DigitalSignage Issue 21 by Alchemedia Publishing

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CONTENTS ISSUE 21 2016

Digital Place-Based Media & Technology

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

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

Editorial Director: Christopher Holder (chris@dsmag.com.au) Publisher: Philip Spencer (philip@dsmag.com.au)

Art Director: Dominic Carey (dominic@alchemedia.com.au) Graphic Design: Daniel Howard (daniel@alchemedia.com.au) Contributing Editor: Graeme Hague (news@dsmag.com.au) Accounts: Jaedd Asthana (jaedd@alchemedia.com.au) Circulation Manager: Mim Mulcahy (subscriptions@dsmag.com.au)

FEATURE STORY 6 Just The Ticket: Tatts’ Enormous Retail Rollout TECHNOLOGY 30 Wilson&Gilkes 80-inch Monolith for MCEC COMMENT 14 GPT Group 34 Mug Punter

Digital Place-Based Media & Technology

IN ACTION 10 Child’s Play: Box Hill Shopping Centre’s Interactive Playground 12 Supercheap Auto’s Bathurst Weekend Flagship Store 16 Crown Perth’s Sports Bar 18 Sportsgirl Digital Shopfront, Chadstone Shopping Centre 20 Hoyts Cinemas, Chadstone Shopping Centre 26 Virtual Garden, ANZ Sydney 28 MECCA Brands’ Digital Retail Strategy 30 Nobbies Centre, Phillip Island

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 © 2016 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. 25/12/16

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Digital Place-Based Media & Technology

Tatts is rolling out an enormous digital signage deployment across 5000+ lottery outlets. And when it comes to getting it right, luck has nothing to do with it. Story: Christopher Holder

he largest digital signage deployment in Australia is being rolled out as you read this. More than 5000 retail locations, over 15,000+ LG commercial displays in all states except WA. The integrator, Entwined, has crews installing the systems as fast as they can. With some 600+ outlets completed since February 2016, Entwined is averaging almost one install per day and they’ll be at it for years to come. The network belongs to the Tatts Group, and in all likelihood you’ve probably already seen one of these new cookie-cutter retail installs in a newsagent near you. 6

Digital Place-Based Media & Technology

LONG TIME COMING

Tatts has been dreaming of this digital signage network for 10+ years. And it’s easy to see why: a centrally controlled network such as this removes so many of the retail pain points. Mainly we’re talking about compliance. Lotteries are highly regulated and retailers are legally compelled to be super-careful in what they advertise and when they advertise it. Forget to remove a Powerball ‘Win $20m’ poster and someone relies on that out of date information, then you can be in trouble and hefty fines apply. Centrally monitored and updated digital signage removes that compliance hassle and it’s only recently the technology is now priced

right and capable enough to make the proposition for the retailers utterly compelling. Still, the precise design of the package took considerable thought to ensure it worked just as well for the retailer (who, after all, is bankrolling the investment) and Tatts, which is maintaining and updating the content. As Anthony Morse puts it: “It was important we maximised the lottery’s offer and minimised the impact on the floorspace so the retailer could maximise their investment.”

Anthony Morse is Head of Retail for Tatts’ lotteries division. As you can imagine this deployment is a big deal for him and his team. From the get-go the focus is on engagement rather than direct sales conversion: “This is

We needed to engage the customer; make it more than a transaction; start to make it more personal; more vibrant and engaging

absolutely about driving a better experience for our players and retailers. It’s not about saving money or direct revenue-driving. We see the revenue benefits coming from increased engagement and repeat purchases rather than that instant ‘I’m gonna sell more tickets today’. Yes, we’ll be able to make assessments regarding what impact the signage network has on revenues, but this is primarily about making an emotional connection with the players.” THE LOTTERY PROPOSITION

We’ve all done it. Whether you’re a lottery player or not, we’ve all given some thought to what life would be like if we were filthy rich. And, in effect, this is the business Tatts is in: selling the dream.

Anthony Morse: “On the face of it lotteries aren’t glamorous. You go in and pay for your entry and you walk away with a piece of paper with some numbers on it. There’s no instant gratification (except if you’re playing a Scratchy). Rather, you’re buying a period of time when you can dream about what you’d do if you won. “For years, our network’s retail image has stayed fairly constant. We changed the colours here and there over the last 50 years but in the dynamic digital world we’re in, we were in danger of looking outdated and transactional. We needed to come up with a way to engage

the customer; make it more than a transaction; start to make it more personal; more vibrant and engaging so you want to go into that newsagent or outlet.” POST NO BILLS

Day 1 of the new network and creative content didn’t break any new ground. Initially, the screens displayed digital posters and rotated as per the weekly Tatts cycle (Pools, Powerball, Oz Lotto etc). The level of sophistication has been raised significantly in subsequent months. The ‘what would you do if you won?’ advertising has become much more than a poster on a screen. There’s some excitement and animated story telling, albeit without audio.

Anthony Morse: “We’re also working on a level of retail personalisation. The aim is to have local notifications (school fêtes, local charity groups) rotating on the screens as a community billboard on the platform we use. “We’ve also learnt a lot about customer dwell time. We need to make sure the right messaging cycles through in that 90-120 seconds period without it looking like a fast-paced slideshow.

