Installation June 2014 digital edition by Future PLC

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Installation INTERNATIONAL AUDIO, VIDEO AND LIGHTING INTEGRATION

June 2014

A winning line-up What makes a stadium system world class? p18

Projectors – focus on the importance of lenses p26

InstallAwards – 16-page preview of the ﬁnalists p33

Theatre lighting – what stage has LED reached? p49

WELCOME & CONTENTS

EDITOR’S COMMENT

A sporting chance?

‘Many companies that supplied equipment to the Games… are not allowed to publicise their involvement’

As our stadium audio feature this month demonstrates, major sporting events provide a massive stimulus to the installation market, as new venues are built, existing venues are upgraded, and hotels, restaurants and other businesses take the opportunity to spruce up their offering for the influx of fans. The biggest of these events is surely the summer Olympics. National governments get behind their cities’ bids to host the games for numerous reasons, but many of them relate to economic growth. The UK Government’s report Beyond 2012 (published before the Games), said: “For thousands of companies across the UK, London 2012 has been a springboard to success, helping them to build contacts, develop new capabilities and expand their horizons. For them, the business legacy of the Games has only just begun.” Except that’s not exactly right. In our industry, many companies that supplied equipment to the Games are unable to gain business off the back of it because they are not allowed to publicise their involvement. To improve the lot of these firms, the UK Government created the Supplier Recognition Scheme (SRS), which allowed certain suppliers to talk in the three-year period from 2013 to 2015 about their London 2012-related work. This scheme is the first of its kind in the world, but there are some notable product exceptions, including ‘audio, video and audio-visual equipment’. This is to protect the investment of the major sponsors: Panasonic has for many years sponsored the AV equipment category and recently extended the agreement to 2024. To its credit, PLASA has got involved in this issue. The House of Commons Culture, Media and Sport Select Committee called a debate in Westminster Hall in February on ‘Supporting the Creative Economy’; the committee requested the debate as it was unhappy with the Government’s response to its 2013 inquiry report into the same topic. PLASA CEO Matthew Griffiths gave written and oral evidence to the enquiry, and was also quoted in its report, which urged reform of the SRS. Then in March, the House of Lords held a debate into the Olympic legacy, in which Baroness Wheatcroft spoke eloquently about Baldwin Boxall, which supplied the stadium with a voice communication system that assists disabled people in an emergency: “It employs just 45 people and has a turnover of around £5 million. Does Panasonic, with around 300,000 employees and revenue last year of $76 billion have anything to fear from Baldwin Boxall? Should Samsung, with 427,000 employees and revenue last year of not £5 million but $269 billion be frightened by the little company from the Wealden Industrial Estate in Crowborough?” Sadly, the government’s position is that it went further than any other country did in creating the SRS, and it is now constrained by the IOC. Now I don’t blame Panasonic for wanting to get the best return on its huge investment, and getting the best sponsorship deal it can. But it’s simply not fair that it should have such blanket rights over technologies that it doesn’t have any interest in, just because they fall under the broad heading of audiovisual equipment. Paddy Baker, Editor, Installation – paddy.baker@intentmedia.co.uk

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NEWS 3 News 8 Appointments 10 Expos and events 12 Data: front projector market’s ups and downs PEOPLE 14 Romano Cunsolo, director of marketing and business development, Xavtel, on his pro-audio roots EVENT 16 InstallMarket: Full set of conference session moderators revealed FEATURES 18 Stadium audio: What makes a stadium good enough for today’s global events? 26 Projectors: Focusing on projection lens technology 49 Theatre lighting: the make or break of performances 54 Regional voices: Germany

33 Everything you need to know about our event on 12 June SHOW PREVIEWS InfoComm: Don’t gamble on technology in Vegas p56 TECHNOLOGY 60 New products 66 Showcase: Videoconferencing equipment SOLUTIONS 70 Battle of Bannockburn Visitor Centre, Stirling: Immersing visitors in a 3D medieval battle 74 The 27th Southeast Asian Games, Naypyidaw: Major sporting event relied heavily on wireless systems 76 Superyacht Lunar: AV to match an exquisite interior Cover image Mineirão Stadium, Brazil, courtesy of Community Professional

June 2014 3

NEWS NEWPARTNERS Santiago-based VGL Integración de Sistemas is Robe’s new distributor for Chile. VGL already represents several brands including Grass Valley, Telestream, Rohde & Schwarz and L-Acoustics. www.robe.cz www.vgl.cl

DPA Microphones has named Direct Imports as its distributor in New Zealand. The appointment signals DPA’s continued commitment towards growth and customer service in the country. www.directimports.co.nz www.dpamicrophones.com

Avolites Ltd and Avolites Media Ltd have appointed Fairlight as their sole distributor for the Netherlands. Steve Warren, managing director of Avolites Media, said: “Fairlight have proven themselves as a technical centre of excellence, capable of explaining, delivering and supporting the advanced feature set of the Ai video and Titan lighting platforms.” www.avolites.com www.fairlight.nl

SurgeX has announced a new distribution partnership with Herman ProAV. As a US distributor, Herman ProAV will provide a simpler procurement process for domestic dealers working with customers outside North America. www.hermanproav.com www.surgex.com

FSR has named Bongiorno & Associates (B&A) as its newest manufacturer representative. B&A will market and sell FSR’s range of ﬂoor, wall, table, and ceiling boxes, switchers and CatX solutions. www.bna-rep.com www.fsrinc.com

4 June 2014

WORLD

Harman-AMX: industry reaction THE news last month that Harman International Industries has signed an agreement with The Duchossois Group and its affiliates to acquire AMX for $365 million was perhaps not surprising given Harman’s recent product development and acquisition history. The August 2012 launch of Soundcraft’s Si Performer console, which also has DMX functionality, was followed a few months later by a more decisive move by Harman into the world of lighting: the purchase of Martin Professional. Last October the company acquired Duran Audio, rolling the manufacturer’s directional loudspeaker technology into the JBL brand. Harman believes that with this latest acquisition, it will be uniquely positioned to

provide complete audio, video and automation solutions for customers globally. And the financial markets clearly like Harman’s message: the company’s share price has nearly doubled over the past year. However, the news of the AMX acquisition had no significant effect on its share price. Chuck Anspacher, managing editor of our sister title SCN, explained: “What does this tell us? It tells us that the analysts on Wall Street don’t see that having a significant impact on Harman’s overall business. And if you look at where

Harman makes all its money – namely in places other than pro AV – they’re right.” Anspacher was referring to Harman’s presence in automotive audio, which is much larger than in pro AV. Harman CEO Dinesh C Paliwal (pictured) said in the press announcement: “Harman is the leader in smart connectivity. Our vision is to extend our reach beyond the car into the enterprise, where we already have a substantial audio presence.” The phrase ‘smart connectivity’ is important here – Harman clearly believes that AMX’s technology is the key to leveraging the performance of its pro-audio (and probably lighting) brands, replicating its success in automotive within the pro-AV space. Another dimension of the deal – access to international

distribution networks – was considered by David Keene of NewBay Media’s AVNetwork. He wrote: “The acquisition of Martin Lighting was a lot about Harman leveraging its massive distribution system in overseas markets to bring a new product category – theatrical lighting – into that system, not just into the crowded US or northern European markets. It’s no secret that the BRIC countries are top of Harman’s mind as they expand. This is true for all their brands, and it will be true for AMX.” So while it didn’t hit the mainstream ﬁnancial media, the Harman-AMX deal is one of the biggest stories in our industry for quite some time. We can only speculate whether further industry consolidation will follow. www.harman.com

AUSTRALIA The Technical Direction Company (TDC) provided core technology and services to Destination NSW for the sixth annual Vivid Sydney festival running from 23 May to 9 June. Over 50 Barco projectors were deployed, including the 40,000-lumen HDQ-2K40. Pictured is the Urban Tree project whereby the CTA building in Martin Place grew out of the ground to become a living tree within the urban environment to celebrate and reﬂect on Sydney’s original green landscape. “We decided that the best solution was to map the projection to the curves of the building using Coolux Pandoras Box Media

Servers,” commented Pete Lynn, TDC’s media server specialist. “We’re very happy with the results.” www.tdc.com.au

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NEWS GERMANY

UNITED STATES/GERMANY

AFMG opens North Sennheiser announces BYOD cinema sound solution American office SENNHEISER is to launch CinemaConnect, which enables cinemas to stream audio from ﬁlms to the mobile devices of members of the audience. The product is particularly aimed at providing audio description and assistive listening for people with hearing or sight impairments, but it could also be used to provide foreignlanguage tracks or even directors’ commentaries. The system, which will be available in Europe this autumn, consists of two hardware components: a ConnectStation processor, which connects to the cinema’s movie server, and a WLAN router. Cinemas install these in each of their screening rooms. For cinema visitors, there is an app which identiﬁes which cinemas are equipped with CinemaConnect; when seated in the auditorium, users log into a dedicated WiFi network and can select their preferred audio track. Latency in the system is no more than 50ms, so audiences hear dialogue synchronised to the movie on the screen. The decision to base the system around viewers’ own devices was taken early on in the development process, as it gives control to the user. Research indicates that

over 30% of Europeans with hearing difficulties forgo attending cultural events, and 12% believe that they receive too little help when visiting the opera, theatre or cinema. In addition, the use of WiFi technology is a discreet and simpler alternative to more disruptive hearing assistance solutions such as induction loops. Sennheiser has created a new division, Sennheiser Streaming Technologies, to concentrate on streaming audio solutions. Based in Hamburg, it is headed by managing director Jörn Erkau (left of picture, with Sennheiser CEO Daniel Sennheiser). “Our aim with CinemaConnect is to make cultural events accessible to everyone,” he said. “In the coming years, we will continue to drive the development of innovative

technologies – and not just in the field of inclusion. That is why CinemaConnect is an important first step for us.” Daniel Sennheiser told Installation that early feedback on Cinema Connect has been “great”. At a ‘sneak preview’ event held at the Abaton cinema in Hamburg, the company showed a video testimonial from two blind people who were able to use the app without instruction, and were enthused by the prospect of going to the cinema more often and getting more from films. Sennheiser added: “We’ve also got some very positive feedback from the installers and the cinemas; there are other systems around, but now comes a very reliable system from Sennheiser, who everyone knows.” www.sennheiser.com www.culture-inclusive.com

EXCLUSIVE VIDEO To view an exclusive video of Daniel Sennheiser discussing the new CinemaConnect solution, visit http://www.installation-international.com/ video-sennheiser-ceo-daniel-sennheiser-cinemaconnect/

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ACOUSTIC simulation and measurement program manufacturer AFMG has opened its ﬁrst official office in the US. Headed by Bruce C Olson, AFMG Services North America LLC will be responsible for all enquiries arising in the US and Canada. The office is designed to provide direct support and services to customers on the North American continent. Olson will be joined in the Minnesota office by

architectural acoustic specialist Ana Maria Jaramillo, while Charlie Hughes will continue to provide support from his North Carolina base. Stefan Feistel, MD of AFMG in Germany, said: “We have worked together with our American support team on an excellent basis in the past three years. We are very happy to have established a sound basis for AFMG’s presence in America with this step.” www.afmg.eu

Recent highlights BANG & OLUFSEN INTRODUCES NEW 4K DISPLAY AND LOUDSPEAKER Bang & Olufsen has launched the BeoVision Avant 4k Ultra HD display and BeoLab 20 loudspeakers.

GENELEC TO LAUNCH G FIVE LOUDSPEAKERS Genelec has expanded its home audio portfolio with the G Five loudspeaker for home theatres and large living room spaces.

CORE BRANDS HANDS PROMOTION TO RISING STAR Core Brands has promoted James Koenig to the position of director of sales – CI channel. He has been with the company since 2002.

LUXURY BELGRAVIA DUPLEX GOES WITH HAMILTON LITESTAT A £7.7 million duplex in Belgravia, UK, has been outﬁtted with a Hamilton Litestat lighting solution.

To read these stories and the rest of our residential coverage, go to

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June 2014 5

NEWS WORLD

Kramer buys into BYOD with WOW Vision stake SIGNAL management company Kramer Electronics has acquired 50% of Singapore-based WOW Vision. WOW Vision’s products enable laptops and mobile devices to connect wirelessly to large displays and share content; the company currently serves corporate, hospitality and educational markets. Kramer will now assume responsibility for worldwide branding and distribution of WOW Vision’s products, while WOW Vision will concentrate on product development. “We pride ourselves on our ability to develop unique technology solutions for this market segment,” stated Dr Dinesh Tripathi, CEO of WOW Vision. “In this relationship with Kramer, we believe we have found the perfect partner. Kramer has incredibly well developed worldwide distribution channels coupled with a

very strong brand name recognised for producing reliable products, and supported by knowledgeable and dedicated employees.” “We are very excited about adding WOW Vision to the Kramer family because BYOD, collaboration and wireless applications are increasingly critical in today’s converging AV/IT world,” stated Dr Joseph Kramer (pictured), CEO of Kramer Electronics. “WOW Vision offers the best solutions in the market and this partnership allows us to add these products to our already comprehensive line of solutions. Most importantly though, as WOW Vision continues to design and build cutting-edge product solutions to make meetings smarter and more productive in business and education environments, we can leverage the strengths of our Kramer brand, our marketing acumen and our worldwide

Recent highlights

distribution channels to get the products into the hands of our customers.” Kramer Electronics will be launching the ﬁrst two products from this collaboration at InfoComm: the Kramer VIA Collage and the Kramer VIA Connect. www.kramerelectronics.com www.wowvision.com

AMX APP GIVES LESSONS IN CLASSROOM TECHNOLOGY AMX app helps users explain to customers the many advantages of technologically-enabled learning spaces. STAGE ELECTRICS APPLIES ITS KNOWLEDGE TO THE LIBRARY OF BIRMINGHAM Stage Electrics installs lighting and AV equipment at library’s 300-seat Studio Theatre. ETC HELPS CALIFORNIA THEATRE GO ALL LED Sunnyvale Theater in California is beneﬁtting from 80% savings in running costs following LED retroﬁt. POLAR AUDIO PROVIDES IMPROVED SOUND PICTURE

AT NATIONAL PORTRAIT GALLERY Polar Audio supplies Biamp Vocia System to major London heritage site. ASHLY SAVES SPACE AT LIBERTY HIGH SCHOOL Liberty High School has reliable technology, including a comprehensive sound system that uses spacesaving multichannel Ashly amplifiers. GDS ARCLAMP LIGHTS WAY FORWARD AT SAVOY THEATRE The Savoy Theatre in London, the first public building in the world to be entirely illuminated by electric light, boasts the first installation of GDS ArcLamp.

To read these stories and the rest of our coverage for the architectural and interior design community, go to

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UNITED KINGDOM

ABTT returns to Truman Brewery THE ABTT Theatre Show will take over the Truman Brewery on 11-12 June, with a host of exhibitors and seminars highlighting the latest technology and trends for the sector. In the world of lighting, Chauvet Professional will showcase its Ovation ﬁxtures, which have been created especially for stage and theatre, while Avolites and Avolites Media will have a range of control consoles and media servers available for hands-on demos. On the audio side, Orbital Sound will highlight new arrivals from Flare

6 June 2014

Audio and d&b audiotechnik, while kit from DiGiCo, Meyer Sound, ClearCom and Lab.gruppen will be on the Autograph stand. Seminars of interest to Installation readers include ‘Mixing Musicals’ at 12:30 on day one and ‘Working with Active Acoustics’ at 13:30. The following day will see a session on ‘Sustainable Construction’ at 14:00 followed by ‘ALD: Lighting Programming’ which will look at how you can evaluate the knowledge of your programmer at 15:00. www.abtttheatreshow.co.uk

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APPOINTMENTS RIEDEL

Riedel invests in R&D JIOU-PAHN LEE has been appointed to serve as director of R&D for Riedel Communications. In this role, Lee will be responsible for exploring and developing new technologies and evaluating their impact on achieving business goals. With a clear vision of the industry, he strengthens Riedel’s existing competencies on several fronts and across all of the current product families, including MediorNet real-time media networks, RockNet digital audio networks and Artist intercom systems. As director of R&D, Lee will also be a member of the management board. “With experience leading product development at well-

ALCORN MCBRIDE

known technology companies, Jiou-Pahn comes to Riedel with extensive knowledge of designing world-class products for the television broadcasting and production industry,” said Thomas Riedel, president of Riedel Communications. “We expect that his guidance and contributions will be tremendously valuable as we continue to enhance and extend our product portfolio.” Lee’s global experience in product development includes 17 years in the US and nine years in the UK, working in areas ranging from the exploration of technologies through product development to deployment. He most recently served as vice president of engineering

BIAMP

and technical director at Clear-Com, where he was in charge of a diverse product development organisation with multiple sites located in the UK, US, and Canada. A native Mandarin Chinese speaker, he personally oversaw key customer accounts in China and set up the company’s sales office in Beijing. Prior to this he was director of server engineering at Thomson Grass Valley and director of engineering at Videotele.com. Lee holds a bachelor’s degree in mathematics from Tunghai University in Taichung, Taiwan, and a master’s degree in computer science from Utah State University. www.riedel.net

throughout the region. Dewar brings 30 years of international sales experience gained across EMEA, APAC and America. Prior to joining EAW he held senior positions at Zildjian, Soundscape, Korg, Avid, M-Audio and InMusic. www.eaw.com

L-ACOUSTICS

Brian Macauto has joined Alcorn McBride as senior sales engineer. He comes from Vista Systems where he held the role of regional sales manager (North America) and comes onboard as Alcorn McBride expands its sales team to meet increased demand for its products worldwide. www.alcorn.com

AUDIPACK

Matthew Packer has been promoted once again at Biamp Systems. Following his appointment as regional director Asia-Paciﬁc less than 18 months ago, he now adds India to his responsibilities. In his new post, Packer will direct Biamp sales operations throughout Asia-Paciﬁc overseeing both the Asia sales team and the recently expanded India sales team. www.biamp.com

EAW

the newly created position of vice president of marketing and communications. Ames has worked with a diverse range of artists and institutions from the San Francisco Symphony to George Thorogood. She is charged with the overall leadership for corporate communications, marketing, advertising and sponsorships, social media, public relations, philanthropy, and public affairs. As part of these changes, Jodi Hughes assumes the director of marketing position. ROBE

L-Acoustics has announced the appointment of Alvin Koh as applications engineer for Asia, reinforcing the manufacturer’s growth and commitment to its customer base throughout the Asian region. Koh will be based in Kuala Lumpur and will provide technical support to L- Acoustics customers through the company’s existing regional distribution network.

