DigitalSignage Issue 24 by Alchemedia Publishing

issue #24

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Sydney International Airport: A First Hand Innovation Retrospective

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DigitalSignage Issue 23 — Errata In Issue #23 of the Digital Signage magazine, an advertisement, article and promotional insert was published on behalf of Westan Pty Ltd (‘Westan’) which included, in each case, a photograph of a large screen digital display that had been installed at the Charlestown Square Shopping Centre. Westan acknowledges that the use of this photograph was in breach of the copyright in the photograph that is held by Digital Place Solutions Pty Limited. Notwithstanding Westan engaged the services of an advertising agency to promote its services and the photograph was provided by the agency, Westan apologises for the use of this photograph and for any misrepresentation that the relevant large screen digital display solution was designed and installed by Westan. Westan also apologies for any suggestion that the LED display depicted in the photograph is by Aurora Signage. Westan acknowledges that Digital Place Solutions (www.digitalplacesolutions.com) was responsible for the visualisation solution including display, rotator and suspension design, installation and project management for Charlestown Square Shopping Centre. Westan also acknowledges the LED display depicted in the photograph was supplied by NanoLumens Inc. (www.nanolumens.com) Authorised by Westan Pty Ltd.

CONTENTS ISSUE 24 2018

Digital Place-Based Media & Technology

Advertising Office: 0416 230 329 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)

6 FEATURE STORY 6 Departure Lounge: PwC leverages signage to meet with its clients in an entirely new way. TECHNOLOGY 28 Samsung @ ISE: The Wall Showcases new MicroLED tech 30 LG @ ISE: Transparent OLED & more COMMENT 12 Flight Time: Martin Salterâ&#x20AC;&#x2122;s First Hand Account of Driving Digital Innovation at Sydney Airport. 32 DigitalSignage Magazine Video: Latest Eye-catching Tech on our YouTube Channel 4

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Mug Punter: Letting off Some Steampunk

IN ACTION 18 Jungle Out There: Interactivity keeps Emporium Kids Happy 20 Hungry Beast: Southern Cross Uni Makes Most of LG Video Wall 22 Head For Radio: KIIS FM Transforms Studio with Philips Video Walls 24 Tricked Up Transport: Fed Square Pub Ups its Game 26 Taxing Times: Lightning AVover-IP Multiview Showpiece

alchemedia publishing pty ltd (ABN: 34 074 431 628) PO Box 295, Ballarat, VIC 3353 info@alchemedia.com.au All material in this magazine is copyright ÂŠ 2017 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. 21/2/18

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Departure Lounge PwC pushes the design and technology boats out to meet clients in a whole new way. Story: Christopher Holder Photography: Nicole England

t’s awe inspiring to see digital signage at the vanguard of business transformation.

PwC is a multinational giant of the professional services world. Three of its leases in Australia (Brisbane, Sydney and Melbourne) were up for renewal within some six months of each other and the company decided to grasp the nettle — to throw away the commercial office fitout rulebook and design new spaces that would allow it to meet with its clients in an entirely new way.

The result? Open plan client collaboration floors that are more like hotel lobbies than meeting rooms, and weaved throughout the design is digital. This issue we take a journey through the Melbourne and Sydney client collaboration floors, and get a sense of why the ‘PwC way’ is being closely scrutinised by the business community around the world. 6

Digital Place-Based Media & Technology

PwC CIO, Hilda Clune, who helped mastermind the change, told DigitalSignage: “PwC’s purpose is to solve important problems and build trust in society. There is an emerging need for spaces that are flexible and can be used for sessions with clients, where we co-create a solution to a business problem. This scenario needs richness and choice of high-tech, low-tech and tactile tools to support design thinking and accelerated solution design.” Sounds intriguing! Let’s dig in and investigate some of these tools. BRAVE

Leading the design charge was interior architects FutureSpace. We spoke to FutureSpace Managing Director, Angela Ferguson. Angela heaps praise on PwC

and Hilda Clune for their bravery in taking a huge leap of faith.

Angela Ferguson: PwC’s brief was to create an exception end-to-end client experience — triggering different expectations and changing perceptions. It was all about options and their clients’ choice in the way they want to work. PwC were really open to new ideas — they actively sought this. We had a huge amount of scope and they were willing to take a big leap of faith. It’s a seriously radical departure from anything done before. BRAND

PwC’s central pillars of the digital transformation are: Inspiration, Personalisation and Collaboration.

WHO’S WHO Interior Architect: FutureSpace Digital Content & UX: Downstream AV Consultants: Audio Systems Logic (ASL) AV Integration: Fredon Technology

The PwC brand promise is ‘solving important problems and building trust’ and the digital aspects of the design dovetail with the architecture and the interior design.

From an interior design perspective FutureSpace pursued the ‘hospitality-led’ model to its logical conclusion, delivering a range of spaces that break down the traditional barriers of formality, allowing PwC and clients to meet and collaborate. Angela Ferguson: It doesn’t look like an office. It’s more like a blend of a hotel, hospitality, retail, and even the airline industry. Secondly, it’s more open than any workspace you’ve ever seen before.

There’s a whole range of different settings across the client collaboration floors that offer different degrees of privacy and different types of technology. So whatever manner of meeting you could possibly think of, there’s a space that will support you to do that.

PwC’s new client collaboration floors represent a significant design departure and have digital signage weaved throughout. LG’s Stretch displays (top right) make for a stunning feature. In non-traditional meeting areas AV trolleys from Gilkon (above) can go where the meeting is.