“From there we’re looking at dayparting. We were doing two sets a day and now we’ve changed to four sets a day because what hapDigital Place-Based Media & Technology

The ‘what would you do if you won?’ screen content is sophisticated and engaging. While having the right draw automatically scheduled and advertised at the right time removes an enormous compliancy burden from the retailer.

pens in the morning and the afternoon can differ depending on the jackpot.

“Audience measurement cameras will be next. Looking at how the messaging to a female customer in her 30s, would differ to a male in his 60s.” SPECIALISED PARTNERS

Tatts quite deliberately didn’t engage the world’s biggest systems integrator to take care of the one of the world’s biggest digital signage deployments. Instead they selected a provider that understood its intentions. Entwined has distinguished itself from other multi-disciplinary integration firms with its ability to consider its input as part of a broader digital strategy: how the digital signage complements the online presence, how it complements the social media… even how it complements traditional print marketing.

“The in-store digital normally starts life as a complementary product and often takes over as the primary product,” observed Entwined Director Cameron Hans. “But we try to deliver it how it fits in with the company with its overall digital investment.” The extra degree of critical thinking has meant Entwined counts blue-chip organisations such as the Bank of Queensland, Super Retail Group and Lorna Jane as clients. “One thing we know about retail is it’s con8

Digital Place-Based Media & Technology

stantly evolving. We have around 5000 Tatts retail sites to work on. We reckon we’ll have more than 600 done by the end of the year. By the time we hit 1000 we’re factoring in a redesign.

“From a content delivery perspective, Tatts was really impressed with the AppSpace CMS we use and where we thought we could take their solution,” recalled Cameron. “One of the big ideas was the integration and automation of the jackpot information. Early on, we gave Tatts the confidence that with the AppSpace API set we could do that.” The AppSpace CMS, as the name suggests, has a very rich set of APIs, allowing deep customisation. The CMS can keep pace with the client’s vision and the changing landscape of retail POS priorities. The next major piece was to select the display hardware. HAMMERING THE HARDWARE

“We had to be very, very thorough in our selection of hardware,” noted Cameron Hans. “The media player we chose, the IP switch we chose and ultimately the panel — there was just so much riding on that decision. We selected LG, and its SM5 range, tapping the 55-inch (55SM5KB) as our go-to panel. “The LG panels are built to a particular level, a particular set of smarts that allows us to

then put some management software on them, which really enhances our support offering. Thanks to the LG webOS, we can remotely load default content onto the screens, we can remotely monitor the screens, and that ticked a lot of boxes for Tatts about what happens when you have a 5000-site deployment and you’re managing 15,000 screens in the field.” With such a huge long-tail project, Entwined needed to be completely assured of the integrity of the supply channels and have an inside running on future product development.

“LG was fantastic in confiding in us regarding its product development roadmap,” enthused Cameron Hans. “Maintaining a consistency of bezel size was particularly important to us on this job. We had the opportunity to travel to Korea and work with the LG engineers on solutions. We couldn’t fault them as a partner.”

It’s been quite the hectic ride for Entwined: “Our success with the larger customers we work with is down to our team. We’ve got great people — passionate, committed people — and everybody from our helpdesk operators to our CIO, to our guys that hang the screens, spending weeks away on multiple deployments… our team is what allows us to deliver the product and I’m extremely proud of those guys.”  Entwined: www.entwinedsolutions.com.au LG: partner.lge.com/au

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Digital Place-Based Media & Technology

The humble playground gets a firmware upgrade. Text: Christopher Holder

he humble playground better watch out; it’s now being challenged by a digital, interactive, and responsive turbo-charged version that provides real time management and measurement data.

Vicinity retail property management earmarked an area near its Box Hill North Shopping Centre food court as a children’s play area, under its Vicinity Kids banner. The playground would provide a focus and an attraction for kids up to 12 years old, helping to activate the area for Vicinity’s food and beverage tenants.

Vicinity had a theme in mind: outer space. It knew it wanted a rocket, and a quiet space for kids and parents to chill and read a book. In other words the area would be more than a jungle gym, the Vicinity Kids project would be educational as well as fun.

After years of working together Vicinity (and Colonial before it) knew the whip-smart people at Interactivity could run with the space theme and device and deliver an integrated 21st century playground that would educate, delight and divert. ROCKET POWERED

Opening in the weeks before Christmas the new playground has been an instant success. Interactivity delivered the aforementioned relaxed reading nook (with “über comfy beanbags”) but from there the physical world of play combines with smart sensor technology and touchscreens. Even before a child enters the playground they’re attracted by the flashing LED stars cut into the perimeter fence. Alongside the stars are clouds that appear to float when a child climbs them to trip a sensor that illuminates strip LED recessed underneath. The effect is instant kiddy catnip for those passing by — there’s an irresistible attraction.

Inside, the rocket is the hero. There are two sensors. One is triggered on the approach ramp, which sets a countdown sequence in motion and LED launch lights. Audio can be heard within the rocket (“10, 9, 8…” etc) and once inside the second sensor triggers the takeoff sequence. An Epson ultra short-throw projector sits in the rocket’s nose cone to provide rear projection of friendly-looking alien activity. 10

Digital Place-Based Media & Technology

SENSORS: TRIPPIN’ METRICS Seeing the kids’ delight in interacting with the playground should be metrics enough but there’s a raft of digital feedback as well. Interactivity’s HQ receives stats on every time a trigger is tripped and a game is launched. A full monthly stats report is furnished to Vicinity which can marry the figures to their own retail sales reports, and, down the track, a wi-fi-derived hotspot foot traffic chart. It’s a potent tool.