SDUK

The SDUK Systems Group, the installed sound division of Shure Distribution UK, has appointed experienced sales manager James Nicholds to the role of Midlands regional sales manager, installed sound. Nicholds has eight years of AV sales experience and joins from Northern Light where he consulted on, designed and sold AV systems to private companies, integrators, universities and local authorities. www.shuredistribution.co.uk

SSE AUDIO GROUP

www.l-acoustics.com

MEYER SOUND Audipack has named Rene Worms as general manager, with responsibility for all operations and processes. Prior to this, Worms was general manager of Topcon Europe in the Netherlands, the European head office of a Toshiba subsidiary. Before Topcon, Worms managed Leica Geosystems, also in the Netherlands. www.audipack.com

8 June 2014

Ken Dewar has been named EMEA sales director at EAW. He is tasked with increasing sales and distribution

Meyer Sound has recruited Karen Ames (pictured) to ﬁll

Robe Lighting has strengthened its technical service department in the US with the addition of Ambrose Gumbs as technical service department manager. Gumbs has spent the past 14 years with Martin Professional where he was a member of the technical support and training team.

SSE Audio Group has appointed Peter Codron as sales & installations manager, based at the company’s London office and warehouse in Park Royal. He will represent SSE and Wigwam Acoustics in the UK capital and will help to strengthen the company’s position as a d&b audiotechnik Sales Partner – a brand that he has considerable experience with.

www.robe.cz

www.sseaudiogroup.com

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EXPOS & EVENTS

SPOTLIGHT 26-28 AUGUST Integrate Expo 2014 Sydney, Australia www.integrate-expo.com Organised in partnership with CEDIA and InfoComm International, Integrate is Australia’s largest exhibition and conference for AV and systems integration professionals. Over 500 exhibitor brands are expected to showcase new products and global trending technologies in sectors such as audio systems and

entertainment technology, digital signage, building automation and uniﬁed communications. In addition, around 5,000 visitors will attend the show, which this year moves to a new home – the Dome at Sydney Olympic Park. InfoComm and CEDIA training sessions will be held alongside the expo, as will the Integrate Conference. Running over all three days, the conference will focus on three core sectors. Day 1 is dedicated to Smart Building and will be curated by the KNX Association.

EDITORIAL PLANNER JULY Conference venues 4K Medical AV Showcase: Large venue speakers Technology guide: Digital signage News deadline: 19 June Distribution date: 4 July Day 2 has been curated by the Digital Screenmedia Association and focuses on digital signage. Day 3 tackles the subject of

uniﬁed communications and will be delivered by IMCCA, the interactive multimedia and collaborative communications alliance.

EVENTS Your complete events calendar for the months ahead JULY 8 IT Broadcast Workﬂow London, UK www.broadcastworkﬂow.com

11-14 NAMM Musikmesse Russia Moscow, Russia www.musik.messefrankfurt.ru

AUGUST 26-28 Integrate Expo 2014 Sydney, Australia www.integrate-expo.com SEPTEMBER

4 SEPTEMBER InstallMarket London, UK www.install-market.com 5-10 IFA Berlin, Germany b2b.ifa-berlin.com/en/ 11-13 ProLight + Sound Namm Moscow, Russia www.namm.org

10 June 2014

12-16 SEPTEMBER IBC Amsterdam, Netherlands www.ibc.org 17-19 InfoComm India Mumbai, India www.infocomm-india.com 25 Pro Sound Awards London, UK www.prosoundawards.com OCTOBER 5-8 PLASA London London, UK www.plasashow.com

8-11 Prolight + Sound Shanghai Shanghai, China www.prolightsoundshanghai.com

FEBRUARY 10-12 ISE 2015 Amsterdam, Netherlands www.iseurope.org

12-16 Gitex Technology Week Dubai, UAE www.gitex.com

24-26 BVE London, UK www.bvexpo.com

12-16 InfoComm MEA Dubai, UAE www.infocomm-mea.com

MARCH 2-5 LED China 2015 Gunagzhou, China www.ledchina-gz.com

29-31 Integrated Systems Russia Moscow, Russia www.isrussia.ru NOVEMBER 3-4 PLASA Focus: Brussels Brussels, Belgium www.plasafocus.com 2015 JANUARY 31-3 February Midem Cannes, Russia www.midem.com

10-12 Digital Signage Expo Las Vegas, US www.digitalsignageexpo.net 10-12 Cabsat Dubai, UAE www.cabsat.com 16-20 CeBIT Hannover, Germany www.cebit.de

AUGUST Museums & visitor attractions PA/VA Technology for architects Showcase: Projection screens Features submission deadline: 16 June News deadline: 17 July Distribution date: 31 July Another Installation Technology Guide, this time covering the world of Line Arrays, will be published in September. To ﬁnd out more, contact ian.graham@intentmedia.co.uk

SEPTEMBER Scaling & switching Directional audio Sport & leisure facilities Showcase: LED lighting Features submission deadline: 11 July News deadline: 14 August Distribution date: 1 September OCTOBER Clubs, bars, restaurants Digital signage Oil & gas Showcase: Microphones Features submission deadline: 11 August News deadline: 12 Sept Distribution date: 29 Sept

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INDUSTRY DATA

Projectors: mixed picture A strong showing in front projector TOTAL EMEA PROJECTOR SHIPMENTS (THOUSAND UNITS) shipments in China and North America Western Europe Eastern Europe MEA masks decline in other regions, writes Steve Montgomery ACCORDING TO the latest research by Futuresource Consulting, worldwide shipments of front projectors in the fourth quarter of 2013 grew by 6% over the corresponding fourth quarter of 2012, to a total of 2.12 million units. This represents $2.63 billion in value. The report reviews the quarterly performance of the market and provides a sales and product development strategy outlook to 2019. The Americas reported strongest regional growth with an 8% increase. This was due to exceptional performance in North America with year-on-year growth of 12% counteracting a poor performance in Latin America, which showed a corresponding decline of 20%, despite

a decline of 21% and just 41,000 units shipped. Korea’s investment in projectors for recreation and entertainment continues with sales in the 4,000-5,999 lumen segment growing by 38%, which assisted in the total market’s 8% full year growth. Despite a 4% quarterly increase, the shipment of 702,000 units was insufficient to offset the full-year decline in sales of 6% in EMEA. Eastern Europe enjoyed the greatest growth with shipment of 151,000 units, a 12% increase from the year before. The end of a temporary diversion of government funding for the 2014 Winter Olympics allowed Russia to resume its high volumes, with 780,300 units shipped, up by 10%. Most went into the education

$2.63 billion Total value of front projector shipments worldwide, Q4 2012-Q4 2013 strong rallying in Brazil. The education sector declined drastically while the corporate market remained stagnant with no compelling incentive to trade up to more featured, higher value products. Asia-Paciﬁc enjoyed a 5% year-on-year increase in projector shipments during the last quarter of 2013, during which time 835,000 units were shipped. However annual totals contracted 0.2% with 3.17 million units shipped compared to 3.18 million units in 2012. China performed particularly well: continuing its return to growth with sales reaching 496,000 units, an 8% increase. This contributed to full year growth of 3%. The easing of political tensions between China and Japan towards the end of 2012 and latent demand built up during the brief dip in early 2013 played a part in this increase. UPS AND DOWNS India’s poor economic position and delays in its education budget stiﬂed demand, with 12 June 2014

sector which is expected to continue in the short term. EU member states in Eastern Europe contributed to the growth as they used up the remainder of their 2007-13 EU budget. With 412,000 units shipped in the quarter, Western Europe enjoyed growth of 3%, largely due to strong retail sales in France and Germany. Spain also had its best sales performance since 2011 with 33,900 projectors shipped during the last quarter of 2013. A decline in the UK’s under-represented retail market for projectors saw the country experience a 5% year-on-year decline in total sales in the ﬁnal quarter. The Middle East and Africa experienced modest 1% growth with 139,000 units shipped, due to education projects in Saudi Arabia and UAE failing to come to fruition. However, the MEA region remains a strong opportunity long term due to its low penetration.

TOTAL EMEA PROJECTOR SHIPMENTS (THOUSAND UNITS) 2012

2013

Western Europe

354

374

303

400

323

287

332

412

Eastern Europe

100

119

135

101

151

MEA

133

106

149

139

122

106

139

TOTAL

450

474

422

535

405

359

433

563

Eastern Europe enjoyed 12% year-on-year growth in shipments Source: Futuresource Consulting

WORLDWIDE PROJECTOR SHIPMENTS, Q4 2013

EMEA 33%

Asia-Paciﬁc 40%

America 27%

WORLDWIDE PROJECTOR SHIPMENTS (THOUSAND UNITS) Asia-Paciﬁc

847

America

580

EMEA

702

TOTAL

2129

Asia-Paciﬁc now accounts for 40% of worldwide projector shipments www.futuresource-consulting.com

Source: Futuresource Consulting www.installation-international.com

INTERVIEW: ROMANO CUNSOLO, XAVTEL

Sound steps When a man can’t trust the environment he is given to perform his art, then what can he do about it? James McGrath learns how Xavtel’s marketing director was inspired to sculpt a career in audio to rectify his disillusionment

‘It’s knowledge, culture and mentality of y people that reall t deﬁnes a marke or a territory’

How has your career path led you to where you are today – working for pro-audio brand Xavtel? My career started in 1988 working as a freelancer doing roadshows and trainings for audio company Dynacord. Later on, I was offered a full-time position as their European sales manager. After the acquisition of the Mark IV Group, and the merger of a whole bunch of brands, I moved over to the position of marketing and sales for Electro-Voice EMEA. However, due to the many 14 June 2014

changes that took place during the time I was there, I left the company shortly before Bosch acquired it. I then worked as an audio consultant on several larger projects in Europe and ended up with Biamp Systems. This was followed by a spell at Apart Audio before I began a position at Ateis Germany, and later Ateis Europe. My current position at Xavtel was really the most obvious next step to take in my career, because of my roots in pro AV, which is a business that I really do love.

Was there anything speciﬁc about your education or upbringing that endeared pro AV to you? I was a musician (or still am) and this brought me into the world of live sound, and, later on, to the pro-AV installation business. I can only say that the love of good sound was always a driving force for me because I travelled the world and many of the environments where I had to play – or where I had meetings and seminars to attend – the sound system was usually

really awful. I discovered that the biggest problem was that nobody was really taking care of acoustics and the sound system before a new building or renovation was ﬁnished. It is obviously more difficult to tweak a sound system in an environment that was designed solely by the architect with little to no input in the room’s design from the sound or acoustic engineer. What does the new brand Xavtel, and the formation of the PAX ProAV Group, which

incorporates sister company Ateis, offer the pro-AV industry? In addition to Xavtel and Ateis, the PAX ProAV Group also incorporates UK loudspeaker brand Penton, Terracom systems and Messenger Pro. A combination of factors, including fast growth and the acquisition of new brands – and in particular the development of new technologies – meant we needed to make clear to the market what our intentions were. We understand that the www.installation-international.com

INTERVIEW: ROMANO CUNSOLO, XAVTEL Romano Cunsolo – a brief biography Born in Frankfurt in 1964, Romano Cunsolo studied psychology at the University of Frankfurt before studying music at the same university. He worked as a professional musician for several years before joining the pro-AV industry In 1986 he started freelancing

growth today shouldn’t just be seen in new technologies, we also needed to be able to direct and focus on various market segments with the right product and the right portfolio. We decided that the most suitable way to do this was to form the PAX ProAV Group and integrate all of the aforementioned brands. This happened in November 2013. My part in the new group is to generate a clear message to the market that we will focus to serve our customers within various market segments with the best support and innovative, but ‘easy to use and install’, products. You offer both proprietary (Xavnet) and open (AVB) networking technology – what is the thinking behind this? My experience of networked audio is that there is still no protocol offering both low latency and lots of channels of audio and video without a royalty fee. That means there is always high cost involved. The second issue is that there is no real standard yet, and AVB is not 100% ready in terms of dealing with audio and video. But the biggest difference is that AVB is a star-wired topology and requires external AVB hardware. The Xavnet is a loop-wired, fully redundant network, which is much cheaper and really fast, and therefore we allow the consultants for large projects to decide which way they want to go. With the MIRA System we go one step further: here we have two network card slots to even use both network protocols simultaneously. How were your proprietary technologies developed? Were they in response to market needs? I would deﬁnitely say yes, because it is crucial to listen to the market needs. Looking at today’s projects the infrastructure of a network and the topology www.installation-international.com

as a sales promoter for Dynacord. A promotion elevated him to international sales manager for Dynacord and Electro-Voice, later on becoming EMEA marketing and product management for E-V, leading a small team After leaving these brands in 2002, he joined Biamp

is crucial to the layout of the AV and control systems. Therefore a lot of consultants ask for easy and less expensive solutions. Plus redundancy is already included in Xavnet. High-speed networks are central to how your products work – why is this especially important for audio installations? We need to deal with realtime audio and there are a lot of applications asking for a large number of audio channels. The more channels there are the easier it gets to program larger systems, due to the fact that they do not need to be mixed together and then sent via a ‘bottleneck’ to the network. Within AV, of course, the video part has to be time aligned with the real-time audio, and that’s what we were able to do within the MIRA system. What applications have the most to gain from these networks? As said before, large-scale projects in particular have the most to gain from these networks, and also any project that needs to be networked over distance. Just take a legislative or a court project, for example; think about all network issues with recording all channels from multiple rooms. These channels have to be totally independent over the network, as well as handling paging and discussion facilities and all need to be controlled from single or multiple places. In addition these networks often need to incorporate video, conferencing and digital signage. How is the company keeping on top of advances in the pro-AV industry? Well, we try hard. It is not easy because new technologies also need to prove to be reliable and a real help for the customers. That’s why we want to focus

Systems, then moved to Audioprof in 2011 In 2012 he started working for Ateis Germany, which later became part of the PAX AV family. This led him to Ateis Europe and then Xavtel Communications as director, marketing and business development

on our direct customers and help them to get our products to serve the end users’ and consultants’ demands. Our 50 engineers are doing a great job including our field engineers. The secret is really a good communication flow from the idea to the market of each new technology. Is there anything that you’d still like to achieve inside (or perhaps even outside) the pro-AV industry in terms of personal career goals or ambitions? I am very happy with my current position at Xavtel. I’m learning more every day, and due to the worldwide responsibility, I am travelling to get more insight into a lot of different countries. I’ve learned that the markets are almost the same, but the difference is knowledge, culture and mentality of people that really defines a market or a territory. My personal goal is to involve our customers in getting things right, not just with the capabilities of our technologies, but with integrating and using them. Audio is already a tough part to deal with, incorporating video is another one, but bringing them together on a single platform and network and then controlling the whole system is the true challenge. The key here is that integrators worldwide can easily program and end users easily use them. In respect to all people on the planet, my biggest personal value for good and long-term business is to understand and live the following: “Think global but act local.” If I can lead Xavtel in this direction, then I have achieved something which was my dream in the last 20 years in the AV industry. One last personal thing: I will never stop playing music. www.xavtel.com

June 2014 15

EVENT: INSTALLMARKET PLAN YOUR DAY 9.30

Registration and coffee

10:00 Forces That Drive Retail Tech Chaired by Nick Gale, Realisation

Full line-up of panel moderators We’ve now completed an impressive array of moderators for the different vertical industry panels at our September event We’re pleased to announce that we have a full roster of panel session moderators for the InstallMarket conference – which is part of our InstallMarket event on 4 September in London. “We’ve recruited a very strong line-up of panel session moderators for InstallMarket,” commented Installation editor Paddy Baker. “Delegates can be assured of a set of highly informative sessions, led by speakers with in-depth knowledge of their verticals.” In addition to the panel sessions – on education, hospitality, broadcast and streaming, retail and transportation – there will also be a keynote presentation from internationally renowned projection artist Ross Ashton. The conference takes place alongside the InstallMarket expo, where leading manufacturers will be displaying their solutions for the installation market, and holding break-out demo and training sessions. Here is our line-up of moderators for the conference panels. EDUCATION – COLIN MESSENGER, SENIOR ANALYST, FUTURESOURCE Colin Messenger has been with Futuresource Consulting for over 18 years, he has been involved with the Interactive and schools markets on a day-to-day basis for over 12 years, and runs the worldwide interactivity displays research programmes. Much of his work has involved providing strategic input for companies planning their future direction within the education sector, drawing on his in-depth understanding of the industry. Colin has worked extensively with many major 16 June 2014

international companies and organisations, British Airways, 3M, Dell, Epson, HP, Nokia, NTT Japan, Hitachi, ICO, Samsung, Sony, COLT Telecom, NEC, and IBM. ENTERTAINMENT AND HOSPITALITY – JOHN GREW, MD/PRINCIPAL CONSULTANT, SPARTAN COMMS John Grew has worked within the telecommunications industry for over 25 years and has specialised in providing solutions to the hospitality channel for the last 18 years. He now offers his experience as the principal hospitality technology consultant with Spartan Comms, around the world, to a wide variety of hotel owners and operators. In March 1995 (having learned his trade with a voice and data cabling company) John founded Spartan Comms, initially offering project management services for PBX installations. As his expertise within the hospitality channel increased, he expanded the services the company could offer to include cable design and in-room technology applications, audiovisual and security systems. Spartan Comms is currently working on an exciting range of projects with several prestigious large 5* hotel, resort and retail mixed use projects across the globe. BROADCAST AND STREAMING – JAMES RABY, VENTURE CAPITALIST AND SAINSBURY MANAGEMENT FELLOW James Raby is a commercially astute technologist/engineer with signiﬁcant experience in the broadcast and communications industries in marketing, investment, and

mergers and acquisitions. He focuses on venture capital and transforming companies making the transition into the telecom/media converged market. In the past he has worked as director of television at NTL Broadcast, project manager for the Independent Broadcast Authority, and head of broadcast development at VT Merlin Communications (where he was in charge of corporate development and mergers & acquisitions for broadcast services and infrastructures in a global perspective). Most recently Raby was a venture executive at Skandinaviska Enskilda Banken (SEB) and served as director at ZinWave (which develops in-building cellular and wireless technology solutions) and as a director at Nomad Digital (which provides mobile wireless local area network services on trains and transport, and network-independent data communications services). RETAIL – NICK GALE, FOUNDER, REALISATION Nick Gale founded Realisation in 2003 and has been involved in the digital signage industry from its inception. A veteran of the advertising and marketing services industries, Nick is considered an expert on all aspects of digital signage and is frequently asked to speak at industry events. For more than 10 years, Realisation has tackled some of the most complex digital signage projects in the industry, in the UK’s busiest retail spaces. Its portfolio boasts an impressive client list including Nationwide, Dyson, TUI and Argos. It offers a thorough understanding of complex digital signage projects in-store through

ﬁrst-hand experience, and develops visual content to suit the brand, objective and medium. TRANSPORTATION – CHARLIE HENDERSON, PERFORMANCE IMPROVEMENT CONSULTANT, PA CONSULTING Charlie Henderson is an accomplished performance improvement consultant with over 20 years’ experience, primarily in the transport sector. He has successfully supported organisations in exploiting new technologies and processes that deliver real business beneﬁt. This includes supporting the Highways Agency to design a future service blueprint and then procure its National Traffic Information Service, including control room. Most recently he has been supporting the Highways Agency and the Rijkswaterstaat specify requirements for their regional control centres. Charlie’s work has been critically acclaimed – he led the assignment that won the Management Consultancy Association award for best operational performance project in the public sector (2006), was a consultant on the assignment that won best public sector project (2007) and led the assignment that was shortlisted for best public sector procurement project (2012). AV/IT NETWORKING – KEITH HUMPHREYS, MANAGING PARTNER, EUROLAN RESEARCH Keith Humphreys has been active in distribution channels for local area networks since their inception in Europe, after initial experience