INSPIRATION

A floor-to-ceiling digital Waterfall runs through all four floors of the fitout. It’s an architectural installation that shows PwC’s thought leadership, Digital Place-Based Media & Technology

THE POWER OF TOUCH

The Digital Waterfall provides easy access to PwC insights most pertinent to the individual client. Content can then be saved to the client’s digital ‘briefcase’. SoundTube pendant speakers provide audio where relevant.

insight and best practice running through the core of the building.

As a PwC client the Waterfall recognises you and will reveal an avatar of you on screen, the content running on the screen will disappear and be replaced by content that you have in your PwC profile. You can select content (white papers, PwC authored opinion pieces etc) on the touch-enabled Waterfall. It’s a visual representation of how you can harness PwC’s insights and thought leadership. The Hub Theatre in Melbourne is another example of Inspiration. A large gold-enclosed circular interactive space that showcases PwC’s forward thinking and unique perspective.

Thanks to video conferencing, a partner from PwC anywhere in the world can contribute or even drive the presentation remotely. It’s an immersive, 8

Digital Place-Based Media & Technology

high-end experience; a space where the PwC team can present to key clients, government officials or pitch for new business. There’s an inspiring sense of theatre about the space. PERSONALISATION

Collaboration works best where there’s trust and intimacy. In other words, PwC understands the importance of getting to know its clients.

The Welcome Wall acknowledges arriving clients personally. For example, if a client arrives for a day of seminars, the Welcome Wall does away with the typical trestle table of name tags. The client approached the Welcome Wall and checks into the event, whereupon the agenda will be displayed, a notification will be sent to the meeting host, catering will be notified with your coffee preference and any dietary requirements. All this is linked into the CMS.

Just about every display you see pictured is touch enabled. All the working screens are from Samsung with special purpose screens coming from Planar, Multitaction and LG. The level of interactivity, you’d have to say, is unprecedented. PwC CIO, Hilda Clune, elaborates: Hilda Clune, PwC: “Touch is an important element in engaging our audience and in the adoption of technology. As technology more frequently becomes the tool of choice for innovative and collaborative sessions, increasing the opportunity for touch technology naturally lifts the degree of interaction. In the more sophisticated experiences through the journey, the technology is designed to entice the person to engage in an intuitive way.” Nick Orsatti, GM of system integrator, Fredon Technology, talks us through some of the other technology decisions: “PwC’s Welcome Wall uses Planar displays with a PQ Labs touch overlay. Multitaction displays are used for the 180° curved innovation hub space in Sydney — the curvature of the displays makes conventional IR touch less suitable. “The equivalent space in Melbourne is a little larger and we’ve used SiliconCore 1.5mm pixel pitch LED, which represents five contiguous HD images. There’s no touch on those screens; presentation only. That setup and the Multitaction version has tvONE CORIOmaster video wall processing behind it, to allow for the various use cases. “The team at Corsair Solutions support tvONE well and applied their talents to working on that video wall application. CORIOmaster looks to be well designed for presentation areas like this.”

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FLAME TREE The LED Flame Tree in the Melbourne office is the creation of lighting designer to the stars, Bruce Ramus. The artwork extends through the four floors of the atrium then branches out below like the roots of a tree. Various, largely indigenously-styled, content changes with the Melbourne weather which famously can swing about from hour to hour.

It’s an intelligent approach that’s refined the more the client spends in the space. It goes some way to ensuring a more streamlined experience. The level of hospitality is more akin to what you might hope to experience in a high-end resort or luxe hotel. COLLABORATION

Collaboration: here’s where we really get down to business and these are the ‘Client Collaboration’ floors, after all. The spaces are designed to encourage clients and the PwC team to actively work together and create solutions.

The focus is on collaboration rather than the traditional presentation paradigm. To achieve this the digital tools need to be trustworthy and friendly to both staff and client.

Digital content developer, Downstream, has created a bespoke Asset Browser in a number of the collaboration rooms. Running on a 72-inch touchenabled Samsung display, the interface allows the easy, real-time access of multiple data sources (PDFs, MOV files, browser windows etc). 10

Digital Place-Based Media & Technology

DIGITAL SOUL SEARCHING

PwC’s harnessing of digital signage signals a real coming of age for the platform. Business understand the importance of the web as an online extension of its brand, and is gradually getting its head around what client-facing smartphone apps are doing to complement that. Now, with digital signage, we can see just what digital can do for a brand in the physical world. Downstream calls it an ecosystem and I can see why. It’s more than funky media, more than impressive hardware, more than fastidiously integrated technology, more than eye-catching slogans, the PwC approach developed with Downstream and FutureSpace (ably brought to life by integrator, Fredon Technology) is far more intimate, integrated and intelligent than that. It’s genuinely transformational. As one PwC staff member was heard to remark: “it’s like starting a new job. I have the same email address but I have a new job.” Such is the philosophical change embodied by the new work environment. 

(top right) The Melbourne Hub is a premium presentation and video conferencing space, using fine pitch SiliconCore LED. (above) Downstream designed a collaboration space UI called Asset Browser for the 72-inch Samsung touch screens.

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FLIGHT TIME Martin Salter reflects on his time driving digital innovation in Sydney Airport and what the future of digital signage will look like. Story: Martin Salter

orget about digital strategy. In a world where everything is digital then you need to be looking at your customer strategy rather than a digital strategy.