TABLETS TWICE DAILY

A bank of touchscreen tablets provide access to a suite of 20 Vicinity Kids video games (all ‘violence free and therapeutically appraised’). The UI is easy to negotiate for any kid accustomed to an iPad. A larger portrait-oriented version of the screen is provided for the older child.

With Interactivity providing the technology solution you have every reason to expect some interactivity and the Box Hill shopping centre activation doesn’t disappoint. Three NEC commercial displays in portrait mode provide the window into some Kinect-driven interactive play. The custom games, designed especially for Vicinity Kids by Interactivity, kick off with a space-suit portrait opportunity with the child’s face inserted (there’s an option to post that up to the Vicinity Facebook page), and also packs three games that include a space quiz, a variation on the classic arcade favourite, Asteroids, and an alien-tinged take on whacka-mole. The games are only 30 seconds a throw, there’s some modestly-cranked audio and it’s all configured to be perfectly gesture-controlled by someone under five-feet tall. TOUGHEST TEST

When I met Interactivity’s Projects Director Maddi Goricane on site shortly after the official launch, she and Vicinity’s management could hardly have been more pleased. “The kids are happy and that’s the true litmus test,” she noted. “We’ve done plenty of children’s attractions before, but we were pushing a number of new innovations here, which are all theoretical until you get the kids in. We’ll use our experience and the metrics we glean from this play area to continue to tweak and refine the experience. For example, we’ll be shortly adding a new game especially for the Chinese New Year.” The playground demonstrates how technology along with educational and physical fun can come together in one happy, squealing, delightful zone that’s just as pleasing for kids as it is for parents. This isn’t a jungle gym with iPads, it’s a meticulously integrated experience that encourages kids to play, chill and explore.  Interactivity: (03) 9560 0620 or www.interactivity.com.au Digital Place-Based Media & Technology

And Much, Much More Supercheap’s Bathurst Popup Flagship Store

In Action

Story: Christopher Holder

CV Media & Design : 1300 332 029 or cvmediadesign.com.au Midwich (Samsung, Chief, Atlona): 1300 666 099 or midwich.com.au

The Bathurst 1000 is the biggest event in the Australian motor racing calendar. Forget about the circus in Albert Park, Bathurst is the big one, and has been for decades. Mount Panorama and Conrod Straight have permanently entered the everyday Aussie lexicon like Vegemite and Chiko Rolls. Supercheap Auto’s marketing machine has gone ‘all in’ on Bathurst. It sponsors the event up to the hilt, not just with naming rights and promotions but with a popup flagship store on site for the four days of the event.

The showpiece is a nine-screen video wall. This year CV Media has streamlined the look and installation by using a Chief mount for the nine Samsung UC series’ 46E screens. The look is very sleek, hangs by only two points from the stage truss, and took two staff only six hours to set up and configure, using an Atlona HDMI DA solution to direct content to the video wall. “The Chief solution was a huge improvement on our custom frame of previous years,” noted CV Media’s Scott Barnes. “It’s saved on staff time and the look is certainly superior.”

‘Popup’ and ‘flagship’ might sound like contradictory terms but not when you see the effort Supercheap goes to. Not only is it a slick retail environment but a place to stage events and competitions.

A four-way HDMI switch allows the Supercheap team to toggle between sources (race footage, live camera feed, promotions and more). The Supercheap crew even used the video wall for team meetings after hours.

The Super Retail Group (Supercheap, Super A Mart, Rebel, BCF) is a digital signage innovator and the Bathurst popup flagship leans heavily on a range of signage.

Two 75-inch displays flank the Samsung video wall and take care of local content and display race telemetry. A further six 65-inch screens are leased to commercial partners such as Bosch, Castrol, Black & Dekker, to advertise their product in-store. A 2.6m LED screen as well as three 55-inch outdoor screens keep passing punters informed as to what they’re missing out on inside the flagship tent. 

Supporting them is CV Media & Design. Part of the larger CV Services Group (which includes electrical, plumbing and more), CV Media works to set up and configure the screens for Supercheap Auto, under the watchful eye of Project Manager Scott Barnes. 12

Digital Place-Based Media & Technology

Please call our sales team on 1300 666 099 or visit www.midwich.com.au

OUR E PERTISE IS YOUR ADVANTAGE Digital Place-Based Media & Technology

Column:

Bricks & Mortar Fightback The GPT Group manages a number of large shopping centres including Highpoint, Macarthur Square, Westfield Penrith and others. The group is headquartered at Melbourne Central. GPT Marketing describes how the big screen fits into a broader content strategy.

Story: GPT Marketing

he other screens in the centre are managed by Adshel but we do still have access to those displays

We have a completely integrated content strategy in place now for a few years. The whole marketing strategy is content led. We have an amazing big screen in what we call Shot Tower Square, but that’s just one channel we employ. We optimise the right message and right format for each different channel. GPT facilitates content on behalf of retailers. We have key campaigns we run but a lot of what we do is in support of retailers in the centre.

Take, for example, this year’s opening of the Kit Kat store, the first to open in Australia. It was a fascinating partnership because Kit Kat is very digitally savvy, and does some amazing things in terms of its customisation and what they’re able to do on their screens.