11:00 Keynote: Ross Ashton, The Projection Studio 12:00 AV & Broadcast Convergence: A Marriage in IP Chaired by James Raby, venture capitalist and Sainsbury Management Fellow 14:00 Not Your Father’s Classroom; Not Your Mother’s Campus Chaired by Colin Messenger, Futuresource 15:00 What Hospitality and Entertainment Venues Really Want Chaired by John Grew, Spartan Comms 16:00 What Moves Transport Technology Chaired by Charlie Henderson, PA Consulting 17:00 Whose Network is IT, Anyway? Chaired by Keith Humphreys, euroLAN Research

gained in South Africa. Other experience in mid-range computing and connectivity issues comes from sales channel management roles in Europe and for US-based companies. As a consultant with euroLAN Research he has worked with several major networking vendors in streamlining their European channels and in analysing their markets and competitors. He holds a degree in engineering from the University of Westminster. The InstallMarket conference is free to attend – as is the expo running alongside. The event takes place at the Business Design Centre in Islington, north London, on Thursday 4 September. To register, go to www.installmarket.com/registration. www.install-market.com

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FEATURE: STADIUM AUDIO [KEY POINTS] There is a trend towards higher quality, particularly in the areas of speech intelligibility Beam-steering and beam-shaping technology will lead to continued improvements in audio clarity Energy efficiency and environmental sustainability are increasingly important factors for consideration

Community Professional kit features in The Arena Amazonia which will host 2014 FIFA World Cup games

World class

THE STADIUM may provide something like 90,000 seats, but many millions witness what happens inside. It probably only covers a few square kilometres, but its impact spans the whole world. When something happens in a modern world-class stadium, it happens everywhere. With this summer’s soccer World Cup fast approaching, the industry looks to Brazil for the latest statements in stadium audio and, well, stadium everything else. When the new Wembley Stadium opened in London in 2007, it had 2,168 toilets – compared to 361 in the previous structure. At the other end of human activity, it had 688 catering facilities as opposed to the meagre 152 of yore, yet the capacity of the whole stadium had increased by only 13%. Every seat had more legroom than the old Royal Box VIP section and, whereas 16,000 tickets used to afford obstructed views, now there were none, anywhere. Suffice to say: expectations had risen. SEEN TO BE GREEN In the same year that Wembley reopened, football’s 18 June 2014

ruling body FIFA published a 125-page bit of light reading called Football Stadiums: Technical Recommendations and Requirements that gave these raised expectations an official framework. Everything from hygiene to access got an infrastructure overhaul, but the biggest impact on the most services came from one of FIFA’s ‘pre-construction decisions’ called the Green Goal: “an initiative to address environmental sustainability” that the organisation “fully expects its partners to embrace”. Clearly a more efficient energy system would ﬁgure prominently, and indeed all technology suppliers involved directly with World Cup projects have had to respond to this edict, along with the rest. It has been adopted widely, with Fernando Guerra, Harman Brazil’s national sales manager for install & cinema, describing the book as “the ‘Bible’ on which all audio integrators base their projects”. More generally, Peavey Commercial Audio’s operations manager James Kennedy views this development as the most

pressing adaptation that technology suppliers are having to make across the spectrum of global-standard stadium business. “Things like Energy Star certification, promoted by the US Environmental Protection Agency, are really coming into play,” he says. “It’s an absolute must for amplifier upgrades among many people I’m talking to now.” For Brazil this summer, according to Guerra, two general categories of stadium have been created. Twelve new arenas have either been built or comprehensively refitted to host official matches: of these, Corinthians, Manaus, Brasília, Cuiabá, Recife, Fortaleza, Salvador and Natal are brand new from the ground up. Three more arenas are to offer support services, such as for use as training grounds, but will not host fixtures: Grêmio and Palmeiras are new-builds; Independência is a refit. All are based on FIFA requirements. “The company that signed with the main contractors in each arena is the system integrator,” Guerra explains, “but in most cases this

Phil Ward canvasses industry insight into what makes stadium audio good enough for today’s global events company is not an audio specialist. As a result, they all hired an audio integrator to help them deploy the systems. These audio integrators have had ﬁnal responsibility for selecting the technology and applying it.”

‘With the use of technologies like beam-steering and beamshaping we will see dramatic changes in the future’ Martin Reich, AudioConsulting AG

SOUND QUALITY This is the kind of opportunity audio integrators need to stamp their mark on stadium excellence. “Electro-Voice and Dynacord’s past references include events such as the World Cup in South Africa and Brazil and the Olympic Games in London, Athens and Sochi,” comments Oliver Sahm, Electro-Voice’s director of technical support for pro audio EMEA. “Here, and in other stadium installations, we’re seeing a trend to higher quality, especially in speech intelligibility for voice announcements and alarms, as well as increased audio quality for entertainment.” Colleague Juan Montoya, of Bosch Sistemas de Seguridad, Central Latin America, has been busy doing exactly that. “A stadium is a place where a spectacle is happening, where people watch the top sport stars perform,” he adds. “Everything around that spectacle should be at the same quality level, so the audio should not sound a note of discord. The audio must be absolutely clear.” Bowl loudspeakers are nowadays nearly always line arrays. One example is QSC www.installation-international.com

FEATURE: STADIUM AUDIO Audio’s WideLine8 series, offering a typical solution. “Compact, articulated line arrays help to avoid sightline issues,” says Martin Barbour, product applications specialist at QSC. “140° horizontal coverage allows for either fewer required arrays to cover the audience area or for improved stereo imaging, provided the conventional number and spacing of arrays is used.” Bowl systems developed for soccer stadiums are a combination of suitable performance and cost efficiency, according to Brad Ricks, JBL Professional’s senior application engineer.

‘We’re seeing a trend to higher quality, especially in speech intelligibility for voice announcements and alarms’ Oliver Sahm, Electro-Voice

“These stadiums tend to have a cover over the audience area providing an excellent mounting location for a distributed system,” he points out. “Loudspeakers are placed near the edge of the structure and typically cover an entire vertical section of the building. The resulting throw distance to the seating – along with performance expectations, intelligibility requirements and cost constraints – combine to determine the appropriate product type. “The systems should also be weather-resistant: suitable product can be purpose-built for the outdoors, such as the JBL AW-series, or modified standard product that uses fibre glass treatment and stainless steel hardware.” “The goal of every stadium architect is to build a unique place that suits not only the needs of the sport it was built for, but also augments the spectators’ emotional involvement,” comments Martin Reich, CEO of Zurichbased AudioConsulting AG, respected Meyer Sound user and a veteran of several festivals and tournaments including as stadium sound project leader for UEFA’s Euro 2012 and Euro 2008 finals and the World Gynaestrada 2011 in Lausanne. “One important factor is the loudness of the cheering crowd, so usually sports arenas are deliberately very reverberant to make the crowd louder. But involving the crowd is also the goal

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of the content, like the commercials played on the giant screens, while the sonic quality of stadium announcements is an important factor.” Amplifying any audio signal in such a place is a challenge: the ability to control frequencies below 250Hz is important. “Only highly directive speaker systems can bring better quality audio with full frequency range and high dynamics. With the use of technologies like beam-steering and beamshaping we will see dramatic changes in the future. Such technology also allows us to exclude certain positions from being polluted by the PA, like the media and commentary positions, ﬁeld reporters and TV studio positions, while providing a full level for the rest of the bowl.

“The disadvantage of this technology is the need to run every cabinet on its own processor and amplifier channel, so self-powered speaker systems will greatly simplify this kind of implementation and set-up. Installing an amplifier channel and running a loudspeaker cable of sometimes more then 100m per line array cabinet will be a thing of the past when you can run just one Cat5 or fibre cable and power to the array. This is not a dream: it’s a reality in products like Meyer Sound’s Column Array Loudspeaker, for example. “Network standards like AVB or AES67 will be the backbone to make this happen very soon. I don’t think that everybody involved in a stadium production – like the broadcasters, the stadium AV infrastructure

and so on – would like to rely on a network with a single sync master. But once bridge switches arrive, with the ability to connect asynchronous networks together, the RJ45 connector will quickly replace the XLR as the common audio interface.” NETWORKS The progress of fibre-optic networks now seems embedded in the progress of German fibre-optic distribution pioneer Optocore. Its strategic partnerships latterly included Clear-Com, a company with its own mission to connect the globe via comms systems. The first fruits of this labour were the V3R-FX-Intercom, a 4-channel unit, and the 8-channel X6RFX 8, both of them Clear-Com devices based on Optocore’s X6R and V3R signal converter platforms. As a result, The Tele2 Arena in Stockholm is fitted out with a complete QSC solution

June 2014 21

FEATURE: STADIUM AUDIO Clear-Com Eclipse matrix systems, 4-wires and intercom control panels enter the ﬁbre-optic world and stadiums, in particular, stand to beneﬁt from the union. Montoya outlines the case for advanced DSP. “The size of world-class stadiums means that traditional audio cabling is inefficient,” he says. “For this kind of project you need something like Bosch’s OMNEO media networking architecture: transport of audio and control in one single cable using TCP/IP infrastructure.” “Dual redundant AES67 networking ensures compatibility with standard IT infrastructure,” adds Barbour, “so the audio system can leverage the site-wide, converged network that facilitates all other networked components in the venue. Our Q-Sys Core processors provide complete, automated processing redundancy allowing virtually zero downtime. Critical I/O can be connected to dual redundant I/O devices, ensuring that important audio inputs and outputs are always available. GPIO on all of the networked I/O

22 June 2014

and Core processors ensures that integration with VA systems at any location in the building is simple, while network-connected and monitored paging stations allow distribution of paging capability throughout the stadium. “Standards-based, networked audio and control integration with digital video distribution systems such as Cisco StadiumVision and SVSi ensures that the audio, video and control components in the venue are truly tied together in one networked, integrated package. Native AES67 support ensures compatibility with any Ravenna-, Telos- or Livewirebased broadcast system that should arrive for an event. Dante and CobraNet I/O cards enable the designer to breakout to third-party networking protocols at the edge, as required, for integration with touring and production audio systems.” Dave Howden, director of technical services for Community Professional Loudspeakers, agrees that fully integrated audio across the main bowl, the ancillary zones and the broadcast

[JUNGLE TELEGRAPH] According to Dave Howden of Community Professional Loudspeakers (pictured), a spirit of integration already exists between the live and broadcast interests vested in the world-class stadium – and Community has latterly installed a large inventory at the Arena da Amazonia in Manaus, Brazil for this summer’s World Cup. Put simply, it’s a case of share and share alike… “The routable programming sources may include PA announcer only; full programme; local radio or TV audio, un-delayed; press box announcements; and advertising – either audio or audio plus video to promote

infrastructure is now possible (see boxout above). “It’s also very desirable for commercial purposes,” he says, “and essential for life safety when a venue has to take responsibility for the security of large numbers of people. It’s also assumed that all sound systems will achieve the expected intelligibility, SPL and coverage.

events and sponsors,” he explains. “AV interfaces to the broadcast bays are critical and must be versatile to enable signals to ﬂow in either direction depending on the event needs. Copper remains the easiest interface, as many broadcast trucks – usually hired for a single event – are not fully digital. “Broadcasters often share their camera angles with in-house production, and some stadiums don’t have their own cameras – they rely on the broadcasters. They also often share their audio effects feed with the facility, which in turn distributes the ‘sounds of the game’ to other radio or internet broadcasters

“For all systems, interconnectivity by a reliable digital and redundant link to amplifier rooms is greatly desirable. Amplification is expected that provides continuous monitoring of key amplifier and speaker parameters back to the operator’s position. This is especially important for systems that fall under,

via analogue distribution through the press areas of the facility.”

or double as, life safety systems. They must be able to interface to the command centre, which may take control of AV systems if a situation warrants it.” Zoning is another fundamental requirement. “The ability to zone off main seating areas is also desirable,” adds Howden. “If an upper deck is not in use

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FEATURE: STADIUM AUDIO there’s no need to damage intelligibility by introducing energy into those empty areas. This is also true for playing surfaces where you may want sound at some times, but not at others – the broadcasters will thank you for this!” COMPLY WITH ME Which leaves, you guessed it, compliance. Regulatory standards apply to all components that service ﬁre alarms, including how they’re operated; what sounds or signals they make to communicate the status of emergencies; how those signals are distributed to selected areas; and how faults are dealt with. Audio and AV brands therefore come up against health and safety inspections at every stage from manufacturing onwards and, in Europe at least, the use of products that conform to Part 16 and Part 24 of the EN54 standard is a requirement encountered at least as often in stadiums as in other public sites. But compliance is only half the story for those with their eyes on the next generation of stadium audio. As said by

24 June 2014

both Martijn van Overveld, product marketing manager at Bosch, and Brett Downing, sales & marketing director at TOA, it’s the understanding of sound quality that should enable the market leaders to integrate VA and PA in tandem with emerging standards. “Whether standards are universally implemented is not the issue for us,” van Overveld comments. “The standard subscribes to ensuring that voice alarm control and indicating equipment provides the best possible communication for users, installers, the public and ﬁre brigades, as well as providing uncompromised system availability and system supervision.” “The primary reason for using a voice alarm system instead of the coded warnings given by sounders is to reduce the time taken for those at risk to recognise that an emergency exists, and to give clear instructions on what to do next,” adds Downing. “This means that voice alarm loudspeakers need to achieve a minimum acoustical performance, as well as constructional and environmental requirements,

to be suitable for use in fire detection and fire alarm systems.” “A world-class stadium needs to offer security to fans,” confirms Juan Montoya. “The system should produce high levels of sound pressure that can be clearly heard by everyone in the bowl, in the internal zones and on the adjacent outside zones. For this, a regular sound system is not enough. We need supervised and redundant systems.” And there’s more. Rick Kreifeldt, VP of research & innovation at Harman International and president of the AVnu Alliance technology lobby, cites the recent National Association of Broadcasters (NAB) exhibition in Las Vegas as a potential watershed in the integration of live and broadcast media support. “The World Cup is the most watched event worldwide,” he says, “and we saw announcements from Fox, Arista, Axon and others revealing a surge in adoption of AVB that never happened with CobraNet, EtherSound or anything else. Broadcast is probably the most demanding domain of pro AV, so it’s quite

Community in Brazil: the Mineiro Stadium

a breakthrough to see that industry breathe the same air as major sports facilities.” As AVnu Alliance Pro Video Group chair and CEO of Axon Digital Design Jan Eveleens said at NAB: “We’ve already seen strong interest from broadcasters who agree with us that AVB is a gamechanging technology for the industry. The underlying standards and technology are already available. As part of the existing IEEE 802.1 suite, AVB makes a standard

Ethernet network suitable for a full-blown production backbone.” Perhaps Ravenna and Dante will have to wait for the next time Italy hosts the World Cup. www.audio-consulting.ch www.avnu.org www.boschcommunications.com www.communitypro.com www.jbl.com www.peavey.com www.qsc.com www.toa-corp.co.uk

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FEATURE: PROJECTORS

Time to focus on lenses Twenty-three Optoma EX875 projectors with short throw lenses and off-axis capabilities were used in an underground exhibition commemorating Dunkirk

In recent years, the excitement in the projector world in any discussion of image quality has been about increasing resolution, higher brightness and improved contrast. The focus of attention has been on the light modulator and the illumination source. Ian McMurray looks to redress the balance [KEY POINTS] IT’S BEEN very easy to overlook the fact that, without appropriate lens technology, many advances in projection would not have been possible. Beyond this, the new ways in which projectors can be deployed – helping projection to continue to remain relevant in applications that would otherwise perhaps have fallen under the spell of flatpanels – have been largely a function of lens technology. RESOLUTION DRIVES DEVELOPMENT “Projection lenses have been continuously developed to meet the requirements of increased resolution with smaller pixel DMDs,” notes Mark Wadsworth, international marketing manager at Digital Projection, “and increased angular coverage and depth of field for wide-angle installation such as domes. Image fields have been increased to allow greater offset, and complex apertures included to increase contrast by taking advantage of the asymmetric illumination characteristics of DMDs.” Richard Marples, strategic marketing director, venues and attractions at Barco, has noted a similar phenomenon in relation to DLP. “The main developments 26 June 2014

Higher resolutions have driven the design of new lenses that can do justice to the increased pixel count in the last year or two have been the increases in resolution and the subsequent changes in lens that it has needed,” he says. “With the DLP pixels getting smaller and more numerous, we have needed to introduce new lenses that can cope with this.”