You’ve heard the catchphrase ‘content is king’ (admittedly from five or 10 years ago)? Now, just the customer is king.

Admittedly, the customer has always been king but the industry is only now catching up — your strategy should entail the best ways to engage the customer. Traditionally the signage strategy has been about putting a sign where you see the most traffic. You’ll target a vast amount of people with a massreach philosophy — one message to all, no matter the wastage.

That’s an out-of-date strategy. The technology has caught up and allows us to be more targeted and 12

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strategic than that. There’s no longer any need to be so scattergun.

Now the technology exists for us to use what’s called predominant profiling. You don’t have to target someone specifically but you can target a group in a predominant way, which makes for a more efficient delivery of your message, without the mass reach wastage. FLYING HIGH

Sydney Airport was a great testbed for signage — it’s a unique environment where you have a vast number of people in dwell for a good period of time.

The people you’re talking to are excited — the majority of travellers are on holiday and because of that holiday mindset they’re more inclined to be open to messages.

AIRPORT STRATEGY

Sydney Airport is a business where you’re encouraged to try new things — if it wasn’t for that support it wouldn’t have happened.

Our original strategy was based on understanding the passenger. If I’m flying to London do I want to see Sydney’s weather? No, I would like to know what’s happening in London: What’s the weather like when I’m there? What’s happening when I’m there? Can I book a hotel? Can I book a restaurant? From there came the evolution of Norman [Cantrell, MD of TechMedia] and I talking and saying: how can we contextualise or categorise a profile of someone that’s at Gate 32 flying to London? Can we deliver content to that screen, that media player and expose those people to relevant content for the hour they’re dwelling and engaged? If we can, that is going to make their

experience far superior to an old-school approach of sending the same content to the masses, with the associated wastage that comes with that approach. It’s better for the customers and better for the airport’s advertising clients. CRUCIAL WI-FI

Sydney Airport was the first to install high-density wi-fi back in 2010 and it’s gone from strength to strength.

The screens may be the heart of a digital signage solution but the wi-fi is the brain and the two have a symbiotic relationship. Wi-fi allows you to extract valuable analytics and then use that data to improve the customer experience. Predictive analytics need to play a huge part in the future of signage. Wi-fi can help to segment your audience, not just by gate (if you’re an airport) but by a specific zone, which is something we achieved

last year at Sydney Airport.

Predictive analytics will also assist asset owners, helping them to apportion resources, helping to create operational efficiency and enhancing customer experience. You might need five checkouts open rather than four thanks to what you know from wi-fi.

Wi-fi is breaking the shackles of needing apps and beacons. If you have an access point, a smartphone and a screen, you’ve potentially got something that can work together. When you’re logging on to wi-fi you are sharing your information with the providers, and privacy guidelines need to be adhered to. I believe people need to be afforded the courtesy of opting in to a mailing list. And once you have that permission you use that information for the benefit of the customer; use that information to understand your

customer better, which will, in turn, inform your choices as an organisation. WHERE TO PUT SCREENS?

Sydney Airport was a really interesting project to work on. And determining where to locate screens with APN required a lot of thought and research — eight months, in fact. It was an investment and we needed to be sure the signage, once installed, would look like it belonged there. I was pleased we put in that legwork. It’s clearly better to invest in that development and design prior to the rollout. The solution we arrived at was a good one. WEB & SIGNAGE COMBINE

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DISPLAY LOCATION: APN’S PHILOSOPHY “APN Outdoor’s digital mantra is to position assets by design not default. Our panels are positioned to connect brands with consumers in a way that will resonate. High dwells at strategic points of impact translates to engagement for brands. This combined with the heightened emotion experienced in the Airport environment at points such as Check-in, Duty Free and Gate Lounges all provide the perfect opportunity to influence. We value this approach of purposeful placement and adopt this in the positioning of all our assets at APN Outdoor.” APN Outdoor: www.apnoutdoor.com.au

Contextual Content: Martin Salter and Techmedia’s Norman Cantrell were able to leverage the Scala digital signage engine and Sydney Airport’s flight informations system to display contextual content, relevant to each individual gate. Heading to London? Scala will schedule appropriate content to that gate’s screen.

Digital Place-Based Media & Technology

the next phase of signage is ‘predominant profiling’ — displaying content pertinent to most of the patrons in that vicinity

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THE ENGINEER’S VIEW Norman Cantrell is Managing Director and founder of TechMedia, the key technology partner in the rollout of the Sydney Airport digital signage. TechMedia has represented the digital signage platform, Scala in Australia since 2000. Norman Cantrell: Digital Signage is really starting to deliver on its promise: ‘the right message, at the right time and the right place’. A network today and into the future gives advertisers the chance to drill down and get to their audience at the point of purchase. This is the beauty of a properly deployed signage network. Scala has been around 30 years and has some formidable features because of that longevity in the industry. Scala as a platform gave us the power and freedom in a project like the Sydney Airport to customise and execute Martin’s vision for the airport. Scala’s speed was also a factor. Not only did we need to bring a number of technologies together, it needed to respond quickly. It needed to react to the flight info data, and to push content to the right screen at the right time. It’s a credit to my team for embracing the complexities of the project, but it was also exciting to work on. I travel extensively and I wasn’t seeing other airports anywhere else in the world doing anything similar. Sitting at a gate waiting to fly to New York and seeing something relevant, not generic, was a breakthrough. Being the first made it exciting. As Martin mentioned, wi-fi has been a game-changer for digital signage. Wi-fi makes us more relevant. Wi-fi gives landlords the opportunity to know where their customers are and what they might be browsing. For privacy reasons, not on an individual level but an aggregate level. But it afforded the airport the chance to be more targeted, providing a better quality of delivery, knowing who’s in your environment and adjusting the message accordingly. The same is true of a shopping centre — after all, an airport is really a big shopping centre you fly to! Sydney Airport has video walls, large format LED and video walls, and Scala is great at driving any format screen. LG for example has some very interesting displays with unique aspect ratios. Scala can drive those screens as a single canvas — any size or resolution. What’s more, Scala’s Designer tool and playback engine provides the unique ability to generate content in real time from external data inputs — something that proved invaluable when designing the Sydney Airport network. Techmedia: www.techmedia.com.au