We then promoted that on our website. We support their launch through a concerted blogging push so as to get good SEO. And from an SEM perspective we do a lot of things like geo-targeting, and mobile-focussed targeting of messages. For Kit Kat’s part, it targeted people who have already been in the centre and experienced Kit Kat or experienced Kit Kat through past competitions. After you buy your customised Kit Kat there’s a three-hour wait to pick up your purchase. We used digital signage to connect with those people while they were waiting, giving them some suggestions as to what to do in the centre during the wait — recommended experiences. Similarly, if

Digital Place-Based Media & Technology

you’re on your smartphone, Kit Kat will link to a blog which then turns into a ‘what else you can do when you’re waiting for your Kit Kat’.

Our big screen is a key asset for us and has changed our marketing out of sight. For example, we used to print a shopping event program — 200,000 copies! — now we replace those offers and have them located on the big screen and on our other screens in-centre. It’s integrated with the rest of our digital strategy, involving a call to action to our website. In November our big screen in the Shot Tower Square acted as a touchstone for the Spring Racing Carnival — people would gather to meet under the big screen, watch the big race and be entertained.

The big screen is a massively powerful tool for retail popups as well. It’s an additional marketing cost to the retailer but it works. From a management point of view it provides another platform for the centre to generate revenue — selling space on a screen rather than space on the floor.

The other screens in the centre are managed by Abuzz and Adshel in the Shot Tower Square, but we do still have access to those displays. We can use them for a live feed on a movie premiere event. For afterhours events they can be very handy. We’ll commandeer the screens for photo competitions where people tag their photos and they can be quickly moderated and shown on the screens. It’s also an example of the importance of wi-fi. We’ve recently had high density wi-fi installed into Melbourne Central and it’s crucial to our digital strategy. You need rock-solid, high-bandwidth

wi-fi to pull off these kinds of special events. And when it works, from a digital perspective it all makes sense. We’ve seen a massive growth in our database since the high-density wi-fi was installed. We track behaviour both online and back into the centre. We segment that database and target real-time messages to customers. This is an area we’re continuing to refine – making our messaging more personalised and less generic. Our challenge isn’t to attract visitors to Melbourne Central, its converting visitors into customers. Melbourne Central has some 54 million people through the centre each year. Around half of those are commuters on their way to the train station downstairs. It’s a great challenge and opportunity, and an obvious area of new revenue opportunities. Special events help. This year we launched Australia’s first VR experience, taking shoppers back in time, taking them on a virtual tour up the heritage-listed shot tower — which can’t now be accessed — and showing how it was used to manufacture shot. As a special event and experience for the centre its popularity exceeded our expectations. 

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Good Sports Crown Perth’s technical triumph

In Action

Story: Christopher Holder

Crown Perth: crownperth.com.au Corsair Solutions (TVOne): (03) 9005 9861 or www.corsairsolutions.com.au

DigitalSignage talks tech with Crown Perth’s AV gurus to learn

screen and sound system to staff working behind the bar with minimal day to day AV involvement.

We started by asking Crown Perth’s AV Development Analyst, Jeremy Prestwood, what the big idea was for the Sports Bar.

DigitalSignage: What’s the Sports Bar like when it’s really

Jeremy Prestwood: The aim was to deliver something that we hadn’t seen before. We wanted to create a dynamic AV experience for our customers. The main screen can split into 16 separate displays with the ability to show numerous channels at any given time.

Jeremy Prestwood: As an example, for the EPL Cup Final we had 10 different matches simultaneously on the large screens and we had well over 1000 customers in the area for a major sporting event like that.

We currently have up to 64 different sources expandable to 128. These vary from satellite sports channels, IPTV content, internet streams, signage and in-house event feeds.

Cameron Delaney: We utilise a lot of tvONE equipment across the complex as we find it reliable and suitable for our needs. The tvONE CORIOmaster was chosen as a primary main screen window processor as it fulfilled the flexible input and window layout requirements, such as rotation of digital signage to portrait mode, multi-source preview and confidence monitoring, and the ability to be used for live events in this space. We have found this beneficial on largescale events such as sporting launches and promotions.

more about Crown’s amazing screen-a-licious sports bar.

We have an amazing AV team here at Crown Perth, and the primary tech solution was developed by utilising in-house resources and skills including LED screen requirements. AV and screen installation was overseen by the in-house AV and Projects departments. The main Crestron DM128 covers the signal routing across the sports bar and the main gaming floor. This is with a mixture of Crestron DM8 cable and fibre. DigitalSignage: Technically, what was the toughest nut to crack

in getting the bar to function as planned?

Cameron Delaney – Crown Perth’s AV & Technical Manager: Probably the biggest hurdle was to figure out a way to hang a five-tonne LED screen within the existing infrastructure. This required additional steel work and temporarily removing sections of the roof in order to install hanging points. In addition, we had to find a way to route 6.5km of signal cable to run the system. The system has a lot of varied sources which was challenging to integrate. The result was to give seamless control of the 16

Digital Place-Based Media & Technology

heaving?

DigitalSignage: What’s some of the tech heroes of the install?

DigitalSignage: How do you address audio for a Sports Bar

with so many different source?

Cameron Delaney: Actually, our main challenge with the audio was to provide sufficient coverage over a large crowd without interfering with general gaming operations. Primary audio is from a line array that covers the bar area and can be fed from any signal source. There are two additional zones that cover the smaller side bar and TAB outlet. The room also has auxiliary inputs for live events. This ensures the patron playing nearby gaming machines can still enjoy their experience while a major sporting event is happening in a close proximity. 

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In Fashion Sportsgirl’s Digital Signage Shopfront

In Action

Chadstone Shopping Centre is where retail fortunes are made and lost. South of the equator, there’s no place bigger — ‘Chaddie’ rules the retail roost. It’s also the arena in which the big guns come out to play — Apple, Uni-Qlo, Chanel… Chadstone Shopping Centre is replete with big-brand marquee outlets. Sportsgirl, one of Australia’s best-known fashion brands for nearly 70 years, has recently opened its flagship store in a prominent ground-floor position. Front and centre is one of the most impressive digital signage executions in the country, using 36 x 55-inch Philips commercial displays.

FM Digital: 1300 099 386 or fmdigitalgroup.com.au Westan (Philips): (03) 9541 8888 or www.westan.com.au

With system integration by digital signage specialists, FM Digital, the jaw-dropping display is arrayed in two synchronised banks either side of the main entrance. Each bank is comprised of three columns of six landscapeoriented panels. Two Windows/Intel i5-based custom PCs sit behind the video walls hosting the DC Media CMS. Content can fill an entire bank or, alternatively, one column of six panels. Given the video walls can be accessed from the rear, it simplified installation somewhat. There’s no need to pop out Vogel mounts from the front, all servicing and maintenance can be taken care of behind the scenes. FM Digital sourced the displays from Westan, and was impressed with the ease of the process: “Initially, I was attracted by the price,” reflects FM Digital boss, Myles Quinn. “With 36 screens on this job, cost was a significant

Digital Place-Based Media & Technology

factor, and the Philips package was 25% or more cost effective than the established competition. Saying that, the screens needed to deliver. The narrow bezel is as good as any other, and the three-year 24/7 warranty is also reassuring. Westan’s tech staff know their product and were able to train my team and were able to assist during the install when required. Westan was very responsive throughout the procurement and installation process — it was good to know they were there for us.” 

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Self Serve Kiosks: primarily for ticketing but also displays upcoming movie information.

Now Showing Hoyts Chadstone stakes a claim for being one of the best, most digitally-integrated movie multiplexes in the world. Story: Christopher Holder

oyts’ mission is to be the best cinema chain in the country. But in its efforts to get ahead of the local pack it may have launched the best cinema multiplex in the world. Hoyts Chadstone represents the very best in cinema comfort and technology. Every seat is leather upholstered and reclines. Every cinema uses the latest Christie laser projectors. The complex has its very own food court along with the ubiquitous candy bar. There’s a glamour and a heightened sense of anticipation about the Hoyts Chadstone environment, something attained without reverting to ‘golden age of Hollywood’ tropes. Hoyts Chadstone is decidedly contemporary. 20

Digital Place-Based Media & Technology

A major part of the success of the Hoyts Chadstone fitout is the integrated approach to the digital signage. There’s nothing ‘bolted on’ about the digital signage; from the architect’s initial drafts the cinema’s delivery of digital was pivotal. David Hepburn the Digital Signage Manager of Hoyts took DigitalSignage on a tour of the smorgasbord of signage touchpoints throughout the centre. David has once again teamed with Command Digital to provide the specialist integration and installation smarts for the extensive digital signage network. Command Digital: 1300 780 204 or www.digitalsignage.com.au

Welcome Wall: A monster 5m x 3m in portrait 2.97mm LED screen, the first such an installation for Hoyts. Apart from being used for animated film posters, the Welcome Wall can be used to promote future events (like Hoyts’ Girls Night Out, for example) or taken over during special events and ‘exhibition’ nights where corporates can hire part or all of the cinema. The Welcome Wall has its own loudspeaker system for presentations. The CMS is wise to not showing MA-rated content during the day, and goes heavier on the family content prior to 7pm. The LED panel can be serviced from the front, which certainly makes for a more stress-free maintenance approach.

Box Office: A versatile 4x2 video wall can be used to play single super-widescreen promos or be tiled for multiview content. The inhouse Hoyts/Val Morgan scheduler is called Media Unleashed. The CMS uses its database of movie times and upcoming scheduling to ensure the right posters are displayed at appropriate times. David Hepburn and his team uses Media Unleashed to schedule all the other content, including Eat Street’s digital menuboards. Underneath the 4x2 stretch video wall is another 4x1 video wall that’s strictly business – displaying session times for customers purchasing tickets from the box office.

Candy Bar: What started as an architect’s ‘what if?’ brainwave resulted in three startling pillarhugging LED cylinders. Command Digital turned the fantasy into reality and the results are stunning. Original, relevant content fills the LED displays and even includes the judicious smattering of audio — the rhythm of popping corn for example. For marquee events such as a Star Wars premier the Candy Bar signage can also be used to theme the cinema, as well as promote the special merchandising. The Candy Bar is huge and fun, and the digital signage is entirely appropriate.

Digital Place-Based Media & Technology

Eat Street LED: When too many movie shorts are just never enough. There are a thousand eating options at Chadstone Shopping Centre, so Hoyts was pleasantly surprised to find the public flocking to its own food court, Eat Street, to grab a bite and sit and watch movie trailers on the big (4m x 2.5m, 2.97mm pixel pitch) LED screen.

Lounge Video Walls: The waiting area is dark, soft and comfortable. Great for watching more trailers on the video wall. Two 4x1 portrait oriented displays take care of more promotions. It’s a media rich lounge that offers something diverting no matter where you’re sitting or facing.

MORE ABOUT THE CHRISTIE PROJECTORS Hoyts Chadstone comprises 13 auditoriums, including the 390-seat ‘Xtremescreen’ premium auditorium fitted with a massive 24m-wide screen — one of the biggest in Australia. The projection system here comprises a Christie CP42LH 3DLP 4K RGB laser projector featuring enhanced wavelength diversification (EWD), connected via fibreoptic to a laser rack housing nine laser modules that generate white light from multiple combinations of RGB primary colour wavelengths to offer an impressive 3D viewing experience on silver screens. Installed by the technical teams from Christie and Hoyts Cinema Technology Group, the system generates 45,000 lumens. The remaining theatres are equipped with Christie Solaria Series digital cinema projectors comprising the CP2220, CP2230 and CP4230 models. Christie: www.christiedigital.com.au

Bollards: Command Digital created a Digital Bollard for each of the 13 cinema entries. The flush-mounted Panasonic screens display promotions along with a countdown clock for the next session.

Back to Back: The 3 x 3 back-to-back video wall is another option for showing movie trailers and promotions.

Digital Place-Based Media & Technology

Image courtesy PRO4MEDIA

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Photo Tour:

C OSME TIC C H AN GE S MECCA Brands partners with Brisbane-based digital specialists, Prendi, to bring a new kind of retail experience into its stores.

SOCIAL CONNECTION Identifying the need amongst its community for greater connectivity, MECCA has integrated social media capabilities to enhance the conversation both online and in-store. Integrating platforms for customers to create their own, personalised content to be easily shared amongst their network.

Digital Place-Based Media & Technology

DIGITAL SIGNAGE  Prendi installed screens in different configurations to show custom animated content to enhance the MECCA brand and messaging. Multiple layouts were decided on and reused across multiple stores to allow ease of creating content, and drive digital engagement in-store. With Prendi’s creative team of designers, technology experts and business strategists, they are well-equipped to transform your physical space into a branded, interactive experience. Prendi: www.prendi.com.au

SELFIE STATION MECCA’s front-row glamour is taken to new heights with the Selfie Station, enabling shoppers a fun way to go social with their instore experience. Within a photo booth station – the interactive display prompts individuals and groups to “step into their most flattering light”, taking snaps and personalising the filters and GIFs before sharing online. The selfie station combines a custom enclosure, lighting and camera with a touchscreen application. Prendi handled all interactive application development and hardware deployment for the Selfie Studio.

HOW-TO TOUCHSCREENS MECCA has made accessing product information a more seamless experience by introducing its popular #MECCABeautyJunkie YouTube videos into the in-store environment. Built into the Beauty Bars located at the centre of the store, the 10-inch displays enable customers to view and simultaneously try products prior to purchase. The application features a range of different make-up techniques, making the in-store experience more informative and seamless than ever before. Digital Place-Based Media & Technology

Big Things Grow ANZ Virtual Garden Compounds Interest

In Action

The brief was somewhat of a blank canvas but with clear intent: design content for an 11m-high screen at the centre of ANZ’s new flagship branch in Martin Place, Sydney. Something that would serve as a brand statement, be the talking point for customer interactions, have universal appeal, complement the building’s architectural elements and run continuously throughout the day. Realising the limitations of traditional video content, it was Deloitte Digital that was keen to push the brief and create something more rich and dynamic — an installation that would evolve throughout the year and beyond.

Deloitte Digital: www.deloittedigital.com/au

After much brainstorming, the ANZ Virtual Garden was proposed: a vision of an ever-changing lush virtual ecosystem that adapts to the outside light from morning to afternoon to night, with foliage that transforms with the seasons and responds to the ambient weather. Leaves appear to sway in the breeze, a waterfall swells with virtual raindrops, and shadows or sunbeams reflect passing clouds. A digital take on the more traditional ‘vertical garden’, the Virtual Garden is a permanent dynamic installation that displays an evolving 3D animation driven by location-based data and clever social media interactions. “There’s nothing quite like it anywhere else,” says Daniel Cheong-See, National Creative Director at Deloitte Digital. It’s not just a 3D rich display either; customers can tweet #ANZVirtualGarden to request a variety of creatures and objects to appear within the environment and adjust their

Digital Place-Based Media & Technology

colour and intensity. From different flower types, birds, mushrooms, a variety of insects, and even a waterfall — customers are given control to customise the wall to their liking. It is a celebration of ANZ’s brand philosophy of ‘Your World. Your Way.’ The ANZ Virtual Garden is built in Unity, a multi-platform game engine, which supports the live data that feeds the custom software and results in the ever-changing digital display. Technically, the Virtual Garden required thorough development, logic and testing to ensure the concept would function autonomously as intended over constant operation. Carolyn Bendall, ANZ’s Head of Marketing, was extremely satisfied with the end result: “We felt the concept of the Virtual Garden helped us demonstrate ANZ’s commitment to integrating technology and innovation into the customer experience.” Right from its initial launch, the ANZ Virtual Garden has come to life with a large feed of customer tweets. It is clear that the wall has achieved its intention of enhancing the customer inbranch experience through ‘surprise and delight’. Customers have been sharing tweets, photos and videos of their requests brought to life on the wall. Branch staff have also reported that the Virtual Garden is a common talking point for visiting customers and their ‘favourite part of the branch’. 