‘In order to project perfect images you need both excellent image processing and very highquality lenses’ Richard Marples, Barco

Short throw – and especially ultra-short throw – lenses are hot, and allowing new applications for projectors “Lenses, of course, had to follow the developments in resolution,” adds Hartmut Kulessa, marketing manager, projector products at Panasonic. “With the widespread adoption of WUXGA resolution, we upgraded our lens range with lenses that can cope with the detail and crispness of highdeﬁnition images.” Few would doubt the contribution the lens makes to projected image quality – but to what extent is that task shared with the sophisticated image processing technology now found, to a greater or lesser extent, in modern projectors? IMAGE QUALITY: IT’S ABOUT THE LENS – MOSTLY “Lenses and image processing go hand in hand,” avers Kulessa. “Without a precise and uniform physical focus right on the surface of the screen, the best signal processing won’t work any magic in improving the picture quality. Signal processing, of course, is very powerful when it comes to enhancing the original source content with frame interpolation for better motion sharpness

Both image processing and lens design contribute to image quality – but of the two, the lens is the more signiﬁcant or frequency dependant sharpness control.” “Perceived detail and motion artefacts, such as frame judder and smearing, are down to image processing,” says Justin Halls, head of product marketing at Optoma. “The quality of lens impacts upon pixel sharpness. The better the lens, the clearer the image will be. Optoma recently launched the HD91 LED home cinema projector. In home cinema, viewers sit relatively closer to the screen than they would in a typical conference room or lecture theatre, so excellent quality optics are vital for picture quality.” “The projection lens essentially relays the illuminated static DMD source onto the screen,” notes Wadsworth. “The ‘photographic’ quality of the image – distortion, pixel blur or sharpness, chromatic shifts and so on – will depend on the quality of the projection lens. Misaligned DMD optical systems can produce registration errors of the DMD in three chip systems, and the electronics can produce motion and greyscale artefacts in the

Most lens designs are a compromise between functionality, image quality and cost. The fewer the compromises, the higher the price image. The overall visual experience will depend on eliminating errors in all these areas.” “In order to project perfect images you need both excellent image processing and very high-quality lenses,” agrees Marples. “It’s no use having one without the other. Artefacts produced in the processing will not be hidden by a good lens, and a bad lens will always look bad, regardless of how good the processing is.” Vivitek’s director of EMEA operations James Hsu is in no doubt. “A good lens is an

DEFINING UST It’s a somewhat hazy area, but it’s generally agreed that, to qualify for the description ‘ultra-short’, a lens should have a throw ratio of 0.38 or less – in other words, to deliver a 60in wide image, the projector lens can be placed 22.8in from the screen. ‘Short throw’ is generally deﬁned as representing a throw ratio of between 0.38 and 0.75, while the typical projector has a throw ratio of between 1.5 and 3.5. www.installation-international.com

FEATURE: PROJECTORS

CASE STUDY

Panasonic’s DLE030 lens has a throw ratio of 0.38-1, which the company says obviates the need for mirror systems and metal frames

incredibly important part of any projector,” he confirms. “It ensures that focus across the entire image is consistent and ensures no distortion at minimum or maximum zoom levels.” “If I had to choose between the lens and the image processing as being the most significant contributor to image quality,” says Greg Jeffreys, managing director of projection solutions specialist Paradigm AV, “it would be the lens.” NEW FUNCTIONALITY Image quality, however, isn’t the only parameter in projector lens design as manufacturers look to drive sales in new applications. Here, the functionality of the lens makes a significant contribution – but is this functionality at the cost of image quality? Are there trade-offs and compromises to be made? Wadsworth again: “There will always be a compromise between the theoretical maximum performance of a projection lens and the competing specifications demanded of the lens,” he believes. “Usually, for a given lens design, the increase in one specification parameter will come at the expense of other parameters unless the original design is modified by increasing its capability with more design parameters – such as additional lenses. However, the normal mode of lens design will be to design the lens to a given specification. The specification will also include cost, so that can be treated as another design parameter which competes against the others.” Gerd Kaiser, product line manager for large-venue projectors at NEC Display Solutions, sees things similarly. “Because of optical limitations, high flexibility in a lens will always involve a compromise with best

achievable quality,” he says. “Projector manufacturers have to find the right balance between lens features and good optical performance. Providing just features makes no sense if the quality is not acceptable for customers.” Kulessa warms to the theme. “Every lens that features zoom and shift will require a larger glass body,” he says. “To make best picture quality and a crisp and perfectly focused image needs carefully engineered and precisely manufactured and shaped lenses. If you put the two together, it means increasing the cost. Of course, there is value in a large lens shift, but what is its real value if it comes at the price of picture distortion and pincushion effects? We always have the best picture quality in mind, which is why Panasonic lenses are probably not the cheapest, but always assure best picture quality and installation flexibility.” “We have always prided ourselves at Barco in offering installation flexibility and allowing offsets and zooms that sometimes others do not have,” adds Marples. “We can usually achieve this without reducing image quality, but it does sometimes mean very expensive lens designs. Also, each lens within a range – on the same projector – will have slightly different transmission values, which means that maximum light output is usually achieved through one or two lenses only, while the others may transmit less light due to the extra glass in the path.” Inevitably, lenses are designed with a specific target market in mind – and in some of those markets, price may be a more important consideration than absolute image quality. FLEXIBILITY IS KEY “Every installation is different, so flexibility and functionality are the key factors in lens

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AV SHOW STRETCHES LENS CAPABILITIES TO THE LIMIT Originally a stone quarry, the Carrieres in Les Baux-deProvence, France, has been transformed into a backdrop for a stunning audiovisual show, where images are projected on to the walls and the ﬂoor. Multiple surfaces are used in the show to give a sense of depth, while spectators are immersed in the projected images. The walls, ceiling and even the ground are completely covered, becoming

a vast carpet of images. This huge space required the Optoma projectors, and the lenses used within them, to be extremely ﬂexible. As a result, a variety of projectors and lens were needed, some installed to project vertically. The cavern is more than 6m high in places so the installation required longthrow lenses for images to reach the roof, while shortthrow lenses were used within small nooks.

Lens shift and off-axis projection were essential to project around obstacles formed by the irregular space. Spectators are totally immersed in the images projected onto all the surfaces of the rock. Work by Gaugin and Van Gogh currently feature in one film, while themes of nature are shown in another film. The subjects of the films are changed each year.

design to cater for all scenarios and provide greater installation opportunities,” Halls notes. “This does not always equate to reduced image quality.” “Optoma’s new special effects short throw lens provides an affordable very short throw solution speciﬁcally tailored for video and moving images,” he continues. “Its throw ratio is comparable to similar lenses used in classroom environments for education.” Jeffreys sums up the situation. “Yes,” he says, “there are quality compromises, but in practice, the actual ability to have these ﬂexibilities outweighs the negatives.” The development that has pretty much taken the market by storm has been short throw and,

eventually, ultra-short throw (UST) lenses. “Short throw lenses are becoming massively popular,” proclaims Kulessa. “In ﬁxed installation applications – in museums and public display, for example – we see an uplift in the use of projectors in general and very often, whether rear or front projection, from a relatively short distance.” “A year ago, Panasonic launched what we believe is another breakthrough innovation,” he goes on. “With the ET-DLE030 lens, we can offer an exchangeable ultra-short throw lens for high-brightness projectors

that allows a throw ratio of 0.38:1. This opens new applications for projectors and lets installers and system integrators do away with massive mirror systems and metal frames when they’re trying to conﬁgure space-efficient projection solutions.” “Optoma has seen a greater demand for short throw lenses with off-axis capabilities and projectors which have lens shift functionality for installations that have space constraints and/or need rear projection onto large screens,” adds Halls. “Having lens shift for short throw lenses is unusual because the lenses themselves are often fairly wide in size which leaves very little room to physically shift the lens. Because Optoma

In common with many manufacturers, Digital Projection offers a broad range of lenses to support a wide variety of potential applications

June 2014 29

FEATURE: PROJECTORS provides short throw lenses that can project off-axis with lens shift, we have seen an increase in the use of our projectors and lenses where space is tight or where there are obstructions such as pillars.” Flexibility is, in many cases, the key in projector deployment – and that’s invariably provided by a zoom lens. Whether powered or manual zoom depends, it seems, on where the projector is to be sited – and cost and weight. “For portable projectors, a manual zoom is cheaper, lighter and easier to use,” points out Hsu. “For some large projectors, where it is difficult to access the lens once they are installed, motorised zoom would be preferable and can often be adjusted with a remote control.” Optoma provides manual and powered lenses – but as Halls points out, if an integrator is expecting to install a projector only once, he will typically not need a zoom option, and will save cost. It is typically projectors that will see multiple installs, or that will be located in such a way that manual access is impracticable, that justify the additional price of a zoom lens. “It all depends on the application,” says Kaiser. “A powered zoom lens is fine for rental/staging with many changes of projector set-up and location. It’s not necessary for fixed installation, because the screen and picture size never change.” MAKING A CHOICE There is a bewildering array of lens options to choose from – something of which projector manufacturers are aware. Panasonic provides an online simulation/visualisation tool in which variables such as room size, lens shift and zoom can be modified. Optoma also provides an online tool, and both companies expect to support their customers via expert guidance from their sales channel. Barco has a projector and lens calculator available on its website which is even capable of calculating a multichannel blended set-up, notes Marple. A downloadable version is also available. Vivitek offers a mobile app, as well as a web-based tool, to help determine requirements, while Digital Projection supports its lens range with a web-based capability, extensive documentation 30 June 2014

CASE STUDY

‘A good lens is an incredibly important part of any projector’ James Hsu, Vivitek and application engineers. NEC’s website features a lens calculator, and this is supplemented for offline users with an Excel spreadsheet. The theory of selecting a lens is fine – it’s a starting point, at least. But Jeffreys, long a proponent of AV in the real, rather than theoretical, world, is clear. “The challenge for integrators is to understand that each lens option gives a variation in quality, brightness, uniformity and other image attributes relative to the ‘ideal’ projector/lens combination that one sees in the projector specification,” he says, “and to understand that a projector and its lens comprises a discrete system in itself.” “And then,” he concludes, “to factor that into the overall system deliverable: the delivered image quality in the actual environment the user will see it in.” It is apparent that, even if lenses are easily overlooked by end users, they are a major focus for manufacturers and installers alike. Not only is significant attention paid to their optical qualities, but also to their functionality. And, in many cases, they represent a significant cost – especially in the rental/staging market – such that manufacturers will ensure that lenses are interchangeable from one generation of projector to the next. Quality, flexibility, innovation, low cost of ownership: lenses are the projector industry in microcosm.

NEC PROVIDES BACKDROP FOR THEATRE Horizon Community College is an Advanced Learning Centre in Yorkshire, UK, specialising in sports and creativity. The college shares its facilities with the local community, including, at 420 seats, the largest theatre in the area. For the theatre stage, the

college wanted a backdrop solution that was more cost effective, and allowed greater creativity, than a traditional installation would offer. It turned to NEC reseller Osborne Technologies, which proposed three NEC PA800X 6,000 lumen projectors in

a stacked, rear projection conﬁguration using NEC’s automatic stacking set-up application. The projectors were ﬁtted with NEC’s NP30ZL short zoom lens with a throw ratio of between 0.79 and 1.04.

www.barco.com www.digitalprojection.com www.nec-display-solutions.com www.optomaeurope.com www.panasonic.net www.paradigm-av.com www.vivitek.eu

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INSTALLAWARDS 2014

We y

Celebrating the best of the audiovisual installation industry â&#x20AC;&#x201C; and 15 years of Installation

WELCOME&CONTENTS

We y

Celebrating excellence

â&#x20AC;&#x2DC;I can think of no better way to highlight excellence in the ďŹ eld of installation than an event where the industry can get together and toast its successesâ&#x20AC;&#x2122;

The ďŹ rst InstallAwards are almost upon us. In this, the 15th year of publication of Installation, I can think of no better way to highlight excellence in the ďŹ eld of installation than an event where the industry can get together and toast its successes. Ahead of the InstallAwards ceremony when we reveal the winners, this supplement gives you the opportunity to ďŹ nd out about the ďŹ nalists for each of the three awards in our ďŹ ve vertical categories. What makes a great installation project? You need a vision of how to fulďŹ l the clientâ&#x20AC;&#x2122;s brief. You need to design a system that will deliver the required functionality, choosing the appropriate products for the sources, the endpoints and the connectivity. Youâ&#x20AC;&#x2122;ll probably need to draw on the expertise of different kinds of people. And ďŹ nally you need to bring that design to life on site. So rather than simply making a single award in each category, weâ&#x20AC;&#x2122;ve devised the InstallAwards to provide a more holistic approach, which better reďŹ&#x201A;ects the way projects work. The Best Project Awards speak for themselves â&#x20AC;&#x201C; rewarding those projects that do the job well, meeting or exceeding the clientâ&#x20AC;&#x2122;s expectations, providing an elegant solution thatâ&#x20AC;&#x2122;s within the budget. The Teamwork Awards acknowledge that the most successful projects generally require input from a wide variety of people: consultants, acousticians, product specialists, programmers and others. And then there are the unexpected problems that can crop up mid-project and require creative thinking and possibly calling in the odd favour to solve. The third side of the triangle is the Star Product Awards. Here, weâ&#x20AC;&#x2122;re rewarding products that do the best job in the context of their speciďŹ c projects. So the judges werenâ&#x20AC;&#x2122;t necessarily looking for top-of-the-range, allsinging, all-dancing equipment â&#x20AC;&#x201C; they were looking for well-speciďŹ ed products that provided a superior solution to the alternatives. A word about the way the InstallAward winners are chosen: we invited entries over a period of six weeks and shortlisted the best ones in each category. We then recruited a panel of independent expert judges from across the industry â&#x20AC;&#x201C; over two dozen people from the ďŹ elds of consultancy, distribution, manufacturing and journalism â&#x20AC;&#x201C; who pored over the entries and cast their votes. Having occasionally been a judge for other awards in the past, I know that itâ&#x20AC;&#x2122;s not always the glamorous task that it might appear â&#x20AC;&#x201C; so Iâ&#x20AC;&#x2122;d like to express my heartfelt thanks to all our judges for contributing their time and expertise to the InstallAwards. Many thanks also to the companies who are sponsoring various aspects of the event: we greatly value your support for this new initiative. There are also two special awards, designed to mark the 15th anniversary of this publication. Called the 15 Years of Achievement Award and the 15 Years of Excellence Award, they recognise outstanding work by an individual and a company respectively. Turn to page 46 to learn whose work we are celebrating. The InstallAwards are held on the evening of Thursday 12 June at the Hilton London Wembley. At the time of writing, there are still a few seats available: go to www.installawards.com/buy-tickets or call Sara Mather on +44 (0)20 7354 6001. I do hope you can join us â&#x20AC;&#x201C; it promises to be a great and memorable night.

AWARDS CATEGORIES 36 Education 38 Public Display and Retail 40 Residential 42 Sports and Performing Arts 44 Corporate and Industrial 46 15 Year Awards

Paddy Baker, Editor, Installation â&#x20AC;&#x201C; paddy.baker@intentmedia.co.uk

www.installation-international.com

June 2014 35

EDUCATION

Best Project Award

SPONSORED BY

CDEC – THE CORE Integrator CDEC was appointed to specify an AV solution for exhibition and education spaces at a new conference and training venue in a refurbished pottery works in Stoke on Trent, the home of pottery. The centre is designed to showcase sustainable building solutions and provide training for tradespeople to help build low-carbon homes. CDEC speciﬁed and installed a bespoke solution

for two areas: the corporate suites and the public-facing visitor centre. It installed a large-scale NEC projection system which uses edgeblending techniques to create an engaging 6m projection on a curved wall. The digital signage system was ﬁtted into large kilns that have been transformed into meeting spaces. The system consists of three 65in CTouch interactive screens and four NEC N551 displays

linked to wireless keyboards. The system was set up so that a sensor triggers the video content when visitors enter. The entire AV solution is driven by Onelan CMS-100 CMS control hardware. “The CoRE was a project working within a historic structure to install a stateof-the-art AV solution, so it really is a credit to the team to have this project up for two awards,” comments CDEC MD Toni Barnett.

HOLOVIS – SCHINDLER HQ

Holovis has created a memorable and compelling way for Schindler to communicate its vision of the future around design and innovation. This new dome facility in the company’s Zurich HQ provides an unexpected, spectacular and immersive ﬁnale for customer visits. The client wanted a truly transformative sensory experience inside an 11m geodesic dome, with 360º

visuals and surround sound. Holovis was given a set of demanding constraints, working within a challenging empty space. Schindler required a virtual reality environment to enable the visualisation and realisation of its vision for the future of city design. The Holovis design consists of a suspended 15º dome with 360º projection, using six projectiondesign F35 projectors for specially

PIXEL PROJECTS – KELLY HOPPEN LUXURY MODEL HOTEL SUITE This luxury 5* model hotel suite was created for Kelly Hoppen MBE to showcase her exclusive new collection of interior products. Pixel Projects was tasked with achieving the right guest automation scheme, which took into account different guest proﬁles, the interior design of the room and the latest developments within the hospitality industry. The room’s functions were to be integrated to be controlled from one device with preprogrammed settings such as ‘Romantic’ or ‘Movie’ – all programmed on to a bespoke 44 June 2014

interface in keeping with the Kelly Hoppen scheme. The project highlighted how to incorporate technological advances such as ‘stream your own device’ so as not be a threat to the hotelier’s revenue. This was achieved by integrating a digital concierge system into iPad, thus harnessing the technology to drive up revenue per room.

LAWO – NPR developed content. Schindler employees were trained to use proprietary auto alignment technology to achieve perfect edge blends every show. An innovative audio solution was developed utilising MC2 amps hidden from sight between the lines of the dome’s structure. All elements are integrated with a Crestron control system, which gives the team a single platform to operate any aspect of the showroom and dome. “We are honoured to be nominated for such a prestigious award in this inaugural celebration,” enthuses Holovis CEO Stuart Hetherington. “The last year has been phenomenal for Holovis – we have delivered some incredible projects, won high-end contracts in China and have taken our highest value order.”

understanding of the market and the technologies required to make everything come together as a whole.” The project had a tight schedule and extremely high expectations regarding functionality and redundancy. The extensive list of Lawo kit includes: three sapphire radio consoles; 10 8-channel and 10 4-channel crystal consoles; an mc266 MKII production console; two redundant Nova73 HD routers; 70 Nova17 routers, and seven Nova29 routers.

To increase its operating efficiencies, speech broadcaster NPR moved its HQ to a restored building in Washington’s NoMa neighborhood, and upgraded to the latest digital technology – much of it coming from Lawo. Shawn Fox, senior director of engineering at NPR, said: “Lawo’s ability to grasp what we were looking to implement, propose solutions, and come up with the right equipment to make these visions a reality requires an in-depth

VISUAL ACUITY – GSK SHOPPER SCIENCE LAB GlaxoSmithKline (GSK) contracted Visual Acuity (VA) to provide technical and design consultancy for a new research and insight facility tasked with energising its consumer healthcare portfolio. The brief – for what is now Europe’s biggest and most comprehensive brand research facility – was to specify and procure technologies and services that would enable GSK to improve its understanding of shoppers and inﬂuence retailers, brand, packaging and in-store product positioning. Initially appointed to develop technology concepts for the lab, VA’s scope of works expanded to include design, procurement and management of a collaboration room,

entrance foyer, virtual reality environment and focus group space. The 10,000sqft Shopper Science Lab is home to the world’s largest seamless touchscreen (5.32m x 2.55m), which provides full 3D visualisation of retail environments at 42 pixels per inch. The Pharmacy and Retail areas create real-life environments and use mobile eye tracking equipment to

provide in-depth analysis. Entirely IP-based, wire-free in most areas and seamlessly integrated after collaboration with interior designers, every aspect of lighting and space planning was considered to simulate a true-to-life environment. The solution is fully scalable – limited only by the available space, which is designed to evolve as needs and research methodologies change.

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CORPORATE/INDUSTRIAL

Teamwork Award

CDEC – THE CORE

STOUENBERG – JYSKE BANK – DREAM BOARDROOM Crestron control), Meyer Sound and Jyske Bank’s architects and builders was fruitful and vital. It resulted in a proactive collaborative

The integrator installed a Meyer Sound Constellation acoustic system with voice lift capability in a remodelled conference room at the bank’s HQ in Silkeborg, Denmark. Because placement of all the elements in the Constellation system is so critical, teamwork was vital in this project. Stouenberg’s co-operation with another integrator (AV Center, which supplied projectors and

culture where partners were shown each other’s way and tested possible solutions together before implementation.

The CoRE appointed CDEC not only as an integrator but also as its AV consultant, advising on the best tools and equipment needed to achieve the desired outcome. As a training facility dedicated to providing up-to-date techniques and technology for refurbishing

older buildings in a sustainable way, the CoRE needed to lead by example in its implementation of AV. Understanding this, CDEC recommended kit that differed from what the centre had provisionally chosen, to ensure an aesthetic yet practical outcome.

