All rAVe News

Say Goodbye to the Sharp That We Knew

none@none.com (David Barnes) — Thu, 16 May 2013 23:13:46 GMT

Sharp sunk further in the fiscal year that ended in March and it has surrendered more control to its creditors in an effort to revive its businesses. As outgoing chairman Takahashi told reporters in Japan [source: DowJones Newswires], “We need to say goodbye to the Sharp that we knew in recent years. We need to be ready to change everything at the company, other than the founding principles.”

Mizuho and Mitsubishi financial groups bailed Sharp out of a hole last October with a $3.6 billion loan in return for taking control of key office and factory assets. Now they are lending Sharp $1.5 billion more to help cover redemption of a $2 billion bond due in four months. For this, the banks have obtained two board seats and some influence on executive changes. The former President becomes a non-voting chairman and the former chairman becomes a retiree. Apparently, the pair are taking the blame for over-investing in Sakai (both for LCD and solar).

There is much more that can be said about restructuring charges, takeover defenses and new business targets, but those may be interesting subjects only to strategy wonks like me. For most readers, the key points are changes in the status of Sakai, renewed emphasis on external panel sales and more concrete plans for IGZO technology.

Looking at consolidated LCD business results since 2002, we can see how profit margins collapsed after 2008. There are two related reasons for that. Sharp became too reliant on demand from affiliated business lines and Sharp’s internal demand declined after the national subsidy for TV sets lapsed (the Eco-Point Program). Sales in the company’s AV sector declined 31 percent from FY2012 and 54 percent from FY2008.

If we look at the difference between consolidated LCD sales and gross LCD sales before eliminating internal transfers, we see that only 50 percent to 60 percent of sales were external transactions in 2008–2012. The portion of external sales increased in FY2013 but the LCD assets in Sakai were removed from consolidation as part of Sharp’s effort to lighten its balance sheet in September of 2012. That means sales from Sakai’s Gen-10 lines no longer contribute to operating results. The problem with that is Sharp’s own capacity becomes only 3 percent of the industry and that share is declining. Sharp is already smaller than China Star (CSOT) on a consolidated business basis.

Thus, Sharp has few alternatives to becoming more of a merchant supplier to other brands, like Samsung. The good news is that Sharp still has unique technical capabilities that other companies may value. It announced three new notebook panels are going into production next month at Kameyama plant 2.

11.6 inches, 2560 x 1440 pixels at 253 ppi
14.0 inches, 3200 x 1800 pixels at 262 ppi
15.6 inches, 3200 x 1800 pixels at 235 ppi

Those of us going to SID DisplayWeek next week in Vancouver may get a chance to see these panels. I’m looking forward to it but I will still mourn the falling of a giant.

Four Keys to Digital Signage Corporate Communications Success

none@none.com (David Wilkins) — Thu, 16 May 2013 23:09:26 GMT

As corporate communications compete with the proliferation of information targeting today's employees, connected companies are seeking new ways to engage and communicate with their workforce beyond traditional channels. Enter digital signage.

Connecting with Employees

Unlike emails, intranet sites, posters and pamphlets, which have saturated the business environment, digital signage proposes a new broadcast medium by engaging employees via visual-centric communications.

Furthermore, with the reliability of today's network infrastructures, digital signage can distribute real-time information using rich, high-quality graphics and video to a variety of screens. As a result, communication professionals can focus on creating exciting digital campaigns that truly connect with their employees.

"The requirements for being successful with digital signage remain anchored in providing integrated, flexible, feature-rich content targeted to the right person, at the right time, on the right screen." — David Wilkins is president and CEO of X2O Media

There are many digital signage applications for internal communications. These can include bolstering a company's corporate culture via branding initiatives, conducting remote employee training, diffusing employee newsletters, displaying event programs and schedules, and communicating emergency messaging to staff. However, technologies have evolved, allowing new innovative ways to use digital signage.