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Big is Best 80-inch Portable Monoliths for MCEC

In Action

Story: Preshan John

The Melbourne Convention and Exhibition Centre is pretty expansive — the kind of space that’d instantly dwarf a petite screen. Here, digital signage has to be big to make an impression. So when Paul Rumble, Senior Manager Technology Services at MCEC, was seeking a digital signage option to direct foot traffic through the exhibition and convention halls’ shared foyer, he went big. 80 inches big. MCEC purchased two colossal 80-inch NEC commercial panels. To accompany them, Rumble approached Gilkon to construct custom enclosures (or shrouds) for both displays.

Wilson & Gilkes: www.wilsongilkes.com

The Gilkon monolith is an impressive thing to behold. Like a well-matched photo frame, it’s designed to lend digital signage a commanding presence as well as structural stability. MCEC purchased two of them to house the NEC panels, both of which stand tall and proud in the entranceways of MCEC. It’s not just the aesthetics that makes the giant enclosure what it is. Portability was a key requirement for MCEC’s needs — something Gilkon’s shrouds hadn’t featured previously. Though it posed a challenge making such a sizeable rig relocatable with anything less than a forklift, Gilkon built castors into the shroud that allow them to be easily and strategically placed wherever the most foot traffic will be concentrated. Power and Ethernet connections appear at spaced outlets all along the foyer to avoid

Digital Place-Based Media & Technology

long and ugly cable runs. Content is controlled centrally from MCEC’s digital signage software. Paul Rumble: “Events here are layered over the top of each other. Peak business days mean we’ll have traffic that’s going to be centralised in one part of the building or the other. So we had to be agile enough to be able to cater for that. The fact that we’ve got two to cover this concourse means we can move them as we need to.” Adding portability wasn’t the only first for Gilkon. These were also the largest shrouds the company had made, with the next size down being 70-inch. The displays have another important purpose in addition to pointing people in the right direction. “Recently we had one exhibition company that hired the whole centre, and they were able to utilise them to brand their events. The other thing we can do because it’s all tied in with the signage system is, when there are no events in the venue, we can advertise our internal offerings like our new Shed café.” James Hunt GM Wilson & Gilkes GM says, “All the shrouds we make are custom. What made this one different was that it had to be mobile, and it had to be bigger than what we’ve made before. Our history of metal fabrication goes back a long way. We’re true innovators when it comes to producing quality products for the audiovisual industry.” 

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Southern Comfort The Nobbies Centre’s Antarctic Journey takes visitors places they’re never likely to go thanks to some immersive digital signage and AV.

Mental Media: (02) 9557 2011 or www.mentalmedia.com.au Thylacine: www.thylacine.com.au Panasonic: www.panasonic.com.au Interactive Controls (Medialon): (02) 9436 3022 or www.interactivecontrols.com.au

IMMERSIVE SPACE Like icebergs calving from the Wilkins ice shelf, eccentrically angled screens dot the Nobbies Centre’s Immersive Space allowing visitors to walk through and explore the footage at their own pace. Taking care of the projections are Panasonic PTRZ670 6500-lumen and PT-RZ470 3500-lumen laser light source projectors (depending on the size of the screen that needs filling), some fitted with ultra short throw lenses where required. The content is being played out of Dataton Watchout systems, which take care of all the pixel mapping and image warping — of which there is plenty given the angles of the screens.

PLAYING WITH ORCAS

SEAFOOD DINNER

Bruce Brown: “People just love this exhibit. It’s an augmented reality package from a Belgian company. Originally it included penguins, seals and polar bears etc., and we engaged them to modify it, take out the polar bears — none of those south of the equator — and produce it to suit our needs. “The sy stem uses an HD camera that sits above the screen and integrates your image in with the animation. The difference here is the size of the screen, which is enormous. We use two stacked Panasonic 670s with long-throw lenses. The images are perfectly superimposed and we get the extra image intensity as a result. The cost to produce a one-off augmented reality setup like this would have been prohibitive so we’ve licensed it.”

Seafood Dinner allows you to place a plate onto a menu item and read how sustainable it is (or isn’t). A Displax capacitive touch film sits underneath 6mm of Corian. A Panasonic PT-RZ475EA projector displays the image. “The Displax film turns this table into a large touchscreen,” notes Bruce Brown of Mental Media, which was the technical brains of the operation. “We had the film supplied in the correct size for the table. Displax is a Spanish company and I’ve been using the product for about eight years.”

Digital Place-Based Media & Technology

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Winter of Content Artists in Motion’s HK Winterfest Spectacular

In Action

Story: Preshan John

Artists In Motion: www.artistsinmotion.co

The WinterFest Festival is a sensory spectacular held in the heart of Hong Kong during the Christmas season. An eight-minute animated show is projected once every half hour onto the walls of Hong Kong’s Cultural Centre building, requiring a large AV setup of several projectors, lights and loudspeakers. Australian creative projects company Artists In Motion makes it happen, creating, coordinating and conducting the entire show. The event consistently attracts over 400,000 people each year and is centrally located in Tsim Sha Tsui, visible from across the Kowloon Harbour. Creative Director, Richard Lindsay, seems unfazed by the scale of the extraordinary visual experience: “Well, it is big, but it’s like anything — you break these things down.” Artists In Motion is Sydney-based, but the majority of its projects are international. Last Christmas was the sixth consecutive year Artists In Motion had conducted the WinterFest show — that includes everything from writing and animating the story, to projecting it on the 50m-high, 280m-wide Cultural Centre. The only thing rivalling the logistical challenge of such an event is what goes on behind closed doors. The Winter Festival is an initiative by Hong Kong’s tourism board with the purpose of promoting Hong Kong as a must-see tourist destination. Lindsay says convincing the board that an engaging story would be more well-received than a tourism advertisement isn’t always easy.

Digital Place-Based Media & Technology

“One thing we have to do is educate the client. You’ve got to think about the audience, the audience’s perspective, and what they want to get out of it. You have to make it entertaining. SPL-related complaints were common from the Hong Kong Cultural Centre, as performances would typically be occurring inside the building while the Artists In Motion crew conducted PA tests. “It’s mainly because if we have heavy bass, it sends ripples through the building. But of course you need to have some serious bass in order to live up to a proper soundscape. So we play around with the Centre’s tolerance and what they’ll allow us to get away with,” says Lindsay. There’s a lot to consider when putting together a show like this — the scale of the building relative to people’s perspective, the audience’s viewing angles, ensuring quality sound gets to all viewers, synchronisation of projectors, audio and lighting, the list goes on. Spectators could even install a smartphone app for a personal, live music feed. The wealth of knowledge gained by Richard and the team having already run the show several times proved invaluable. The team controls the audio, lighting, playback systems, and projection from a 12m-high projection tower that sits right on the water — one of several projection towers strategically stationed around the venue. 

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Comment:

Never Been a More Exciting Time

Story: Mug Punter

y the time you’re reading this we’ll have a new government — maybe. And maybe a new Prime Minister — and that’s not necessarily because of who won the election. Tennis elbow is a serious problem in the houses of parliament with all that back-stabbing going on. Even among the winners. Being a politician is a tough gig. People complain that pollies are over-paid, over-perked and overpopulated, but it’s a 24/7 job and that’s never fun. You can’t anonymously pop down the pub for a beer without dressing up as the Elephant Man. Try nipping to the milk bar for a packet of Winnie Blues without having to defend about seven different taxes and some kind of Medicare levy before getting your loose change out of 50 bucks (thanks to the tobacco tax). DIGITAL POLICY PLATFORM

Getting elected is harder than ever. Back in the old days all you had to do was stand on a soapbox, sing ‘God Save The Queen’ and Bob Menzies would give you an electorate. Today, you have to make promises and dream up policies… and change them on the run, when someone does some research and crunches the numbers — bastards. Social media and the internet are proving to be the ruin of politicians. They’re now expected to be honest, which is unreasonable and wholly unfair. After all, how are they supposed to stay abreast of everything? Which is why digital signage is emerging as the perfect platform for political advertising. Gluing posters to a bus stop is so 20th century, when the modern alternative is digital signage — a medium that can be tweaked the moment any kind of 34

Digital Place-Based Media & Technology

policy announcement needs adjusting. Redefining? How about clarifying? Anyway, a line of highdefinition screens is always going to be way better for promoting a candidate’s political wares — and exposing their opponent’s unfortunate political underwears — than some tatty collection of A3 posters holding a corrugated iron fence together. You can change the slogan in an instant. Shift the decimal point, fiddle the budget figure, give the proposed tax a more user-friendly name. The possibilities for refining the message are endless and there won’t be a can of whitewash in sight. GRAFFITI: PLEASE EXPLAIN

And it’s not so easy to deface digital signage. The obligatory giant graffito-phallus will be a ‘thing’ of the past, because vandals know the screen image might change to something completely innocuous within minutes and they might be inadvertently ‘penising’ the wrong thing. They can’t scrawl Hitler-style moustaches on Malcolm Turnbull or Bill Shorten, because the screen might switch to a picture of Pauline Hanson and that wouldn’t work at all... oh, wait.

There is a risk that any digital signage political statement on an AV network might be hacked, but the beauty of political messages is they’re generally considered nonsense anyway, so nobody’s going to take much notice, if it all looks a bit silly. What’s more, today’s embarrassing, hacked/hackneyed catch-cry that needs an apology might be tomorrow’s copyright genius. After all, it’s never been a more exciting time to rip off a slogan. PRIME (MINISTER) REAL ESTATE

A commercial windfall is possible, too. Politically-themed advertising could be very lucrative. Imagine Malcolm Turnbull holding up a pencil

and declaring, “I use SuperSharp pencils, the only pencil that can fill out the entire Senate ballot paper without running out of lead”. It’d sell a million — or maybe a few million would get pinched from the polling booths.

Digital signage can also take all the doubt out of political polls — those polls before the election that predict everything so, hmm... reliably. Who are you going to vote for? Touchscreens can give you a blue button for the Liberals, a red button for Labor, and a black button for ‘Other’ parties. Press the black button and your image and personal details are instantly emailed to the Federal Police for immediate investigation… never know what subversiveness you might be up to; can’t be too alert in these dangerous times. One problem might be that vast, politicallyorientated digital signage networks will deliver poor ROI for investors, because elections only occur every three years or so — give or take the odd referendum and double dissolution. The solution would be to have more elections, more often. Swap Prime Ministers around a few times, chuck in some retirements and maybe the Governor General can fire the entire parliament every once in a while — that hasn’t happened for ages. Given what’s going down at the moment, it shouldn’t be hard to arrange.

Mug Punter is a proper writer and novelist; get him outta here. 

Mug Punter’s curmudgeonly carping does not necessarily reflect the views of DigitalSignage. If you have a differing view contact the editor Chris Holder on chris@dsmag.com.au

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