SCALA – NPR

PIXEL PROJECTS – KELLY HOPPEN LUXURY MODEL HOTEL SUITE The brief was to incorporate TV, lighting and audio control; however, the solution exceeded client expectations by meeting several additional needs and offering a future-enabled solution. Working for renowned

The list of partners was extensive: Crestron (lighting, control), Intelity (digital concierge), Axxess (‘do not disturb’ sign), Telepadapt (media hub, enabled ‘stream your own media’), Samsung (TV), Jacob Jensen (telephones).

designer Kelly Hoppen put further pressure on the team to ensure everything was to an exacting standard and perfectly complemented the design scheme. In addition to this, the system was required to be both robust and functional.

Each company that was involved in the project worked with Poulin + Morris to provide the high-end communication system for visitors and guests of NPR. Sansi North America provided S|Video LED displays offering the ability to change content quickly and dramatically. The digital signage component of the project was deployed and managed by Imperatives as

the Scala Certiﬁed Partner. Imperatives designed and implemented the scripts, templates and schedules. The digital signage templates are built within the Scala system in a way that maintains the integrity of the Poulin + Morris design standards, but also provides ﬂexibility for NPR to regularly adjust content; Imperatives trained NPR staff to modify and create their own script.

VISUAL ACUITY – GSK SHOPPER SCIENCE LAB Visual Acuity collaborated closely with the GSK Consumer Healthcare team and colleagues across the organisation. The design process was fully integrated

between functionality, technology and the themed look. This was achieved by working across the offices of designers Pope Wainwright in London and Visual Acuity

in Brighton, with regular co-ordination meetings with the client in Brentford. Final design reviews and meetings were held at GSK’s North Mymms corporate meeting

centre: over 30 people gathered for two days to review the designs, scope of work and technology prior to construction – ensuring the project was

being managed as one team across multiple companies. Visual Acuity played a key role in orchestrating that collaboration and driving the cross-company meetings.

Star Product Award STOUENBERG – JYSKE BANK – DREAM BOARDROOM (MEYER SOUND CONSTELLATION AND VRAS PROCESSOR) Meyer Sound’s Constellation system is centred around the VRAS processor that does the “magic” in relation to the Constellation system. This product has an important role – without it Stouenberg would not have been able to deliver the dream auditorium to Jyske Bank.

BIAMP – NREL (BIAMP AUDIAFLEX) The NREL’s new Energy Systems Integration Facility (ESIF) enables researchers to design, test and analyse energy systems across global workgroups. ESIF needed to route audio, video and other data into conference and control rooms. Each space required fully functional, standalone audio with localised control, yet had to remain connected over the facility’s network. Providing up to 24 channels of input/output, each Biamp Systems AudiaFLEX uses CobraNet to distribute multichannel audio among the mulitple units. VoIP-2 cards

SCALA – NPR (SANSI LED SCREENS) The ‘Mosaic Media Wall’ is a ﬂoor-to-ceiling videowall comprising rectangular arrays of Sansi LED screens of various sizes. The Sansi screens, with their high pixel density and high brightness and narrow bezels, deliver stunning HD images with impact, making them ideal www.installation-international.com

for content such as music, arts and live world news to be displayed on partial, single, or multiple screens within the wall. During workdays, the Mosaic Media Wall also plays the role of a wayﬁnder, providing directions and a countdown for various events.

enable VoIP conferencing directly from each AudiaFLEX. Additionally, each of the AEC-2HD cards provide two channels of acoustic echo cancellation and background noise reduction. Without this technology, managing the sound reverberation of human speech and pick-up within the widely varying conference spaces would have been extremely difficult.

EYEVIS – BADEN WUERTTEMBERG POLICE (EYEVIS ES100 ESTREAMING SOLUTION) The decisive component in this project was the eyevis eS100 eStreaming solution. It is used to transfer image content throughout the building from and to different locations, such as from conference rooms to the central crisis centre or vice versa. The high quality of the image transmission was a main criteria for the selection of the eStreamer boxes. The boxes work as decoders and encoders at the same time, and transmit broadcast-quality DVI signals. The eStreamers are also used to include

external devices (BYOD) throughout the system, such as laptops brought to the conference rooms. Another criteria was the security of the transmission in the premises’ dedicated network, which was ensured through the eStreamer technology.

HOLOVIS – SCHINDLER HQ (HOLOVIS IN-MO SOFTWARE) In order to design the dome solution, Holovis used its own software solution InMo (Information in Motion). This is an application suite product that is brought to life in the CAVE, a four-sided, interactive 1:1 volumetric space. Using In-Mo, Holovis was able to create a virtual model of the showroom and

accurately position the dome in the space. This is where it was ﬁrst discovered that although a 12m dome would ﬁt in the space, the beam would obscure a section of it, making an 11m solution much more appropriate. Using In-Mo accelerated the design process and enhanced the decision-making process. June 2014 45

SPECIAL AWARDS

15 Years of Excellence WINNER: BARCO The 15 Years of Excellence Award goes to a company or organisation that has made a major contribution to the AV installation world, through technology, industry education or leadership. Installation has decided to present this year’s award to Barco, on account of its continued and consistent innovation in display and other technologies, across numerous markets, throughout this period. The award will be accepted on the evening by Dirk Hendrickx, Barco’s vice president strategic marketing programs, who has been with the company since before our ﬁrst edition was published. “The past 15 years have been exciting,” he said. “As a generic highlight, I think we were one of the ﬁrst companies that could call themselves an AV manufacturer. “Since 1999, I think we’ve seen the light about the

importance of networking. For instance, in our control room business, in 2001 we anticipated that by 2015 the majority of control rooms would be network-centric rather than AV-centric – and that has come true. “As a consequence of that, your abilities and your competencies as a company change drastically. Ten or 15 years ago we were talking about RGB and all the different AV speciﬁcations for how to carry a signal over an expensive wire. Today we are there – not only for control rooms but also in corporate AV, in surgical rooms, in bedside terminals. So we’re helping to move the industry towards a network which, 99% of the time, is already there – which is the corporate IT network. I think that’s one of the not so visible, but very obvious, changes that this company has made. “Moving forward, networkcentric visualisation, if you

can call it that, is going to play not only an eminent, but a dominant role.” Looking to the future, Hendrickx added: “We believe that within 10 years, AV equipment will be seen as IT equipment. Ten years ago, hanging multiple projectors on a ceiling required very speciﬁc AV knowledge – throw distance, brightness, what kind of screen and so on. When you move to LCD or rear-projection cubes, that competence becomes much smaller. The competence will lie in how you distribute the signals, make them available and make sure that, next to videoconferencing, people can share the data that they’re discussing. There’s nothing more frustrating than having the perfect HD videoconference but not being able to work with the data in a logical and easy way. “It’s great to have AV knowledge, but make sure all

your new hires are Ciscoapproved engineers who have an in-depth knowledge of IT – because that’s the way to go. “An IP network will allow you to share anything, anywhere in an easy way. It’s out there inside each corporation – and you can make use of it by putting a transport layer of AV on top of it. If you compare that with installing an in-campus network based on the old AV approach you’ll always lose the battle on cost. And if you then want to break out of that campus into other directions, doing that with an AV-centric solution will be a big hurdle. “IP networks are vulnerable

to hackers, so once they have the IP knowledge I would advise them to ﬁnd out how to deal with security levels within AV over IP networks. That’s going to be the next big thing. We see it happening now: for instance within healthcare and aviation, they have very strict rules. Over the coming years we may see the same standards popping up in the video over IP domain. The information security battle hasn’t been fought, but it is coming.”

15 Years of Achievement WINNER: ROBERT SIMPSON, FOUNDER DIRECTOR OF ELECTROSONIC The 15 Years of Achievement award is presented to an individual who, through the lifetime of Installation, has built up a body of work that has left a lasting impression on the industry. Our winner this year is someone who has contributed signiﬁcantly to the industry not just over the past one-and-a-half decades, but for much longer. Robert Simpson, founder director of Electrosonic, was one of the key ﬁgures in the genesis of the AV industry, Bob Simpson’s entire working life has centred around the company he helped to found

46 June 2014

in 1964; Electrosonic works as an integrator, mainly in corporate and entertainment markets, with offices in the UK, US, Sweden, China and the UAE. He remains a director of, and an advisor to, the company. He also does a lot of writing: he has written three books, Effective Audio Visual: A User’s Handbook (1987), a slim volume on Videowalls (1991) and Lighting Control: Technology and Applications (2003). To coincide with Electrosonic’s 50th anniversary he has written a history of the company, its technology

and projects, entitled Electrosonic – 50 Years on the Audio-Visual Front Line. He has also given talks on technology trends at shows including ISE and InfoComm. When asked for his thoughts on the biggest technological changes during Installation’s 15-years, Simpson replied: “The big change that had already happened then was the move to digital video sources. We had the first move to standard definition video sources, which got us going in the 1990s, then the big shift to high definition.

As for the very big changes… people forget that, for example, slides were still being used right up to the end of the 20th century for major business presentations and so on because they were the only things that would give you the resolution that you needed. It’s only in the 21st century that electronic projection got good enough to use. Now we take it for granted, and of course it’s now much better than slides, but there was a crossover period when it most definitely wasn’t – and it really only became viable when sensibly priced and reliable projectors became available. It was the late 1990s when they got going, and really got motoring in the 21st century. “Similarly with source equipment: in 2000 we did one of our first high-definition installations in an exhibit environment, and we had the problem of compressing the high-definition video to MPEG-2 to run in our recently developed HD player. The actual file for a 10-minute piece of high definition was a stack of exabyte tapes that

was a foot high, and it took more than 24 hours to do the MPEG encoding; whereas now a desktop computer will do it in real time. These are fantastic improvements. “Undoubtedly the ﬂatpanel revolution is complete. It’s a tragedy for me that plasmas have gone, because they were beautiful, but of course LCD has triumphed. And the fact that you can get them so big and so cheap is amazing. Now the idea that you bung up a videowall with 24 LCDs, you take that for granted. “In the corporate market the revolution is much more that people are actually using AV, whereas 15 years ago often you had systems put in as a status symbol that didn’t do very much. That revolution has all happened because of the PC and particularly because of things like the iPad. The acceptance of AV as we know it in presentation and videoconferencing terms has come about because of the consumer acceptance of similarly sophisticated gadgets. It was never going to come until it was part of everybody’s life.” www.installation-international.com

FEATURE: THEATRE LIGHTING

Centre stage

Robe Pointe ﬁxtures feature in the Spanish ‘jukebox musical’ Hoy No Me Puedo Levantar Musical in Madrid

A single LED luminaire can replace several dedicated tungsten units and additional effects

There are currently no alternatives to the workhorse 750W tungsten proﬁle luminaire

Lighting designers still demand tungsten characteristics from LED

With the introduction of 16-bit control and higher refresh rates, LED can be dimmed smoothly and without ﬂicker

Remote device management (RDM) extends the DMX protocol to provide remote management and monitoring of luminaires

revolutionised the industry it has not, yet, completely taken over. “The large touring shows we put on in our theatres will arrive with their own stage lighting rig which is often hired-in and will be LEDbased predominantly: moving heads, scenery washes and special effects,” explains Stuart Graham, assistant head of technical services for the Ambassador Theatre Group. “We will provide the front-of-house equipment – proﬁles etc, which are generally tungsten based. At the moment the group is not investing in LED for this area of application, although it is a topic of constant discussion. It is not the right time. What we have works, and there are no LED alternatives that are cost-effective in the 750W to 1,000W range that can deliver the brightness and white light that is so typical of live theatre. We are still installing dimmers, but are also laying in data cables during renovation in preparation for LED luminaires that use electronic dimming and integral control.”

Matt Armendariz-Kerr, ETC’s entertainment market manager, points out: “ETC’s Source Four LED Series 2 luminaires match or surpass the output of the 575W incandescent ones, for many colours; particularly on medium-saturated colours. The gap with 750W versions is closing and we are currently focusing on sustaining useful output across the spectrum of colours that users need, rather than maximising one particular one to achieve peak brightness.” “Traditionally tungsten sources have been the mainstay of theatrical lighting, which have great dimming curves and a colour rendering index of 100, so any other lamp source has a lot to live up to in performance terms, so it’s a gradual transition,” explains Mark Ravenhill, president of GLP, German Light Products Inc. “LED is being incorporated more and more into venues and shows. However, there is still room for

[KEY POINTS]

What are the current trends affecting the choice and operation of luminaires and control equipment in theatres? Steve Montgomery investigates STAGE LIGHTING in the theatre can make or break a performance: the wrong level or hue can destroy the artistic and emotional effect that is conveyed to the audience. Lighting directors strive to build the atmosphere on stage and for that they need to have reliable equipment that can deliver the effects they need. As in other industries, manufacturers continually develop their products to keep abreast of the demands by theatres and introduce new technologies and features. The introduction of highpower, controllable LED luminaires in this industry has had great effect and enabled radical changes in the way that theatres operate and deliver shows. “The attitude to how shows are lit is changing, largely because of the ﬂexibility and capability of LED and the effects that can be produced,” says Phil Yeomans, Carnival UK’s entertainment sound and light manager. “In addition, the extended lamp life of

LED, reduction in power and weight are a massive boon to the cruise entertainment sector: we have to carry all our spares, produce our own power and cannot easily access ﬁxtures at high levels while at sea, so anything that addresses those is a major advantage; even if the capital cost is slightly higher.” However while this technology may have

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‘LED is being incorporated more and more into venues and shows’ Mark Ravenhill, GLP

LED has radically affected the theatre lighting market over the past two to three years

improvement and we will see developments, particularly in regard to colour rendering and brightness as the technology becomes even better. We have lots of wash lights and some spotbased fixtures, but there are still fixtures in use in a theatre that don’t have LED alternatives.” QUICK CHANGE The move to LED on stage has occurred recently and penetration is rapid. “LED cyclorama lights started to gain a foothold around two and a half years ago, but it has only really been in the last year to 18 months that moving head units have emerged with the quality of white light and colour consistency between units that the industry demands,” says Adrian Searle, head of technical and hire at Stage Electrics. “The market is moving fast, new generations appear a year or so apart; a wide range of techniques is being introduced that is providing enormous benefit to the industry.” June 2014 49

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FEATURE: THEATRE LIGHTING

‘Theatrical controller and concert controller technologies are merging’ Michael Brooksbank, Chauvet There does not appear to have been a single driving factor that has caused this, rather, he says: “A combination of events, including product maturity and quality, industry awareness, environmental considerations and the ability to ﬁlter LED light without ending up with little luminosity.” Now that it is widely

available, LED lighting and the latest generations of luminaires deliver numerous beneﬁts including instantaneous control and a wide colour palette, which allows a single luminaire to replace several dedicated units in a show. The ability to create highly saturated colours and silently and rapidly change between them is appreciated by both designers and operators, as are the effects that are made possible, such as colour strobing and following. Motors are much faster, allowing units to complete an effect and then reset to be used in another within a second or so, further allowing single units to replace multiple sets. CREATING COLOUR New LED colours are also being introduced into device heads that extend the colour gamut and create new visual effects, for example the addition of UV LEDs that produce a ‘metallic’ type of light. Manufacturers are starting to add in more colours and are also using white LEDs with higher CRI in ﬁxtures to make sure

ROBE LED IS AN EFFICIENT SOLUTION FOR BREYTENBACH THEATRE Energy efficiency and practicality were top of the list for the Tshwane University of Technology’s (TUT’s) renowned Breytenbach Theatre in Pretoria, South Africa. The venue is used as a training ground for TUT’s Performing Arts and Technology students, and a showcase for the technical and creative skills and services they can provide to the industry. The university teaches lighting technical modules for 52 June 2014

a wide range of productions and is aware of the importance of using the latest technology for students about to enter the profession. It was only when Robe LEDWash 600s were actually delivered and in situ at the Breytie that technical manager Wandile Mgcodo really began to realise their full potential as creative lighting tools. “I’m impressed with the nice even zooming, the smooth dimming curve

Tungsten lighting ﬁxtures predominate in front-of-house theatre locations, including at the New Wimbledon Theatre in south-west London

that costumes and scenery react as expected under LED lighting. White LEDs enable colour to be created at speciﬁc colour temperatures, managed within the device software. “The colour temperature of luminaires can be adjusted using built-in correlated colour temperature presets, so that designers can choose

CASE STUDY and the fantastic colour options,” he states. “It is so much easier now having colour-changing wash lights. It means we can use just one ﬁxture instead of a dozen to cover the same range of effects. They also save substantially on the costs of consumables like gels and gobos, obviously there are no lamp replacements required and, of course, the LED technology means they save on power consumption.”

which colour temperature they would like in each cue,” points out Michael Brooksbank, European general manager of Chauvet. “Designers want the ability to create natural light, with the right sculpting attributes. They seek an all-round tool that provides enough lumen coverage, natural-looking light and the ability to have a full range of colour; everything from an electric look into dusty sunsets lets designers achieve what they want,” says Armendariz-Kerr. “One of the major advances is to incorporate lime emitters which ties the colour spectrum together, increases brightness and makes the light richer.” The ability to dim LED fixtures smoothly without affecting the colour is crucial to their acceptance. Internal dimming software controls this part of the fixture’s performance. “It takes a lot of time to calculate all of the dimming combinations across all of the different colour combinations and is a heavy development investment. The companies that care about the quality of light pay attention to details like this, and it’s an easy way for a user to see the difference between good and bad design,” points out Ravenhill. However other factors come into play, he says: “One of the difficulties is that the intensity of a light will affect one’s perception of colour of a fixture. The colour may not actually change, yet we may see it happen. However, we’ve done everything we can to prevent actual drifting of colour throughout the dimming curve. We’ve also included a feature called Red

Shift that mimics the warming up of colour temperature of an incandescent lamp. Designers think it looks natural and familiar. They know what they want their colours to look like at full or at 50%, and we want to enable that way of working.” According to Searle, dimming of proﬁle lanterns had undesirable effects, although these are now being overcome. Early products, he observes, “did not follow the low-end dimming curves correctly and would cut off, so were not suited to the romantic slow fade to black.” The introduction of 16-bit dimming control, in place of 8-bit, gave the necessary reduction in dimming step to achieve this and a rise in refresh rate to 2.8kHz from the original 300Hz has further improved the visual effect by removing ﬂicker and creating camera-friendly lighting for TV broadcast. Solid-state luminaires with integral software control have increased the pressure on controllers, as Simon Bennett, sales and development, Nicolaudie, explains: “In both the theatre and show industry, people are looking for something new and different to the conventional LED par or moving head. Now we see 3D video matrixes and pixel mapped moving heads. This is generating a marked increase in demand for more DMX control channels. A system that was only really designed for moving head, scanner and par control with a few thousand channels is now being asked to process millions of channels. In future I believe a revision of the DMX

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FEATURE: THEATRE LIGHTING system is required to stay at the forefront of the industry as other systems such as DALI (from the architectural/ building control industry) and video-based protocols are now catching up.” The remote device management (RDM) standard is being implemented into ﬁxtures and controllers, although the industry uptake has been slower than initially expected. An add-on to DMX, it will provide bidirectional data ﬂow to remote luminaires to monitor their status and enable greater levels of remote device set-up and management, including DMX address range allocation. Michael Brooksbank highlights another trend: “Lighting designers are using video as a part of their designs. From a controller standpoint, more media servers are being controlled by the lighting console, sometimes with the elimination of a separate video server, by integrating video control into the lighting console. The net effect is that theatrical controller and concert controller technologies are merging.”