Requirements for Success

In order to be effective, solutions should now integrate seamlessly with existing systems, provide flexible publishing capabilities to reach the right users and offer functionalities that make the system both cost-effective and simple to use. What follows are four considerations essential for ensuring that your corporate communications digital signage is a success:
A company's primary requirement should be to ensure that a digital signage platform can successfully integrate with other internal systems. For instance, companies using Microsoft SharePoint for enterprise-wide content management could use the same content posted in SharePoint throughout their digital signage network without the need to duplicate content creation and management. Consequently, by using tight interoperability and integration, information such as KPI (Key Performance Indicator) dashboards, team calendars and company announcements could be automatically displayed without duplicating data entry, which adds to the cost of managing content.
Second, a successful digital signage deployment should be flexible. In other words, messaging should be able to target specific divisions of an organization, particular staff members or the enterprise as a whole. By allowing local staff to customize messaging to specific screens and locations, network managers are able to better target their viewers, which increases the content's impact, raises the probability of action from members and makes communication over the network more efficient. This can include real-time messages delivered directly to employees' computer screens via pop-up alerts or information sent to mobile devices to reach staff members working remotely or who may be temporarily away from their desks.
Another important consideration for digital signage platforms is the ability to leverage the HTML 5 standard, which allows content producers to create media-rich content channels that can be published easily to both onsite screens and mobile devices. This includes the capacity to distribute HD video, 3D animations, graphs and links to live data sources, which recreate TV-like experiences for viewers on any screen.
Content creation solutions should also support the inclusion of business rules into signage workflows. This allows administrators to schedule broadcasts to coincide with optimal viewing times and better plan programming to ensure that only the most effective messaging makes it onto screens. The result is a more automated and cost-effective signage solution.

In short, applications for corporate communications may vary, but the requirements for being successful with digital signage remain anchored in providing integrated, flexible, feature-rich content targeted to the right person, at the right time, on the right screen.

David Wilkins is president and CEO of X2O Media, a provider of software for real-time visual communication applications that significantly improve enterprise-wide communications and drive business. At DSE 2013, David Wilkins delivered "Enterprise-wide Digital Signage Fundamentals," an interactive session to help participants understand the requirements for deploying successful digital signage networks for employee communications, employee training, real-time data visualization and more.

This column was reprinted with permission from the Digital Signage Connection and originally appeared here.

InfoComm: 10 Trends in Live Events 2013

none@none.com (Dan Daley) — Thu, 16 May 2013 04:13:41 GMT

The live events industry has grown massive, driven by a confluence of factors. The music industry continues to rely heavily on concert touring to replace revenues lost to digital distribution and piracy; sporting events are getting bigger and more global, with branded spectaculars from ESPN's X Games to a year's worth of run-up games to the World Cup adding music, lights and projection video; and corporate extravaganzas put on by edge brands like Red Bull and Nike are becoming more AV-dependent as they try to attract press and spectators. Every event uses some combination of audio, video, lighting and -- increasingly -- live streaming via the Internet.

And that's not all. Here are some trends to keep an eye on as this season gets underway.

Wireless Squeeze

Spectrum reallocation will make using multiple channels of wireless microphones for an event even more of a squeeze play. It's not that professional users are gobbling up more spectrum; rather, mobile devices are devouring the stuff — smartphones alone use 24 times more data than a traditional cell phone, and tablets can consume 122 times more data than old traditional phones, according to the Federal Communications Commission (FCC). The agency is working on ways to free up additional spectrum, including wresting it from other government agencies and working with TV broadcasters to develop incentive auctions that will allow TV stations to put their unused or underused spectrum up for sale and get a cut of the proceeds. The goal is to free up an additional 500 MHz of spectrum for wireless broadband use by 2020.

In the meantime, several spectrum-management databases are now (mostly) in place. The first TV Bands Device Database, operated by Spectrum Bridge went live a year ago; Google's and Key Bridge Global's went into trial in March. Since three to 15 wireless microphones (depending on model) can operate in one 6MHz TV channel, the TV channels currently reserved for pro use will accommodate the needs of most wireless users. Users of larger numbers of wireless systems may register in the TV Bands Devices Database to protect additional TV channels during a specific event. Unlicensed wireless microphone users must request database protection from the FCC, while licensed users may register in the database directly. Until the FCC registration system is fully operational, unlicensed users must submit registration requests directly to the FCC Office of Engineering Technology at TVWSinfo@fcc.gov.

Resurrecting Deceased Performers?

Don't look for Elvis anytime soon. The stunning holographic effect of Tupac Shakur strutting around the stage at last year's Coachella Valley Music and Arts Festival prompted the promise of more dead celebrities showing up at shows and events. They reportedly include Presley, Jim Morrison of the Doors and Marilyn Monroe. Digital Domain, the visual effects house co-founded by director James Cameron that produced Tupac, flirted with bankruptcy late last year before being revived with $30.2 million in financing from new Chinese and Indian owners. No digital ghosts have been announced yet, but we may see more of the visual effects used on the band Primus' fall 2012 "3D Tour," which saw fans receive 3D glasses so they could see the three-dimensional imagery projected from screens behind the band. When it comes to holograms and 3D imagery, jam bands may yet succeed where ESPN and others have floundered.