stand your browsing history. There’s no reason why we can’t aggregate those insights and use them to determine content on our digital signage platforms. Whether it’s a MAC address, an API or wi-fi we can begin to understand what your customer is doing such that you can provide the right message for the right environment, to deliver content based on what they’ve been viewing. There’s a huge opportunity for data and cookie commercialisation businesses in out of home right now. If they partner with digital signage businesses and media companies to integrate their information and insights, then you have a new level of granularity, where the right content appears on the best screens. 16

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BESPOKE TECH

The digital signage technology needs to be flexible. It needs to be customised based on the needs of the solution. I’ve been working with TechMedia and Scala for years. What’s been great about TechMedia and the product it represents is it’s customisable. You must have a solution that’s tailor made to your needs. PORTRAIT OR LANDSCAPE?

At Sydney Airport, we went through a period where we had a large number of 3x3 video walls. Back then, they were almost seamless and far more cost effective than fine pixel pitch LED. We also went through a period where ‘portrait was

cool’ and now the landscape format is preferred because of its greater flexibility. and link with in-source and out-sourced digital video. A lot of people want to play TV commercials and will need a regular portrait oriented display. Fifiteen seconds became the norm for us.

As the technology evolved, in 2012 we were one of the first airports in the world to integrate our flight information display system (FIDS) with our advertising scheduling software Scala and that allowed us to contextualise and to segment our audience.

I believe the next phase in the evolution of signage is ‘predominant profiling’, something we completed at Sydney Airport in 2016 — displaying content

DISPLAY HARDWARE: LG COMMERCIAL LG’s range of commercial LCD panels were selected for the Sydney Airport International terminal digital signage deployment. The displays’ performance and customer support gave LG the edge in this case. The ultra-slim bezel on the video wall panels made LG an obvious choice. LG: partner.lge.com/au

pertinent to most of the patrons in that vicinity.

Next step is intent — how do you understand an audience from what they intend to do rather than what they’re actually doing.

This is one of the areas I’m now concentrating on as a consultant. I’m helping organisations to create a link between the signage and the customer; to understand who the customer is at any given time. With that knowledge you can have a greater level of engagement with the customer, an engagement that’s subtle yet powerful.

CRYSTAL BALL: DIGITAL INDOOR Indoors, it really is about the customer. It will be fascinating how cookie data will hand shake with wi-fi data, which integrates with digital signage. We will be creating a relationship where we can deliver content that truly hits the bullseye. And to reassure people, I’m talking about aggregation methodology not one-to-one targeting, because I don’t believe that will happen. We won’t see a Minority Report-style future where you’ll have screens saying, ‘Hey Martin Salter, use your Amex here’. But the signage will know I’m a male in my mid 40s and know there are another 50-odd people in that category in my vicinity and that will trigger, say, a message regarding a Drummond Golf promotion. Other technologies such as NFC probably haven’t had the impact the industry may have thought. But cashless payment systems will doubtless begin to integrate with digital signage.

You can hit up Martin Salter on martin@2hmediasolutions.com.au Digital Place-Based Media & Technology

Welcome to the Jungle Interactivity’s Perfectly Themed Amenities Area

In Action

Interactivity has done it again. We can’t think of another company that so expertly combines high-level interactive software programming (for touchscreen interfaces and interactive projection) with first-class theming. Everything you see here (and more) is all done in-house by Interactivity, from the cutting edge ‘high tech’, to the low-tech, but equally immersive, wild-animal theming. No wonder kids love it.

VIVID EXPERIENCE This latest execution can be found in the Emporium Shopping Centre, Melbourne. Interactivity has the contract to supply Vicinity Centres’ playgrounds, food courts and amenities rooms nationwide. Interactivity provides each shopping centre with a different solution to give a truly imaginative and vivid experience while being tailored to the local area. This one is the Jungle Experience.

Interactivity: 1300 797 199 or www.interactivity.com.au

Digital Place-Based Media & Technology

JUNGLE OUT THERE  As a child walks into the amenities located on Level 3 they are presented with a giant elephant, lion and rhinoceros. Walking up to the interactive animals the conspicuous red buttons (at a variety of heights for different age groups) trigger LED strips that light up around the animals accompanied by audio tracks informing the children about the animals’ special features. Alternatively walking up to the Interactive tree, green buttons trigger LED strips that run up the ‘Tree Trunks’ accompanied by sound effects pertinent to the Jungle. From there, kids can play interactive games on the touchscreen, where they’re educated and entertained. All this buys mum or dad some valuable breathing space, when nappies are changed, babies are fed and all the other pitstop necessities that goes with a shopping trip. The result? Families are free to stay in the shopping centre just that little bit longer. Mission accomplished. 

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Feeding The Beast Southern Cross Uni’s experience with an impressive (but hungry) LG video wall. Story: Christopher Holder

t’s called the Hungry Beast. Which might sound as ominous as it does ravenous. But for Kate Kelly (director of Library Services) and David Duverge (Senior AV Client Support), the moniker is an affectionate statement of fact. Southern Cross Uni’s Learning Centre at the Lismore Campus has been living with the Hungry Beast for a few years now. Initially the university christened the installation with the commission of an 18-minute professionally-shot hero video which represented the areas natural beauty and regional character. It was (and is) a beautiful thing.

However, within a week, after seeing the video presentation cycle through dozens of times, Kate and David knew the video wall content would need to be updated to remain fresh, and not just monthly or weekly, but constantly. For students making their daily 9am walk through the 20

Digital Place-Based Media & Technology

building’s thoroughfare it would need to display something different every time. It had to. The alternative would be repetition… repetition would result in indifference; indifference would mean irrelevance; and there’s nothing more damaging to a university’s reputation than irrelevance. SCU’s response to its Hungry Beast has been impressive. Rather than putting the video wall into a ‘problem child’, too-hard basket, it has sought ways to leverage the display’s position and unusual dimensions to inform and inspire. Rather than allowing the video wall to slip into infinite-loop irrelevance it has done quite the opposite. The impressive installation has become a focal point, worthy of the bustling position it occupies. “It’s not a marketing tool for the uni,” reinforces Kate Kelly. “It’s all about the students and staff, reflecting who we are.”

EXOTIC DIET

The video wall may be a Hungry Beast, but its diet is frustratingly exotic. The 2x8 portrait-oriented configuration with its 8000+ pixels in height fits the stairwell space beautifully but it’s hardly a canvas conducive to off-the-peg media — everything that appears on the video wall is either especially commissioned or manipulated by the uni’s media team led by Jeremy Austin.

The media team uses Adobe Creative Suite tools to edit and manipulate the footage to best exploit the screen real estate. Sometimes the content will be generated by on-campus multimedia artists, at other times the video wall will be used to visualise important SCU research — shark behaviour or flood mitigation, for example; and, again, at other times it’s used to make a visual link with a library exhibition. ”Southern Cross University conducts a lot of research project,” explains Kate Kelly. Much of

VIDEO WALL DETAILS The video wall is comprised of 16 x LG hi-def 55-inch narrow bezel commercial displays. Normally a video wall of this size would have a video wall processor driving it, that could address the wall as a whole, taking care of the processing that goes with that. In this case, each screen has a Brightsign media player behind it. It’s a solution that gets you there but does take the media team more preparation time to achieve the desired result. Brightsign’s BrightWall software is designed to assist in this regard but SCU needed the scheduling capabilities. There are an additional eight Brightsign players behind eight other signage displays in the library that take care of wayfinding and information. “The screens provide plenty of ‘wow’ factor,” noted David Duverge (SCU Senior Client Support, Audio Visual & Conference Services). “The LG ‘bezel-less’ panels in the video wall were stunning when we installed them and they remain great years later.” David is working on a 6 x 3 video wall in SCU’s Gold Coast campus. This time around he is spec’ing a (Matrox from PanoTek) video wall processor, but he’ll ‘stick ’n’ stay’ with LG commercial displays and Brightsign players for the digital signage. Another Hungry Beast, and another story, no doubt. LG: partner.lge.com/au Midwich (Brightsign): 1300 666 099 or midwich.com.au

that research around Australia is trapped behind firewalls — in journal articles or data servers people can’t easily access. “We endeavour to show that research in a visual way — data visualisation — unlocking a treasure trove of data and analytics for students, staff and the community.” NEVER BORING

Regardless of what’s displayed, the content is relevant and demands a response. Kate Kelly tells this story of when the video wall played a part in Bird Week: “We had one of our academics in the Education Faculty contribute bird images that tied in with Bird Week. A member of our Music Department was so impressed with the images that they were inspired to compose a bird sound symphony which we added to the presentation. The English Language School was so impressed by the package that they set curriculum incorporating it.” This virtuous sequence of events has the video wall at its nexus, linking and inspiring. It demonstrates that a video wall in a high traffic area, with thoughtfully updated content, has the power to truly influence. Academics’ perspectives are altered, students’ eyes are opened, and the community is engaged. “We want the Learning Centre to be a ‘sticky space’. Studies show that student retention is increased when you give students a compelling reason to come to campus. Once they come, the very often stay, and when they stay they make connections and more likely to complete their studies. It’s about making campus an engaged, exciting fun place to be.”

The Hungry Beast is doing its bit. Every time you glance up you see something different. Every time you glance up you’re reminded that SCU is a place that’s exciting and relevant… a place you’d rather be. 

The video wall is comprised of 16 x LG hi-def 55-inch narrow bezel commercial displays. The content is constantly changing hour-to-hour and week-to-week.

Digital Place-Based Media & Technology

Good Heads For Radio

KIIS FM Elevates Show with Philips Video Walls Story: Christopher Holder

ou can’t use the ‘head for radio’ joke anymore. Thanks to live streaming, social media and YouTube, radio is now a visual medium.

Leading the visual charge, the KIIS FM breakfast and morning shows studio in Melbourne has been utterly transformed with the installation of two video walls comprised of Philips commercial screens.

Prior to the refit of the ARN-owned studio, the KIIS FM breakfast show packages were grainy, poorly lit and generally underwhelming — something they’re quick to admit. Central to the refit strategy was to replace the worn out, wall-mounted domestic panels in the studio with a larger, wall-to-wall installation of commercial-grade panels that would display the 22

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show’s branding. When ARN contacted video wall specialists, Current Projects, it knew their vision for the displays would be a significant investment, but were pleasantly surprised. ARN Broadcast Engineer, Nick Payne, picks up the story: “We contacted Current Projects actually asking for another brand of commercial display, but Ewa [Zwarenkant] and the team there pointed us in the direction of Philips and we got an incredibly good price in comparison.” EASY BRANDING

The Philips BDL5588XH 55-inch panels look stunning. They may only be running at some 15% brightness (so as to not compete with the studio lighting in the video packages) but virtually every camera angle now has larger-than-life KIIS branding as its backdrop.

One key factor in the purchasing decision was the Philips screens’ low surface reflection. When you have nine 55-inch panels in a small studio, it’s crucial for the clarity of the video for the screens’ ‘Haze’ value to be low (more matte).

Finally, ARN wasn’t interested in using the screens to achieve any picture-in-picture or other video wall features, the screens needed to be easy to maintain and update. Nick Payne explains: “We’re radio people, not vision people. We didn’t want a media server running the displays, we wanted it to be really easy to use. As it stands we feed the 3x2 video wall with a 4K signal and its automatically split out to the six screens. The branding changes from show to show, but we won’t use it to display video or the grand final.”

KIIS IN LOVE

Only weeks after its installation, already the displays are having a serious impact. The video packages look stunning; the KIIS talent love the look; and management know they’re onto something. “The talent have really fed off the new look, it’s elevated the shows to a new level. We had the national program manager here recently,” recalls Nick Payne. “After seeing the new studio with the Philips video walls he said ‘we’ve got to hide this from Kyle [Sandilands]!’ That’s going to be next: putting this setup into our Sydney studio.” Current Projects: 1300 511 244 or www.currentprojects.com.au Westan (Philips): 1300 963 963 or westan.com.au

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AURORA AUSTRALIS

Tricked Up Transport Fed Square’s Transport Bar Big LED Upgrade

In Action

The Transport Bar occupies, arguably, the most visible and certainly one of the busiest intersections in Melbourne. Situated in Federation Square opposite the Flinders St. transport hub, the pub always knew its place — a hospitality venue as accessible as its enviable location. Transport’s ‘come one, come all’ hospitality credo has always meant a significant role for televised sport. Since its establishment in 2004, Transport has always had screens designed into the remarkable interior architecture.

DUE DILIGENCE As part of a technical upgrade cycle the Transport Hotel Group assessed its options in an effort to turn Transport into not only one of the city’s favourite places to watch televised sport, but also one of the best. Large-format LCD, video walls and LED were all investigated. After careful consideration, Transport pulled the trigger on two Aurora LED displays. The displays are 3.84m (W) x 1.92m (H) and feature a 2.5mm pixel pitch. Given the average viewing distance in the venue of some 5m, the screen format is perfect for hi-def sports watching.

Westan (Aurora): 1300 963 963 or www.westan.com.au

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Tony Twitchett, Executive Chef of Transport is delighted with the results. “Patrons can’t believe the detail of the LED. It’s a great viewing experience. Even our fiercest competitors are reluctantly conceding we’ve totally nailed it!”

Aurora LED is backed by decades of experience regarding what’s required to successfully fulfil a deployment such as the Transport Bar — from a reliability, performance, installation and backup point of view. All Aurora LED are stringently factory QC tested and, where relevant, waterproof tested and shake tested. There are other LED products in the range including outdoor screens and high-brightness, shopfront versions.

SPORT: SERIOUS BUSINESS Aurora LED Integration Manager, Matt Vawser: “It certainly is an impressive outcome. Transport Bar is one of the busiest pubs in Melbourne and this installation demonstrates just how seriously it takes its televised sport. For Aurora LED it’s certainly a marquee project that we’re delighted to be involved in.” The Aurora LED screens are a ‘plug ’n’ play’ package, making them a financially attractive alternative to video walls. The hardware cost is reduced as are the labour and integration costs — effectively, once installed, all the Aurora LED screen requires is an HDMI input and you’re good to go. What’s more, the displays are impressively bright (1500 nits) ensuring the telecast can easily compete with the sunshine that pours through the floor-to-ceiling glazing of the pub. Viewing angle is also a important consideration for an installation such as this. The Aurora LED displays feature 140° horizontal and 130° vertical viewing, meaning even patrons ordering at the bar can keep an eye on the score. This deployment shows that high quality, fine pixel pitch LED is no longer the preserve of the big corporates, Aurora has now brought the technology within the reach of hospitality venues across Australia. 

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Taxing Times iMAGsystems Lightning Takes Control

In Action

Australian video-over-IP innovator, iMAGsystems, is making an impact in the region. The Thai government Excise Department in Bangkok has moved into an upgraded command and control space based on iMAGsystems’ Lighting video-over-IP encoders and decoders.

The 4x3 centre section of the video wall takes the output from two iMAGsystems decoders and, via iMAGsystems’ on-the-fly, instantly-reconfigurable video wall and multiview capabilities, can display a whole host of different viewing profiles.

It’s a sophisticated command and control centre, and beyond the scope of ‘digital signage’ as such, but the project demonstrates the powerful features of a video-overIP product such as Lightning. A fact not lost on the system integrators, Vichai Trading 1983.

The four additional screens flanking either side of the main video wall are each addressed by an iMAGsystems LZ1502D decoder.

SCOPED OUT AT ISE Representatives of Vichai Trading 1983 discussed the project with iMAGsystems Product Support Specialist Chris Smith at the ISE show earlier in 2017. Vichai had previous experience working with compressed video-over-IP systems and felt comfortable specifying the uncompressed, latencyfree Lightning product that’s based on the AptoVision BlueRiver chipset.

iMAGsystems: (03) 8414 2911 or sales@imagsystems.com

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The versatile video wall takes the output of three PC workstations in the room, along with input from a Wolfvision Cynap wireless collaboration system, a Sony Blu-ray player and an Apple TV, and sends it to the 16-panel video wall via iMAGsystems LZ1501E video-over-IP encoders.

Thanks to an elegant AMX control system interface (via an iMAGsystems LZ500DS API bridge), it’s easy to select the source, destination and video wall configuration that best suits the purposes of the three command and control room operators.

THEATRE OF OPERATIONS More than a command and control space, the space can be reconfigured as a teaching theatre at other times. An operable wall seals off the control room and a Stewart screen drops down for presentation and movie sessions. A 5.1 Cornered Audio sound system and Audio-Technica wireless microphone complete the picture. An adjoining assembly area with a 16,000-lumen Panasonic projector also takes a video output. 

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Samsung Lights Up Show 2018 New Product Releases from ISE 2018 The Wall Professional was a star of the ISE show. Cheesy game show hosts included to show scale!

In Action

Samsung used the ISE show to unleash ‘The Wall Professional’ – a modular, large-format indoor MicroLED display that can extend to hundreds of inches in size while delivering outstanding brightness, contrast and viewing angles. It really was something to behold. The Wall is the industry’s first self-emitting modular display to operate through micrometer-scale LEDs (MicroLED) which serve as their own light source and eliminate the need for colour filters or backlights. Which accounts for the deep ‘off is actually off’ blacks and vibrant colour, a lot like OLED. The Wall’s modular design allows for customised configurations beyond or below its 146-inch size standard. Users can add or remove unlimited LED screens to and from The Wall without impacting performance or presentation quality. The Wall integrates Samsung’s MagicInfo content management platform. Within MagicInfo, users can create, schedule and deploy content across a single Wall display or network from any location. The platform also provides complete display performance visibility for immediate error detection and troubleshooting.

INTELLIGENT UHD Samsung: displaysolutions.samsung.com

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Samsung’s new QM (450-nit brightness) and QB Series (350-nit brightness) Intelligent UHD displays pack an integrated conversion engine that automatically upgrades/ upscales full HD materials to sharper, clearer UHD quality. As a result, business users can achieve bolder and more

brilliant message delivery without the need for manual picture presetting. The Intelligent UHD displays’ Optimal Color Mode also intuitively adjusts picture quality to match usage and visibility trends. The QM and QB Series displays also simplify the content delivery and maintenance processes for various forms of implementation. Each enclosed, wall-mounted Intelligent UHD display provides a centralised infrared receiver for user-friendly control and management. For added durability, the Intelligent UHD displays also undergo rigorous IP5x certification to maintain performance even when exposed to dust, dirt and other potentially hazardous environmental variables.

NEXT GEN LED Samsung’s fine pixel-pitch IF-D Series LED Signage makes the most of Samsung’s video processing tools with HDR picture refinement to produce visuals that shine even against white or dark backgrounds. This combination elevates peak brightness levels (2400 nit) and initiates scene-by-scene gradation and optimisation through Scene Adaptive HDR technology. For additional eye-catching impact, businesses can configure the IF-D Series LED displays in a range of traditional and unconventional formats. The IF-D Series’ design flexibility includes curved compositions, with concave and convex implementations. 

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LG Sees Change Transparent OLED Leads LG’s ISE Charge

In Action

LG Electronics again used ISE to demonstrate its stunning OLED display products — in action, in situ, in a commercial solution such as retail, public spaces and offices. There was Transparent OLED, Open Frame OLED, OLED Video Wall with ultra-slim bezels and more. The centrepiece of LG’s ISE booth was its 55-inch Transparent OLED signage, a state-of-the-art product that had visitors marvelling at the razor-thin bezels and elegant form factor. But the most amazing aspect is of course its transparency. It’s a technology that will be especially impressive in retail environments and art galleries where products can be placed behind video or special effects displayed on the Transparent OLED signage. The Transparent OLED may have been the centrepiece but the huge canyon wall of Open Frame OLED displays was the most monumental (main image). The wall shows the customisable nature of the OLED product, it can be tailored for multiple uses in any industry, such as large-scale video installations and informational displays designed to fit the contours of any commercial space.