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LED is here, and it is advancing, but it is not yet the perfect solution, as Alex Wardle, head of project management for Charcoalblue, points out: “LED lighting is great: it allows us to provide effects that cannot be achieved and has advantages over traditional illumination. But it is not necessarily the right solution for everything. There is an emotional effect from the white light of a sharp beam cutting through a theatre that cannot be recreated by LED. I, for one, hope that tungsten will not be banned or discontinued in the near future, for environmental reasons or others; our theatres will be poorer because of it.” www.carnival.com www.charcoalblue.com www.chauvetlighting.com www.delfontmackintosh.co.uk www.etcconnect.com www.germanlightproducts.com www.martin.com www.nicolaudie.com www.pr-lighting.com www.robe.cz www.stage-electrics.co.uk www.theambassadors.com www.whitelight.ltd.uk

Picture: Brinkhoff Moegenburg

CASE STUDY

MIXED LIGHTING ALTERS THE MOOD AT CHARLIE AND THE CHOCOLATE FACTORY Charlie and the Chocolate Factory, directed by Sam Mendes, opened last summer at Theatre Royal Drury Lane to critical and public acclaim. A modern lighting rig uses moving lights and LED lighting fixtures rather than colour scrollers to provide all of the colour changing in the show. Martin MAC TW1 tungsten lamps are mixed with MAC

Aura LED units to create different moods at stages during the show. “The early scenes have a very traditional, tungsten-like feel, while later ones need a really sharp bump change of level or colour, for which LEDs are unbeatable,” notes Whitelight lighting designer Paul Pyant. “We’ve had great fun with Martin’s MAC Auras

in particular,” David Howe, Whitelight associate lighting director, adds. “These offer a great beam and a fantastic range of colours, but they’re also tiny, so we’ve been able to sneak them into under-box positions where you wouldn’t normally be able to fit a moving light. They’ve worked really well from there, as re-focusable cross lights and roving specials.”

June 2014 53

FEATURE: REGIONAL VOICES

Germany The German economy is the largest in Europe, and seen by many as the driving force for the continent. If that’s the case for the installation market too, then there’s much to be cheerful about in our latest country survey STATE OF THE

2.5%

Annual GDP growth, Q1 2014 Source: Trading Economics

Budget deﬁcit, 2013 (as share of GDP)

MARKET

EXTERNAL FACTORS

Do you think general levels of conﬁdence in the German installation sector are higher or lower than six months ago?

HOW INFLUENTIAL (EITHER POSITIVELY OR NEGATIVELY) ARE THE FOLLOWING FACTORS ON YOUR BUSINESS?

Source: Trading Economics

ENTERING THE MARKET WHAT ADVICE WOULD YOU GIVE TO A MANUFACTURER LOOKING TO ENTER THE GERMAN AV INSTALLATION MARKET?

MOST INFLUENTIAL

‘Be able to conﬁrm national tariff commitment, be cost effective, and supply a high level of product quality, energy efficiency and reliable technology.’

More affordable technology National economic situation Competitor activity

‘Build your own distribution.’

Regional economic situation

‘Find a very good local representative/distributor.’

Energy efficiency/green issues

‘Offer reliable and energy-efficient equipment with high quality for a realistic price performance.’

Legislation/regulations

LEAST INFLUENTIAL ‘There are new regulations in place especially for educational facilities and projects of the government that force us and our manufacturers to conﬁrm tariff commitment for the entire production process (even for production of components in Asia). So we have to conﬁrm what nobody is able to guarantee.’

Higher – 78% The same – 22%

…AND TO AN INTEGRATOR LOOKING TO ENTER THE MARKET? ‘Look for the niche level products ﬁrst, try to focus on higher price products. Build strengths on IT.’ ‘Have knowledge of national and EU regulations.’ ‘Establish a good network incorporating planning offices.’

DO YOU AGREE WITH THESE STATEMENTS ABOUT THE INDUSTRY? Agree

Neither

Disagree

‘German speaking is necessary.’ ‘Knowledge about networking.’

Strongly Disagree

Consolidation in the German marketplace means we will continue to see fewer integration companies, but with more employees

DESIRED CHANGES IF YOU COULD CHANGE ONE THING ABOUT THE WAY THE GERMAN INSTALLATION MARKET WORKS, WHAT WOULD IT BE?

There are no signiﬁcant skill gaps in the German installation sector In general, German installers are comfortable with the increasing amount of IT networking in AV installations

‘Reduce official regulations and limitations.’ ‘Tender work for high price projects.’ 0%

54 June 2014

20%

40%

60%

80%

100% www.installation-international.com

SHOW PREVIEW: INFOCOMM 2014

Moving forward in Vegas Under the slogan ‘AV moving forward’, the InfoComm show returns to Las Vegas for 2014. As ever, there are plenty of exhibits to see, education sessions to attend, and miles of aisles to walk

WHAT? InfoComm14 WHERE? Las Vegas Convention Center, Las Vegas, Nevada, US WHEN? Conferences and education: 14-20 June Exhibition: 18-20 June 09:00-17:00 (16:00 on last day)

More than 36,000 visitors are expected to attend InfoComm 2014, which was last in Las Vegas in 2012

SHOW ORGANISERS estimate that walking all of the aisles at this year’s InfoComm show would constitute a journey of ﬁve miles – so visitors shouldn’t feel too guilty if they don’t make it to the gym during their stay in Las Vegas. The showﬂoor, which will feature more than 950 exhibitors, has been grouped into product pavilions: audio, digital signage, conferencing, lighting & staging and security. We’ve organised our preview slightly differently. VIDEO SIGNAL MANAGEMENT Analog Way will be launching the LiveCore Output Expander – a new system that adds up to four outputs to 12 x 4 + 1 LiveCore models, such as the SmartMatrix Ultra and the Ascender 32. Three versions of the system are available, the LOE016 with 16 scalers embedded for the SmartMatriX Ultra; the LOE032 with 32 scalers for the Ascender 32; and the LOE048 with 48 scalers for the Ascender 48. Ethernet and link cables are provided with the LiveCore Output Expander. Once linked to its LiveCore Switcher, 56 June 2014

outputs are shared and added, resulting in a 12 x 8 + 2 scaled seamless matrix system. The new HDMI Clean Switch will be central to Apantac’s stand. As the newest member of the MT HOOD series, the product is a 6 x 1 clean switch that seamlessly changes between HDMI sources, eliminating the frustrations that normally occur, according to the company. AptoVision will be showing its new BlueRiver NT chipset, which is the world’s first and only mainstream chipset to enable the transmission and switching of real-time, uncompressed Ultra HD AV signals with zero frame latency over off-the-shelf fibre and copper 10GbE switches. A highlight on the Atomos stand will be iShogun – the world’s first 12G SDI & 4K HDMI I/O monitor recorder and deck. It features a 1920 x 1200 SuperAtom IPS 7in touchscreen with 325ppi, 179º viewing and 400-nit brightness, along with multi-frequency operation (48/50/60Hz depending on video input), giving smooth

monitoring and playback. Blackmagic Design will show Smart Videohub, a family of mixed-format routers whose 6G-SDI technology allows SD, HD and Ultra HD routing on the same router at the same time. The routers’ elegant machined metal front panels offer full router control, as well as builtin LCD monitoring. Users can perform direct entry of router crosspoints using either buttons or the spin knob control. Blonder Tongue will be providing live demonstrations of its next-generation MPEG-2 encoders, QAM/ IPTV transcoders, and MPEG transport stream analyser. Part of the line-up will be the affordable HDE-8C-QAM – a high-performance MPEG-2 HD encoder, which supports Dolby Digital audio encoding and provides users with reliable and efficient encoding performance. BrightSign will demonstrate its new 4K digital signage players at InfoComm. These are said to be the ﬁrst to deliver a true end-to-end 4K solution that accepts H.265encoded content and delivers 60fps output via HDMI 2.0.

In addition, BrightSign’s 4K players incorporate all of the features of the company’s solid-state digital signage platform, including HTML5 content support, videowall synchronisation, BrightAuthor and BrightSign Network support. Two major themes on the Crestron stand will be 4K and collaboration. The company will demonstrate DigitalMedia – described as the first and only end-toend 4K distribution solution available right now – and will show how the Crestron 4K Certification programme helps with 4K system configuration by ensuring that sources

and displays meet system requirements. In addition, the company will be showing tools to aid collaboration in classrooms, offices and elsewhere. AirMedia, Connect It and FTTSC600 FlipTop products can all be used to manage and distribute AV signals, including 4K, over an existing network and on a single platform. FiberPlex Technologies is launching the TD-6010 adapter, described as the Swiss army knife of ﬁbreoptic transport. It can take a variety of SFP/SFP+ (small form factor pluggable) modules to suit any format conversion scenario. The

HuddleVU multi-user collaboration system from FSR

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SHOW PREVIEW: INFOCOMM 2014 The ESP/SurgeX enVision power conditioning system

frame includes two bidirectional ports for interchanging SFP/SFP+ modules that can convert between analogue video, SD/HD & 3G-SDI or HDMI media formats as well as full duplex and BiDi optical, 10/100/1000 Mbps Ethernet and MADI. The TD-6010 can convert between Dante, CobraNet and EtherSound, or between single-mode and multi-mode fibre, as well as between MADI and Ethernet, and any combination of the above. Matrox Graphics will be demonstrating the fieldproven Mura MPX videowall controller boards, Maevex Full HD over IP H.264 encoders/ decoders and zero-latency Avio fibre-optic KVM extenders. Matrox Video will showcase the award-winning Monarch HD video streaming and recording appliance and the VS4 quad HD capture card for multi-camera recording and streaming. Opticomm-EMCORE will be showcasing its lines of HDBaseT extenders, in the form of the compact, standalone c-linx series and the rugged card-based Optiva OTC Series. Both c-linx and Optiva OTC support Full HD and 4K UHD video, and are ideal for long-distance CatX extension. With Emcore’s Catx technology, video sources such as media players, Blu-ray, DVD players, laptops and video cameras can transmit over a single, reliable CatX cable to a display or projector. New arrivals from TV One will include a range of high-performance, small form-factor scalers including the C2-2855 Universal Scaler Plus; the C2-2755 Video Converter; the C2-2655 Scan Converter Plus; and the CORIOmatrix mini, which uses a web GUI. Based on TV One’s CORIO2 technology, the C22655, C2-2755 and C2-2855 are said to provide best-inclass video scaling, picturein-picture, logo insertion and format conversion. Inputs and outputs are dependent on model but include HDMI, DVI-U, 3G HD-SDI, HD15, composite and S-Video. All derivatives have a crystal clear OLED display with an

easy-to-use interface. Alternatively, a graphic user interface for PCs can be used to control the units remotely via IP and RS232, or can be used as a direct control interface for thirdparty control systems. VIDEO DISPLAYS AND LIGHTING New from BenQ is the RP700+ interactive education touchscreen. The display’s multitouch technology gives responsive feedback with accurate positioning, so users pan, zoom and scroll images and operate education software presentation as if they were using a tablet. Anti-glare glass prevents eye fatigue and stress. Casio will be displaying its Ultra Short Throw (UST) XJ-UH310WN projector, which is designed for education environments. It offers WXGA resolution, remote access from a smartphone, and other features for easy classroom integration. Digital Projection International will unveil the 10,000-lumen, solid-state HIGHlite WUXGA 3D laser projector, which offers longlife image stability and colour performance as well as tilting and rotation capabilities. Lifetime cost of ownership per brightness output is said to be unmatched as there are no recurring lamp costs; additionally, maintenance cycles are minimal. FSR will be introducing its HuddleVU multi-user collaboration system. Available in three models, HuddleVU allows for multiple users to share and view their laptops, tablets and smartphone screens on a main display. The entry-level HV-1000 system employs a single FSR HV-T6 table box that allows one to four users to plug in and power their laptops, and simply push a button to send their desktop information to the main display. The top-of-the-range HuddleVu Flex allows for control of projectors, screens, shades, mics and almost any complementary equipment in the room. The professional lighting division of Harman, Martin Professional, will be presenting the new MAC Quantum Proﬁle, which uses the latest in LED technology and Martin’s proprietary

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optical design to deliver a crisp and bright output. Also on the stand will be a selection of popular M-series consoles with the latest M-Series software, version 3.4, which brings new features, including fully synchronised networking and several new user views. OTHER EQUIPMENT ESP/SurgeX will be displaying its enVision power conditioning system, which measures and records power disturbances in detailed, real-time reports and displays. The system allows integrators to easily identify pre-existing power issues and analyse power anomalies such as transients and sags in real time, to better protect clients’ AV, IT, and digital signage investments. Stardraw will unveil the latest upgrade to its design and documentation software for AV systems integrators. Stardraw Design 7.1 is a fully integrated project design and documentation system with access to 70,000 symbols from over 700 of the industry’s leading manufacturers, and includes a host of important new features, as well as bug ﬁxes and enhancements to existing functionality. Tempest will be showcasing its noise-attenuating HUSH range of projector enclosures, which reduce audible noise from even the largest format projectors to as little as 2dB. HUSH enclosures are lined with acoustic insulation material and feature airtight seals. The smaller Blizzard

HUSH enclosures (3,00015,000 lumens) come with a powerful exhaust fan at the end of an 8m padded hose that allows them to be installed into a ceiling void or in an adjoining room for perfect silence. For projectors up to 40,000 ANSI lumens, the Cyclone HUSH enclosures use a duct to connect to fans located safely out of earshot. Video Mount Products will be displaying its new FPXMLPAB ‘extra medium’ lowprofile articulating wall mount with tilt and list adjustment capabilities. The device holds most 32in to 52in flatpanels up to 45kg. The FP-XMLPAB also includes an integrated cable management system, an integrated level, 600mm x 400mm maximum flatpanel hole pattern, and is finished in a black powder coating. AUDIO Adamson will debut the E219 subwoofer – a new addition to the Energia family alongside the E15 and E12 models. The E219 features two lightweight, longexcursion 19in SD19 Kevlar

FiberPlex’s ‘Swiss army knife of ﬁbre-optic transport’, the TD-6010 adapter

neodymium drivers that use Adamson’s Advanced Cone Architecture. The drivers employ dual 5in voice coils for exceptional power handling, and are mounted in an ultra-efficient frontloaded enclosure, designed to reproduce clean, musical low-frequency information. Light enough to be flown, the E219 is designed to be used as a standalone lowfrequency component in the Energia system, but can also be combined with the E218 cabinet for larger spaces. Highlights on the Revolabs stand include the company’s new Executive Elite, which is the first and only wireless microphone to offer customers a Cloud server option. The Cloud-based capabilities offer flexibility in set-up, management, and monitoring, allowing integrators and end-users to

Analog Way’s new LiveCore Output Expander

FOUR-DAY CONFERENCES ON SIGNAGE AND UC Two new educational programmes that aim to offer attendees a comprehensive insight into digital signage and uniﬁed communications will take place at InfoComm 2014. The Solutions Summit: Digital Signage has been designed in consideration of the projected growth of the digital signage marketplace: the industry is set to grow by 20% in 2014 to a value of $7 billion (€5 billion). The educational programme will take place on 17-20 June at the Las Vegas Convention Center with speakers, panels and case studies addressing digital signage issues that include confusion around ﬁnding the right technology, problem solving, dealing with questions about what’s next,

and how digital signage works in conjunction with other media. More speciﬁcally, session titles include: t ‘What the Tech? How to Make Technology Work for your Business’; t ‘Vertical Markets Panel’; t ‘Changes and Outlook in Digital Signage Use’; t ‘Digital Signage in Higher Education’; and t ‘Methods to Measure Effectiveness of Digital Signage at Retail’. As part of the programme there will be show ﬂoor tours, luncheons and receptions where attendees can compare notes with other attendees and learn from each other.

The Solutions Summit: Uniﬁed Communications and Collaboration is a fourday conference addressing audio conferencing, video/ telepresence, conferencing, managed services cloud, mobility, BYOD, UC and collaborative technologies. Topics include: t ‘Uniﬁed Communications – Striving for Ubiquity’; t ‘The Merger of AV and IT – What Works, What Doesn’t?’; t ‘The Future of Desktop & Mobile Devices’; and t ‘Understanding B2B Video Communications’ Different pricing packages are available for both conferences, so that visitors can come to the full conference or register for individual sessions. June 2014 57

SHOW PREVIEW: INFOCOMM 2014 provide managed services for all Elite systems across an enterprise. Administrators can access information related to microphone status, audio and radio signal strength and system performance via a web interface. The Executive Elite’s remote antenna receiver and base units connect via a standard Cat6 cable with PoE support to facilitate installation. Vue Audiotechnik’s demo session will offer attendees the chance to listen to the company’s array of loudspeaker options, which it calls the Vueniverse. Sessions will run at least three times a day, beginning

on 17 June, the day before the exhibition opens. Xavtel will be showcasing its Senator range, which is now shipping. Based on DSP and networking technology, it can in its largest conﬁguration contain up to 504 CDM delegate units running from a single DSP processor on a loop wired infrastructure. The company is also introducing the CDM2000, a delegate station that allows for discussion and conference, as well as RFID identiﬁcation, voting and multilingual interpretation applications. Another launch will be Xavtel’s CDM-T5 chairman and media delegate station, which features a

One of Riedel’s processing cards for the new MediorNet 2.0 platform

58 June 2014

5in touchscreen and can manage and control a whole conference or meeting. Also debuting will be the OCTO Sr digital audio processor and OCTO amplifier, which connects via the OCTOLINK and is equipped with two channels and 20W power consumption. NETWORKING AVnu Alliance will be running a number of education sessions, which participants can use for recertification units (RU credits) towards an InfoComm CTS certification. The AVnu Alliance technology pavilion will play host to 10 Alliance member companies – including Barco, Riedel and Extreme Networks – showcasing AVB and AVnucertified demonstrations and products. In addition, there will be two AVnu Alliance sessions in the show’s official education programme: these are ‘Effective Deployment and Management of LargeScale AVB Networks’, led by Jeff Koftinoff of Meyer Sound; and ‘How to Design and Specify Systems Using AVB’, to be presented by Rob Boatright, Harman. Pakedge Device & Software

PRE-SHOW EVENTS Here are two of the conference/education offerings that are being held before the InfoComm 2014 showﬂoor opens: t Display Summit takes place on 16-17 June. Organised by Insight Media, this is the successor to the long-established Projection Summit and focuses on new and emerging display-related products, technologies and applications in professional AV markets.

will be showing its expanded router kit line-up with the introduction of a series of router and switch kits based on the K60D EnterpriseClass Router. The new kits provide increased internal networking speed and throughput, and can support up to 500,000 simultaneous sessions. Each K60D router kit offers optional UTM provided by Fortinet, allowing an enhanced ﬁrewall with features such as intrusion detection and prevention, application control, web ﬁltering, VPN, anti-spam, and

t AV Networking World takes place on 17 June. Details were still to be conﬁrmed as we went to press, but previous events in this series, organised by Dante creator Audinate, have featured a strong line-up of knowledgeable speakers from the ﬁeld of AV networking.

anti-virus – all directly at the gateway. Updated in time for display on Riedel’s stand will be MediorNet 2.0, which provides video router functionality and high-speed rerouting. The platform has new WAN capabilities – including solutions for JPEG2000 and H.264. Also on display will be Riedel’s new 2RU large-scale MediorNet MetroN core router, which provides a real-time routing capacity of 64 10Gb ports. www.infocommshow.org

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TECHNOLOGY: NEW PRODUCTS

What’s new

Our selection of the latest products for the installation market

Install ation

SONAB AUDIO SYSTEM 9

IT’S… A wireless audio system for retail and public spaces that ﬁts into and takes power from conventional lighting tracks for simple installation. DETAILS: The System 9 retail environment wireless audio system is a ‘snap and play’ system which allows for easy ﬁtting as the CLS powered speakers clip into an existing 240V spotlight track for power and then receive CD quality audio signals wirelessly from the CTXwireless transmitter.