MADI Migration Continues

MADI is the acronym du saison. The Multichannel Audio Digital Interface is an AES-standard communications protocol that defines the data format and characteristics of an interface for multiple channels of digital audio. We first saw MADI in recording studios two decades ago as a way to move multichannel digital audio between consoles and digital tape machines (remember those?). From there, MADI migrated to broadcast, where it's used to move multichannel digital audio between routers. Lately, MADI's been making its presence felt in live sound applications, where instead of being the central matrix for what can be hundreds of audio signals, digital mixers are becoming the GUIs for routers capable of potentially thousands of endpoints, with signals carried over fiber. This simplified matrix arrangement of console and router using MADI over fiber allows more signal paths to be sustained and managed in a single show. For instance, the All-Star Jam, a music event that was part of the NBA All-Star Weekend in Houston last February, let multiple digital consoles share routers in different locations.

Flat-Panel vs. Projection Walls

Projection video, long the mainstay of large-scale events, may be sharing the spotlight with flat-screen displays this season. "While the use of large video projection systems by corporations and business entities for training and presentations have been in place for many years, the new generation of LCD, multicelled videowalls offers many advantages over traditional front- and rear-projection systems," says Paul Allen, president of Adaptive Video Walls & Displays. "One significant difference between the two technologies is picture clarity in environments with strong ambient light. Projection systems need darker room environments to deliver clarity, while an LCD videowall will shine through normal room lighting, allowing audiences to be able to review very detailed materials during a presentation. With the advent of extremely narrow bezels on professional LCD screens, visual segmenting of an image is greatly reduced, while the size of a video wall can go from modest to giant to accommodate any installation setting." Allen cites other flat-screen advantages, including elimination of the need to replace bulbs, and lower power consumption.

Speaking of Videowalls

Expect to start seeing a lot more videowalls at events where they might not have been considered a year ago. Thanks to the plummeting costs for processing and displays, videowalls are more accessible by more event operators than ever. Rick Seegull, vice president of sales & marketing at Aurora Multimedia, says its newest processor costs $1,800 per unit, allowing the processing for a 3x3 wall using nine displays to cost about $16,000, plus the cost of the displays. "And those can be consumer-grade LCDs; the processing is agnostic," he says, putting the videowall concept within the reach of the typical indie touring band or local charity fundraiser. "A couple of years ago, videowalls were the mansions on the hill," says Seegull. "Now they've gone mainstream."

Insure It!

In recent years, fatalities, injuries and losses from damage due to winds and storms at live outdoor events have put new emphasis on insurance coverage. But even those who escape direct weather problems may still pay a price. Scott Carroll, executive vice president and program director of Take 1 Entertainment Insurance, says that at the very least, coverage terms will become more restrictive. For instance, higher deductibles may be required; engineering sign-offs for stages and trusses may need to be submitted to the insurance carrier as part of the trigger for when coverage applies; written processes and procedures may need to be provided to carriers regarding who is responsible for calling the show or lowering the roof truss structures when high winds or bad weather are forecast.

"In other words, insurance carriers will be looking for more proactive approaches to potential and sudden changes in the weather, rather than an after-the-fact approach, as was seen in so many of the stage accidents in the past," Carroll warns.

Speaking of Weather

Staging companies will be looking for their own weather prognosticators, as they seek to avoid liability for weather-induced damages. And they'll have a few options. On the DIY end, there are more and more websites that offer real-time, moving Doppler radar images that can drill down to a matter of meters to show the location of storms and in which directions and how quickly they're moving. Taking periodic, time-stamped screen shots of these in the hours before an outdoor event can document a company's efforts to monitor conditions, if that kind of information is ever needed. A more elaborate solution comes from Weather Decision Technologies (WDT), which sells dynamic, Web-based and mobile interactive mapping solutions to media companies and high-profile concert-touring clients, including classic rock band Heart. WDT clients receive per-show, event-specific meteorological data under WDT's event venue safety information service, WeatherOps.

A Definitive Safety Guide

The Event Safety Alliance (ESA), a group of about 600 industry members ranging from manufacturers to riggers and touring production managers, is now in the final six-month stage of review for the U.S. Event Safety Guide, a 300-page compendium of best practices for all aspects of live event operations, from rigging to sound to lighting and pyro/special effects. ESA executive director Jim Rigby says August 5 is the target date to close peer review, with publication expected before the end of the year. While that might be a little late for this year's live-event season, