commercial

Premium Document Cameras for Business and Education

Document Cameras for Business and Education

Professional Digital Signal Processing, Distribution & Cables

Modular Digital Signage with Network Delivery

High Definition Video Conferencing Solutions

Video Conferencing Lighting Systems

Screens, Brackets, Hard Cases and Accessories for Home and Business

High Quality Promercial In Wall and Ceiling Speakers

Premium Audio and Video Components

Specialist Lenses for all Projector brands

Home Automation and Lighting Control

Simple & Intuitive Control Systems for Corporate and Education

The Ultimate in Touchscreen Automation

Infra Red Control and Audio/Video Distribution

Member

Aust & NZ Distributor: Amber Technology Ltd 1800 251 367 display@ambertech.com.au www.ambertech.com.au