This can be connected to any sound source, including PC or Mac. System 9 uses the latest wireless technology for sound transmission. The sound signal is sent uncompressed and is of CD quality, meaning that high ﬁdelity music ﬁles such as FLAC and Apple Lossless can be played without losing any of the sound quality. The network is also fast with no audible sound delays. System 9 loudspeakers are said to be more

EYEVIS

ESP-OPT-110-100 DOME IT’S… A new addition to eyevis’ portfolio of optics for ESP projectors. DETAILS: The new dome optics type ESP-OPT-110-100 DOME was developed specifically for use in dome simulators. The optics generates a tangent compensated image which corresponds to a 90º projection. With two built-in focus rings the optics allows the adjustment of a maximum sharpness on the curved projection surface. The appropriate curvature for each surface is adjusted via the first focus ring and the focus for the overall picture is set via the second focus ring. Both the new dome optics as well as the fisheye optics can be used with all eyevis ESP projectors and so allows for sharp images for dome simulations with resolutions of XGA (1024 × 768), Full HD

energy efficient than traditional ampliﬁer/ speaker combinations. Even when playing at high SPL, the speakers only need a few watts, while the CTX transmitter runs on a few microwatts. When not in use, the System 9 speakers automatically switch into energy-saving standby mode.

PROD UCT OF TH MONT E H

AVAILABLE: Now www.sonabaudio.com

AND ALSO: The range consists of eight products, including speakers, subs, transmitters, extenders and brackets.

PLANAR

CLARITY MATRIX VIDEOWALL CALCULATOR IT’S… A free online tool that simpliﬁes the videowall selection process by simulating for users what their Clarity Matrix LCD videowall will look like before they make the purchase.

(1920 × 1080), through to WQXGA (2560 × 1600). AND ALSO: Due to the extremely wide-angle projection, the new dome optics and the ﬁsheye optics allow more cost-effective dome simulations, since fewer projectors are needed to cover the whole simulation area. AVAILABLE: Now

DETAILS: The first-of-itskind tool, the Clarity Matrix videowall calculator enables users to quickly and easily configure an LCD videowall for their project, preview it with their own content and download the results – complete with specification data, installation diagrams and custom renderings. The tool can be used to create a graphical rendering of the videowall, configure a room, visualise custom content, compare models and configurations and more.

AND ALSO: The Clarity Matrix Calculator can be used from a range of devices including PCs, smartphones and tablets, and requires no software

installation or registration. AVAILABLE: Now www.planar.com

www.eyevis.de

JBL

CSS-H15, CSS-H30

GENELEC G FIVE

IT’S… A loudspeaker for home theatres and large living room spaces – a new addition to the G Series of speakers and F Series of subwoofers. DETAILS: The G Five has the capability of over 120dB of peak SPL per pair combined with a low frequency response extending down to 35Hz. As with the rest of the G and F Series, the G Fives are available in Polar White and Mystic Black and combine neutrality of the sound, accuracy of the soundstage 60 June 2014

IT’S… The ﬁrst products from JBL speciﬁcally designed for the commercial sound paging horn market.

and reliability. Room response controls are included for system calibration and the loudspeakers feature Genelec’s intelligent power saving feature, ISS, which switches the loudspeakers to standby mode to save energy after a period of inactivity. AND ALSO: Following this launch, Genelec’s G Series now has ﬁve models, namely G One, G Two, G Three, G Four and G Five. The subwoofer range, F Series, includes F One and F Two.

AVAILABLE: Autumn 2014 www.genelec.com

DETAILS: The CSS-H15 (15W) and CSS-H30 (30W) paging horns are constructed of ABS with all-stainless-steel mounting bracket and hardware. Both models include a built-in UL registered multi tap transformer (15W for the H15, 30W for the H30) for use with 70V and 100V distributed

speaker lines, with a screwdriver adjustable tap switch and a bypass position for direct 8-ohm operation. AND ALSO: The CSS-H paging horns are weather-resistant (IP65 rated) for outdoor applications. Both models pass JBL’s 100-hour continuous full-power test to ensure long-term reliability. AVAILABLE: Now www.harman.com

www.installation-international.com

TECHNOLOGY: NEW PRODUCTS PRO AUDIO STASH

CUSTOM RACK FACEPLATES AND SHELVES WITH MAGNETS IT’S… A new range of custom rack faceplates and shelves with magnets. DETAILS: The products consist of a 1U, 2U or 3U vented rack shelf and faceplate cut-out that has been custom designed to ﬁt a selection of popular AV devices that are normally not rack mountable. These currently include Sonos wireless audio system devices, Sky and digital TV boxes, ampliﬁers and games consoles. The magnets enable easy access to the device behind the faceplate without the need to unscrew the entire shelf should it need to be changed or maintained at

a later date. The ﬂat faceplates are ergonomically shaped to the design of the device, further enhancing its proﬁle within the rack. While functional for storing equipment, they also bring professional styling to any environment. AND ALSO: PAS has developed this range in response to customer feedback and in particular to a demand for neat racking solutions for Sonos devices, with the Sonos connect amp, Sonos ZP90 and Sonos Bridge among the most popular items. AVAILABLE: Now

OPTICOMM-EMCORE GBOX SERIES

IT’S… Uncompressed video, audio and data extenders for ﬁbre and CatX/HDBaseT. DETAILS: The GBOX Series consists of rugged ﬂange mount transmitters and receivers. They are desk or wall mountable and useful for short or long distance extension of uncompressed, 4K UHD (3840 x 2160) video, audio and data. The units are suitable for point to point and unlimited point to multipoint applications, through new compatible products

KVM extension. AND ALSO: Planned expansion of the GBOX Series includes transport of video over IP utilising H.264 encoding and decoding. AVAILABLE: Now www.emcore.com/opticomm

VISION AV

TECHMOUNT IFP IT’S… A motorised ﬂoor stand with 500mm of up/down travel.

www.proaudiostash.co.uk

DETAILS: The Techmount IFP has a safe working load rating of 150kg and fits to interactive and non-interactive flatpanels using a locking VESA mount. In standard guise it bolts to the floor and includes a wall support which allows dado rail to pass behind. Vision has an

www.installation-international.com

launching at InfoComm. GBOX will launch with units that support single ﬁbre or CatX/ HDBaseT distribution, extending HDMI 1.4b with HDCP for highresolution digital video, legacy VGA/Component video, stereo analogue audio, bidirectional RS 232, 10/100/1000 Ethernet, IR and CEC. Units also support USB 2.0 for integrating hard drives and other high speed USB devices, as well as remote

optional dolly kit with 100mm wheels which can retroﬁt to make it portable. A dynamic cable management system uses retracting reels to take up the slack on cables so they don’t drop into sight. It has a power output for the ﬂatpanel and a cubby at the rear enables users to hide a media player.

behind, above, or below the ﬂatpanel. AVAILABLE: Early July

AND ALSO: An optional shelf can be mounted in front,

www.visionaudiovisual.com

June 2014 63

TECHNOLOGY: NEW PRODUCTS LECTROSONICS

LMB, LT TRANSMITTER, LR RECEIVER IT’S… Three additions to the L Series ‘Large Bandwidth’ line of wireless microphones. DETAILS: The LMb is the latest successor in Lectrosonics’ line of economical beltpack transmitters designed for applications including theatre, house of worship, TV, ENG, video and ﬁlm production. It features an all-metal housing, wire belt clip, 50mW of RF power, 25 or 100kHz tuning steps (yielding up to 3,072 selectable frequencies) and an integrated multi-function switch with menu-selectable modes for power, mute or talkback. The LT transmitter also features 25 or 100kHz tuning steps, an integrated multi-function switch with

menu-selectable modes for power, mute or talkback, and a graphic LCD and membrane switch panel plus IR synch port for ease of setup and operation. It also facilitates user-selectable RF transmission power of 50 or 100mW. A detachable antenna adds to the LT’s versatility by allowing for remote mount antennas. The ultra-compact LR receiver is designed to be portable for use with DSLR, 4/3, small 4K, and other compact HD cameras. The wide tuning bandwidth with tracking frontend ﬁlters provides plenty of ﬂexibility while avoiding the vulnerabilities of wider pass bands. Compatibility modes

enable the LR to operate with older analogue transmitters. AND ALSO: All three L Series units are available in four different frequency ranges for worldwide use. AVAILABLE: The LMb and LT are available now, the LR will ship in Q4 2014. www.lectrosonics.com

DETAILS: Billed as the world’s ﬁrst concave screen, the 55EA980V is curved slightly towards the viewer, allowing an equal distance between almost any part of the screen and the viewer’s eyes. This all but eliminates the problem of screen-edge distortion, alongside greatly reducing detail loss and creating heightened immersion while viewing. Employing passive 3D technology and with a fast refresh rate, the screen also features MotionFlow technology to smooth pictures and emphasise clarity.

AND ALSO: Due to the absence of a LED backlight, the screen measures just 5mm in depth. AVAILABLE: Now www.awe-europe.com

DIGI-P52

IT’S… A new addition to the Asano family.

64 June 2014

IT’S… A Full HD 55in concave OLED screen.

INTELIX

BASALTE

DETAILS: The A3 module allows users to integrate third-party ampliﬁers like surround receivers in the Asano concept. It is also possible to integrate active speakers, like those of Bang & Olufsen. Up to three zones and two local sources can be connected. If a source is connected to one of the inputs, this source immediately becomes a source for all the other zones

55EA980V

of the Asano system. Asano uses uncompressed 24-bit audio over Ethernet to transport audio between the various zones. AND ALSO: Like the whole Asano family, A3 is completely conﬁgured and controlled with KNX. AVAILABLE: Now www.basalte.be

IT’S… A switcher scaler product designed to add video switching, scaling and audio processing to classrooms, training rooms and meeting areas, especially where under table installation is desired. DETAILS: The new DIGI-P52 is a multi-format switching scaler with three HDMI and two VGA video inputs. It provides microphone and line level mixing, plus analogue audio embedding, and analogue line level output. The DIGI-P52 features simultaneous HDMI and HDBaseT outputs that are

scaled to one of seven output resolutions: 1024 x 768, 1280 x 720 (720p), 1280 x 800, 1360 x 768, 1600 x 1200, 1920 x 1080 (1080p), and 1920 x 1200. The HDBaseT output of the DIGI-P52 provides power to a remote HDBaseT receiver, such as the DIGI-HD60C-R, with the option to control the DIGI-P52 from the

remote location. AND ALSO: The DIGI-P52 features an autoswitching feature to automatically switch between HDMI and VGA sources. AVAILABLE: Now www.libertycable.com

www.installation-international.com

TECHNOLOGY: SHOWCASE

Videoconferencing solutions Videoconferencing is no longer limited to boardroom-to-boardroom sessions. With the proliferation of BYOD and a rise in working from home or on the move, VC has moved beyond corporate spaces. James McGrath looks at some of the latest solutions on offer

{Polycom introduces immersive VC } A host of new videoconferencing solutions introduced by video comms specialist Polycom has eased the strain on organisations when it comes to selecting the most suitable product for their budget. The most comprehensive of those newly introduced solutions is the RealPresence Immersive Studio. The nextgeneration collaboration environment is geared towards providing the complete solution for companies by offering a ﬂoor-to-ceiling videoconferencing system. It is said to make an ideal thinktank for the meetings that matter the most, including creative brainstorms or crisis management sessions. Three 84in ultra HD screens are ﬁtted at the front of a room to display material in 1080p60 that can be collaborated over between parties at (possibly) opposite sides of the world. Polycom says the choice of UHD ensures the studio is

future proof, as it can harness additions and modifications to visual technology. A 55in content-display monitor is installed above the three-screen layout so that the other immersive VC room is in sight – something that the company believes will allow the sharing and collaborating process to be a natural one. Sound-wise, Polycom operates its 3D voice technology, which is rendered from microphones fitted in the ceiling, delivering audio ‘far more life-like than stereo “spatial” audio’. This setup removes anything that may make the room appear less organic by eliminating the need for any intrusive microphones. Like all Polycom products, the system’s open standardsbased technology and native interoperability simplifies integration with existing video solutions and UC platforms. Polycom offers a broad portfolio of over 40 video and voice solutions that integrate

natively with Microsoft Lync. This means that Lync-enabled desktop or room clients can join video calls with the studio, and can share content back and forth with Lync via the optional Content Sharing Suite.

{Crestron RL Lyncs rooms}

66 June 2014

Flexible conﬁguration lets users see content on any of the large displays in the studio, and support for BYOD enables the sharing of content from mobile devices such as tables and laptops.

Crestron is a company that continues to embrace the convergence of AV and IT. Its RL platform combines the intuitive room control solutions of Crestron with the full collaboration features of Microsoft Lync 2013, which has become ubiquitous with business communications. The system includes high-deﬁnition multiparty video and powerful collaboration capabilities like presenting PowerPoint, sharing of desktops and applications as well as interactive whiteboarding. Crestron RL is the only fully integrated Lync Room System solution. As well as providing the full Microsoft Lync experience, users can create the system to match their needs by choosing specialist audio solutions, different cameras and displays (as opposed to being required to select only from predeﬁned manufacturer packs).

Polycom’s VisualBoard virtual whiteboard also lets users engage in interactive note taking on critical content such as business documents, CAD drawings, blueprints or maps. www.polycom.com

Thanks to Crestron’s expertise in room control, RL also integrates with additional AV equipment as well as HVAC controls, blinds and lighting – to provide full control from a tabletop touchpanel. As a scalable, appliance grade, turnkey solution, Crestron RL can be implemented in practically every conference room across a global enterprise. Anyone can walk into a conference room and, with just one touch of a button, instantly start a collaboration session. This full-featured Lync-based system enables video, voice, Lync meetings or Instant Messaging from multiple devices. Users can view, edit or annotate any document, ﬁle or video remotely. Sharing ideas and notes collaboratively with partners, colleagues and clients anytime, anywhere with any device is also possible. www.crestron.eu

www.installation-international.com

TECHNOLOGY: SHOWCASE

VZ-C6 {Lifesize moves to the Cloud} { WolfVision narrows the focus } Last month Lifesize launched a new approach to HD videoconferencing, the Lifesize Cloud. The solution, which is modelled on SaaS, was developed after research revealed companies are taking a more ﬂexible approach when it comes to IT and communication deployments company-wide. Lifesize Cloud is based on a yearly subscription to a service that allows companies to deploy a central system and then offer remote access via desktop, mobile or any other smart-enabled device. Central to the system is the ICON unit, which is installed into the company’s boardroom (although Lifesize Cloud can integrate with existing systems and ones

from other vendors). This comprises a 10x zoom camera or a 3x zoom camera; a codec capable of delivering images a 1080p60 resolution; and a sleek remote control to operate the unit. Remote participants have the Lifesize Cloud software installed onto their device and can dial into a videoconferencing session ad hoc – a factor the company says distinguishes its solution from similar offerings already on the market, as these other systems often need VC meetings to have synchronised starts. Another key component of the system is the incorporation of a directory which allows users to see the availability of others – who is

offline, who is available for VC meetings and who is currently engaged in a call. The system uses compression technology to allow stable HD images from 500kb of internet connection. Lifesize stresses the important role its partners will have in helping this solution reach its potential: integrators and resellers can add to the VC room experience by adding AV with screens, audio capture and speakers – something that is becoming integral to VC deployments as customers demand immersive, real-to-life meeting experiences. In addition, Lifesize says integrators can achieve similar margins as on-premise VC solutions with the Cloud service. Integrators will have ownership of renewals (as it’s based on a yearly subscription licensing model), and recurring revenue streams through the availability of stats, which can then be relayed to the end user. Distributor partners of the company will have control over the lead process and can add value by demoing the product.