LG Electronics: partner.lge.com/au

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LG has shaved away at its bezels again. On show was the 0.6mm-thin Even Bezel Video Wall (right) which offers an all-but seamless and immersive viewing experience. Its ultranarrow bezels minimise distractions, making this product ideal for advertising high-end products in fashion and beauty. For an extra touch of class for hotel guests, the awardwinning OLED Wallpaper TV delivers an instant upgrade to any overnight stay. The Gallery Mode puts artwork

in the comfort of a guestroom with superb picture quality. Hotel management will also appreciate the TV’s Pro:Centric smart platform, which supports simple editing tools for customising content according to each establishment’s needs. And in-room IoT solutions based on LG’s Smart Hotel TV means that hotel guests can control wireless curtains, door locks, lights, among others, with the Pro:Centric Direct user interface. 

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DigitalSignage Video Search for ‘Digital Signage Magazine’ in YouTube DigitalSignage YouTube channel has plenty to keep you interested. Check out our bite-size videos demonstrating what’s brand new in the world of out of home digital. The biggest and best from LG, Samsung, SiliconCore and more. Go to YouTube, search on ‘Digital Signage Magazine’ and hit the subscribe button before you cruise through the video. 

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Datapath FX4 Creative Multi Display Videowall Controller

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issue #24

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Comment:

Letting off Steampunk

Story: Mug Punter

pparently HD screens are already old hat and no one wants them. 4K is the new black —or should that be ‘blank’, since no one’s actually got any 4K content.

How quickly we forget. People believe again that vinyl records and analogue equipment sounds ‘better’. The reproduction has more ‘warmth’ and character. Much better than cold, impersonal digital media. Here’s an idea for you: next time you listen to a favourite CD and miss the good ol’ days of analogue, move your stereo into the kitchen and fry some bacon and eggs at the same time. Really hot and loud, so the exploding fat hits the ceiling. It’s just like listening to vinyl. VINYL RAP

I was one of those music-lovers who spent a squillion dollars on anti-static brushes, anti-static sprays, record cleaners, stylus cleaners ... you name it, I’d try anything in the endless pursuit of a clear, noncrackling reproduction of my vinyl collection. If you were really clever and didn’t mind breaking every copyright law on the planet, the very first time you played a new album you immediately recorded it to a chrome 90-minute cassette with Dolby ‘On’ (but switched Off for replay to get the extra high-end) and the precious vinyl was tucked away for safekeeping. [Actually, I believe that making a copy for your own use is perfectly legal… or at least that’s what I told myself in the ’80s — Ed.] I couldn’t wait for affordable digital and CDs to come along. Out with the old, in with the new, and whoever would have guessed that ratty turntables with the weird weight-thingy on the stylus arm and the scratched cover would actually ever be in demand again? Exactly like, who’s gonna watch HD now? Pfft… that’s just rubbish. Apparently. Meanwhile, the editor is tapping his fingers and wondering what the hell this has to do with digital signage. HD BARGAIN BIN

Well, with HD screens already in the bargain bin at the front of stores, and 4K being the norm even though nobody’s actually broadcasting in 4K, I’m wondering when someone in the digital signage 34

Digital Place-Based Media & Technology

industry starts thinking about retro advertising displays — the display technology equivalent of the vinyl resurgence. Yes, I’m talking 4:3 tellies precariously balanced on a top-heavy AV trolley specifically designed to crush small children. They can touch the screen and be amazed that nothing happens — what kind of awesome technology is that? Producers could create VHS tapes of advertising content using tapes that have been redubbed a hundred times so they’re not clear at all and have sound bars zig-zagging across the picture, a bit like Bali bootleg of Jaws 3. MONOLITHIC TV

Yonks ago I spoiled myself by buying a 90-centimetre CRT television. It was a state-of-the-art monster complete with handles on both sides for two people to carry it. To watch anything, you had to kind of squeeze yourself around the walls of the lounge room to get in front of it.

Eventually, as we all know, analogue transmissions were phased out and 16:9 kind of came hand-inhand with the digital revolution as well, and the behemoth 4:3 television was relegated to the shed.

I finally did cart the thing down to the tip about six months ago. It still wasn’t easy to convince myself that the tube would never cathode a ray ever again.

Our local Recycling Station is one of those modern places where you’re expected to separate absolutely everything, glass from plastic, cardboard from lawnclippings, you know the deal, so they can dump stuff in different parts of the ocean. Not surprisingly, there was a special bin for unwanted, perfectly functioning, enormously heavy CRT televisions. In fact, there were two tellies exactly the same as ours (and that bastard salesman made me feel so special). ADD TO CRT

Instead of seeing this cage of rejected televisions as a sad indictment of our throwaway society, it occurred to me it might be a fantastic resource for retro digital signage — okay, it wouldn’t be digital, but you know what I mean. Seriously, people are giving this stuff away for free. There are millions of unwanted CRT televisions in rubbish tips and nature strips all over Australia, just waiting for someone to resurrect them into the latest advertising trend — retro, non-digital, non-touchscreens. The novelty will be a dealmaker. Punters will be

astounded and delighted — the same punters enamoured with the delights of vinyl will be gagging for this, right? Maybe we can call it ‘Steampunk Signage’?

Or... to be fair, you can wait six months and those recycling bins will be full of HD monitors. Then again, in another six months they’ll be chockers with 4K displays after the latest innovation sweeps the industry.

You could grab one for a six-pack of beers, and a nudge and wink to the rubbish tip dude to turn his back. That’s progress for you.  Mug Punter’s futurist prognostications are traditionally uncannily non-prescient. But if you see ‘Steampunk Signage’ bandied about on Mumbrella, you’ll know why.

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