It’s all well and good for organisations to implement top-of-the-range videoconferencing systems for employees to communicate and share knowledge effectively, but what about when material such as products, designs and

pertinent if a company often relies on physical documents or objects, such as motor vehicle companies. As for the device itself, the VZ-C6 is the newest addition to WolfVision’s specialist range of visualisation equipment.

prototypes are central to the VC discussion? It simply isn’t good enough to purely hold the object up to the videoconferencing camera; images become distorted and the true detail of the object is lost. Plus it may interfere with the session’s natural progression. This is precisely why WolfVision has developed the VZ-C6 Ceiling Visualiser – to enable companies to share such material live in Full HD quality during VC sessions. The Austrian company is in a prime position to mark its territory in the VC market with this product. It has a complete line of ceiling and desktop visualiser systems for lectures, seminars and education purposes, and has transferred that knowledge into the realms of VC to ensure companies have an optional accessory that could be seen as a critical piece to the VC jigsaw. This is especially

The award-winning elegantly designed ceiling device features high-performance imaging capability. The device is ceiling mountable, and can be recessed into a suspended ceiling. Other features include a synchronised light ﬁeld to make it easy to operate during VC; onboard HD recording facility for easy archiving of material; and the ability to record handwritten notes and annotations.

www.lifesize.com

{Imago’s pay-monthly VC solution} Last year, European video solutions distributor Imago simplified its VaaS-t Cloudbased videoconferencing service by making it a monthly subscription package. Much like a mobile phone contract, the service offers flexibility in that Imago offers videoconferencing at a flat monthly subscription charge, meaning users can deploy the service as often as necessary without incurring any additional costs. Not only does this offer ease of access, it also means companies won’t have to shell out for upfront systems. In terms of what’s in it for the integrator, resellers can offer the new subscription packages to customers of all sizes with a range of videoconferencing needs. The solution is available in three options: the VaaS-t 8, which enables the subscriber to 68 June 2014

invite up to eight individuals into a videoconference from both inside or outside their organisation; then there are the Vaas-t 16 and VaaS-t 25 packages, which (quite obviously) support 16 and 25 VC meeting participants, respectively. The hosted service is based on award-winning video collaboration technology

from Vidyo, which ensures that the service is available through virtually any internet or 3G connection anywhere in the world. This enables the weblink accessible solution to deliver telepresence-quality videoconferencing to devices including desktop or laptop PCs, tablets, iPhones and Android mobiles. www.imagogroupplc.com

www.wolfvision.com

www.installation-international.com

SOLUTIONS: BATTLE OF BANNOCKBURN VISITOR CENTRE, STIRLING tion Installa

OF THE MONTH

In the Battle Room, two projectiondesign F35 projectors map terrain details and all the troop movements onto a map of the landscape in a 2.5D technique that mimics a three-dimensional display

[INSTALLED] VIDEO Panasonic PT-DZ110XE, PT-DW6300ES and PTDW6300ES projectors projectiondesign F35 WQXGA projectors 46in NEC X463 LCDs Winsonic 21.5in SAW touchscreen console 7thSense Delta Duo media server Goo Systems Ultra Silver 3D Goo DVS Hydra 3 computers AMX NI3100 controller AMX MPV 5150 touchpanel

UNITED KINGDOM

Stirling work A new visitor centre has become the first in the world to use fight choreography and motion-capture techniques to immerse visitors in a realistic 3D medieval battle. James Christopher reports THE BATTLE of Bannockburn in 1314 was one of the most decisive battles of the First War of Scottish Independence and an iconic cornerstone in Scottish history. It pitted King Robert the Bruce of Scotland against the English King Edward II and resulted in a complete Scottish victory. In the battle’s 700th anniversary year, the National Trust for Scotland’s new Battle of Bannockburn Visitor Centre opened on 1 March 2014. It has been an instant success, transporting visitors back in time to the battle. Under sub-contract to lead design consultancy Bright White, Electrosonic was called in at an early stage of the design process to give advice on the most suitable technology to fit the 70 June 2014

space and budget, and most importantly to verify that the technology could achieve the design ideas. Electrosonic and Bright White partnered to design and engineer the centre’s fully automatic life-size 3D show presentation systems. They begin with the Prologue’s puppet theatrestyle 3D presentation, which introduces visitors to some of the main characters and circumstances leading up to the battle. Next, four large screens in the Prepare for Battle exhibition use Panasonic projectors to present a continuous sequence of spectacular, life-size 3D images. Visitors are placed right in the middle of the action. Standing shoulder-to-

shoulder with warriors and weapons, visitors not only learn about the medieval battle but really experience the emotions of war as they duck longbow arrows shot across the space. READY FOR BATTLE Behind two of the screens are five Character Stations showing 10 historical or generic fictional characters who played a part in the battle. Each Character Station uses two narrowbezel 46in NEC LCDs to produce a life-size 2D animated portrait that comes to life when the visitor stands in front and gestures. The films shown in Prepare for Battle and in the Character Stations were developed by 3D

modellers at the Centre for Digital Documentation and Visualisation (CDDV), a partnership between the Glasgow School of Art’s Digital Design Studio and Historic Scotland, under contract to Bright White. Although the ﬁlms were computer generated, all live action was based on real people using both laser scan and motion capture techniques and authenticated by an academic panel featuring some of the UK’s top historians. A circular space houses the signature Battle Room. Visitors can choose to watch a 10-minute Battle Show or they can play or observe a 40-minute Battle Game. Visitors enter the Battle

AUDIO Tannoy V6, V8, CVS6 and VS10BP speakers T&M SA20, SA40 amps Panphonics Sound Shower speakers Room at an upper level so they can look down on the battle map. Game participants who have entered at ﬂoor level take command of the knights and soldiers competing on the virtual battleﬁeld. Up to 30 visitors can play the game, which is controlled by the Battlemaster – who also offers advice to players. The Battlemaster operates a twin Winsonic touchscreen console. The interactive elements of the game allow visitors to make ‘battle decisions’ that will affect an entire army, an experience that they will not forget. A massive 3D map of the Stirling landscape gives a bird’s-eye view of the battle. The Battle Game is based on a relief representation of the www.installation-international.com

SOLUTIONS: BATTLE OF BANNOCKBURN VISITOR CENTRE, STIRLING landscape, onto which two projectiondesign projectors map terrain details and all the troop movements in a 2.5D technique that mimics a three-dimensional display. At the conclusion of the game, visitors ﬁnish their tour with the Epilogue show, which follows the same format as the Prologue and is equipped with Panasonic projectors for 3D projection and a 7thSense Delta Duo media server. MAKING IT WORK “There are very few companies that have the technical expertise and experience to be able to design, install and maintain such a sophisticated and immersive audiovisual experience that involves synchronised systems,” comments Tom IngreyCounter, interpretation sub-project manager for the visitor centre. “For the National Trust of Scotland this has been a very adventurous project and we’ve really relied on the expertise of Electrosonic to deliver it and I testify to the quality of the service provided.”

72 June 2014

Each projection screen for 3D images is equipped with two projectors with appropriate filters. The screens themselves are part of the exhibition structure, painted with an Ultra Silver 3D Goo paint to preserve linear polarisation. All 3D images are sourced from dedicated twinchannel 7thSense Delta Duo media servers providing uncompressed image storage. The four main show servers are synchronised. Other interactive exhibits use high-specification DVS computers with appropriate graphics outputs. The Battle Game uses two DVS Hydra 3 computers to provide realtime graphic images; another computer runs the game and supports the twin touch screen display used by the Battlemaster. To ensure the continual and reliable operation of the Battle Game, Electrosonic installed dual PCs in a redundant configuration of primary and secondary. The PCs run the Battlemaster control and feed graphics to the projectors; the Battlemaster can switch between them within

seconds at a touch of a button from the console and continue the game without disturbing customers should anything happen. While the visitor centre visuals are impressive in their own right, audio also plays an important part in the overall experience. The main show uses a 7.1 multichannel surround sound system with Tannoy speakers and T&M amps. The Character Stations have 10 highly directional Panphonics Sound Shower overhead loudspeakers. Mood images surrounding the Battle Game space also have 7.1 multichannel surround sound. All equipment has a network connection for control and monitoring, and overall system control is by a standard AMX room control system. A wireless AMX touchpanel allows for remote control anywhere within the exhibition. The source and control equipment are rackmounted in a central control room. The installation follows Electrosonic’s preferred practice for sites of this kind, with all site cabling terminated in suitable socket boxes. This allows

all site cables to be properly terminated and tested in advance. The racks were factory built at Electrosonic’s Dartford office and arrived on site with cable and plug assemblies that plugged into the waiting sockets. This minimised installation time and provided a more reliable and maintainable system. “The quality of Electrosonic’s technical design for resilient systems is excellent, and is a key aspect of the project; no matter how creative the team is, if the system doesn’t enjoy 99%+ uptime, then all is lost,” comments Chris Walker, MD of Bright White. “Electrosonic worked admirably with the

designers, the operators and Bright White’s media contractors to provide one of the most intelligent and advanced AV systems we are aware of in the museums sector.” www.7thsensedesign.com www.amx.com www.barco.com www.brightwhiteltd.co.uk www.dvsgroup.com www.electrosonic.com www.ewinsonic.com www.goosystemsglobal.com www.nec-display-solutions.com http://panasonic.net/avc/ projector www.panphonics.com www.tannoypro.com www.tm-lines.com

In the Prepare for Battle exhibition, Panasonic PT- DZ110XE projectors show a continuous sequence of life-size 3D images

www.installation-international.com

SOLUTIONS: 27TH SOUTHEAST ASIAN GAMES, NAYPYIDAW MYANMAR

Leading the ﬁeld The opening and closing ceremonies at the largest sporting event in south-east Asia relied heavily on wireless systems, writes Tom Bradbury Performers in the arena used MI-808Rs to monitor music

ON 11 December 2013, the 27th Southeast Asian Games’ (the SEA Games) opening ceremony was held at the 30,000-capacity Wunna Theikdi Sports Stadium in Naypyidaw, Myanmar. The SEA Games is the region’s biggest sporting event, held every two years. Eleven south-east Asian countries participated in the event with 5,000 athletes competing in 37 sports. Mipro was the main wireless systems supplier for the opening ceremony and the closing event on 22 December. The audio equipment included wireless microphones, wireless in-ear monitoring systems and wireless intercom systems. Two groups of wireless mic systems were used during the opening ceremony. The ﬁrst contained four ACT-828 dual-channel digital receivers and one spare receiver, one AD-707a antenna divider and two AT-90W log antennas. Two ACT-80H handhelds were chosen for the masters of ceremonies, two BC-100 boundary mics with ACT-80T and MM-202 gooseneck mics for Myanmar’s vice president, and one ACT-80T ﬁtted with 74 June 2014

an MU-53HN headworn mic was used for the ﬂag captain. One channel for each of the above three regions is reserved for back-up. The second wireless microphone system contained ﬁve ACT-74 quadchannel analogue receivers and one spare receiver, one AD-707a antenna divider and two AT-90W log antennas, of which 16 ACT-70H handhelds were for two programme presenters, the chairman of the Myanmar Olympic Committee, the athletes’ oath and singers to use. KEEPING TRACK In such a large event, it is important for the presenters, singers, and all the thousands of performers to monitor the music and receive relevant information regarding the programme, so the wireless IEM system played a key role. The event featured eight monitor channels, matched with eight MI-808T transmitters. In order to avoid intermodulation, every four MI-808T transmitters’ output signals were integrated into one signal via an AD-808 antenna combiner. Due to the wide range

of the performances, the original 100mW output power of the MI-808T was unable to cover the range, so an AD-808 had to be connected to the AD-90A high-power ampliﬁer which upgraded the output power to 1W to meet the requirement. In addition, in order to cover the wide dynamic for a large number of performers, sound engineers used the AT-100 circularly polarised directional antenna as a transmitting antenna. This device can effectively reduce the polarisation loss of the antenna and thus obtain optimal signal quality no matter what the vertical or horizontal pattern. The SEA Games used more than 400 sets of monitoring receivers and earphones for all performers. ANTENNA SYSTEMS Mipro also provided seven AT90W wideband log directional antennas and two AT-100 circularly polarised directional antenna for the opening and closing ceremonies. Two AT-90W with ACT-828 digital systems were provided for Myanmar’s vice president, masters of ceremonies and the ﬂag captain; two AT-

90W with ACT-74 wideband analogue systems were used for programme presenters, the chairman of the Myanmar Olympic, the athletes’ oath and singers; while another two AT-90W with ACT-74 wideband receiver systems and an AT-90W as a transmitting antenna with the intercom system MTS-100T and MTG-100Ra were provided to aid communication between staff. Two AT-100 with the MI-808T and MI808R IEM system enabled all performers to monitor music. Mipro senior sound technical consultant Daniel Ku, who provided technical support to the event, says: “All wireless systems were

from Mipro. Its latest antenna system delivers superior signal transmission quality, especially in such a large sports ﬁeld. Reception range and signal stability is the biggest challenge, as the shortest distance between the main stage and the mixing console is 150m, the longest is more than 350m. Mipro wireless microphone systems plus antenna systems are the gold combination to achieve a zero defects performance with excellent sound quality and stable reception. All sound team members were very satisﬁed with this task!” www.mipro.co.tw

[INSTALLED] AUDIO All Mipro ACT-828 dual-channel digital receivers AD-707a antenna divider AT-90W log antenna ACT-80H handhelds BC-100 boundary mics MM-202 gooseneck microphone ACT-80T transmitters MU-53HN headworn mic ACT-74 analogue

receivers ACT-70H handhelds MI-808T and MI-808T transmitters AD-808 antenna combiner AT-90W wideband log directional antenna AT-100 circularly polarised directional antenna MTS-100T and MTG-100Ra transmitters MI-808T and MI-808R IEM system www.installation-international.com

SOLUTIONS: SUPERYACHT LUNAR The yacht has been ﬁtted out to an extremely high standard throughout

Smooth sailing THERE’S PERHAPS no more suitable environment for invisible loudspeakers than a superyacht. Not only is space at a premium, as on board all ocean-going craft, but with the interior ﬁnished to a very high standard, it’s good that there is no visual intrusion from the audio equipment. That’s certainly the case for Lunar, a Polish-built superyacht: one of the most glamorous vessels on the ocean, it’s stylish in

both interior and exterior appearance. This magnificent craft has recently been fitted with 12 Amina invisible loudspeakers, by Estoniabased integrator Betria OU. Spanning three zones, the speakers provide high-clarity room-filling surround. Usually these are made unseen through a final 2mm skim coat of plaster; however, the Vibrational Panel Technology (VPT) utilised by Amina in its speaker design is flexible

The master bedroom features Amina invisible speakers in the ceiling and also built into the bedhead

76 June 2014

With an exquisitely ﬁnished interior, hidden loudspeakers were the obvious choice for this superyacht installation. Tom Bradbury reports

enough to be covered by other materials such as leather, or wood veneer – commonly used within for superyacht ﬁt-outs. VPT loudspeakers generate sound through the creation of vibrations in a material, similar to the way an acoustic musical instrument works. Directionality does not increase with frequency and the output radiates effectively hemispherically from the wall or ceiling right across the speaker’s frequency range,

which is typically 100Hz to 20kHz. The speakers are designed for optimal performance when covered by plaster or another material, so covering them enhances rather than degrades the sound quality. The speakers are only 40mm deep, lightweight and do not require a box in the same way as a conventional loudspeaker, making them ideal for spacelimited applications. For this yacht, three zones use Amina’s 200mm wide, slimline, mid-range AIW350E/S200 speakers, which have 30W continuous (60W peak) power handling, and an efficiency of 84dB at 1m/2.83Vrms when fully installed. The master bedroom features full surround sound via three front speakers mounted in the ceiling and covered in Alcantara artificial leather. For the rears Amina’s Wood Clusters, originally designed for a furniture manufacturer, are built into the bedhead and veneered over as part of the overall wall and headboard finish. The back salon has a surround sound system provided by five AIW350E/ S200 fitted into the ceiling, again behind Alacantara

[INSTALLED] AUDIO Amina AIW350E/S200 invisible speakers

[ABOUT THE INTEGRATOR] Betria OU was founded in 2010 by Sergei Shulga, who has more than 20 years’ AV experience It is based in the Estonian capital of Tallinn Its focus is on highend bespoke residential installations faux leather. The dispersive nature of VPT speakers allows ceiling install of surround sound to be a fully immersive experience: listeners assume that the speakers are in the wall until they are advised to the contrary. Finally, Amina speakers, again ceiling mounted, are used for the rear channels in the main salon surround system. www.amina.co.uk

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Rants and ramblings At the preview event for Sennheiser’s CinemaConnect (see page 5), we were given some background into the area of design for people with hearing or sight impairments. For example, streaming audio tracks onto people’s own devices not only simpliﬁes matters for the cinema, but is also attractive for its customers because they don’t have to ask for any special equipment. Part of the trip involved a visit to the Hamburg location of Dialogue in the Dark, a worldwide organisation that holds exhibitions and workshops in total darkness to give people an idea of what it is like to live without eyesight. As we were on a compressed schedule, we were limited to an exercise in which,

divided into groups of eight, we sat down at a table, laid it for tea and served ourselves and each other with coffee and cake. (We wondered about the health and safety implications of pouring hot liquids in total blackness, but we all remained unscathed and unscaled.) We weren’t supposed to bring cameras into the room, but we were able to take a sneak photo with a phone:

James Heron, sales and marketing director of Green Hippo, recently mused on Facebook that naming products after real-world things can cause confusion: “Trying to google my satellite system for a ﬁx with the search terms ‘oyster’, ‘dish’ and ‘supplies’ is doing nothing but make me gag for a seafood platter”, he wrote. Mind you, with the company’s range of video servers having product names such as GrassHopper and Chipmunk, he’s not exactly blameless himself when it comes to ambiguous search terms. Of course, it’s to avoid this type of confusion that marketeers like to use quirky spellings for new product names - and as well as making for

more accurate online searches, it also makes the names easier to register as trademarks. An example from Green Hippo itself is the Par4keet, which continues the animal theme but also contains the letters ‘4k’. And it’s part of the company’s new AViary video tools. (A video of James demonstrating these at the recent NEC Solutions Showcase is on our website, by the way.) On a similar note, we recently received an email from a company called edddison technologies. Why does it have to spell its name in such a bizarre way, we wondered? Then it hit us – the company, which turns design ﬁles into interactive experiences, specialises in 3D.

Loudspeaker design is one of those areas where it people leave no stone unturned in their quest to create the perfect specimen. The latest to come to our attention is the Ultimate, from Californiabased Magico, which has spared no expense in creating speakers

that it says will perform perfectly in any room, regardless of its size or acoustic behaviour. The brainchild of company founder Alon Wolf, each Ultimate speaker stands 8ft (2.4m) tall and weighs 800lb (360kg). It consists of four horn-loaded drive units, plus a 15in bass driver, powered by 4,000W of ampliﬁcation. The speakers are, not surprisingly, built to order; it takes more than a month to put a pair together. If you fancy them, then UK distributor Absolute Sounds can let you have a pair for around £600,000. One word of warning, though – just make sure you can get them into the room…

Bits and pieces from the editorial cutting-room ﬂoor

ADVERTISERS

INDEX

The Twitterati are thinking big this month

Adder Technology................ 19 Amina..........................................3 Analog Way............................ 22 Apart Audio............................ 63 AMX.......................................... 67 ASL............................................ 10 Atlas Sound............................25 Audio-Technica........................ 5 Audipack................................. 24 AV Stumpﬂ ............................ 64 Barco........................................ 48 BBG Peerless-AV...................11 Blackmagic Design................. 9 Bosch....................................... 13 Casio......................................... 47 Community Pro..................... 31 Coolux........................................ 4 Crestron.................................. 20 Datapath................................. 32 Dexon.......................................... 7 DiGiCo....................................... 28 Digital Projection.................. 61 ETC............................................ 53 eyevis....................................... 75 Gefen........................................ 72 Hetec.......................................... 6 IBC............................................. 62 InOut......................................... 73 InstallMarket................... 50-51 Kramer..................................... 59 Lightware..................................... ..................... Inside front cover Meyer Sound............................... .................. Outside back cover Mipro.........................................58 Peavey..................................... 77 Plasa......................................... 69 Powersoft............................... 75 Rane..........................................71 QSC........................................... 21 Riedel..................... Front cover RGB Spectrum....................... 30 Shenzhen Leyard..................55 Shure........................................ 34 Sommer Cable....................... 15 Taiden.........Inside back cover Tannoy..................................... 17 TOA........................................... 65 True Colours........................... 73 Vaddio...................................... 27 Xavtel....................................... 23 Zonar........................................ 55

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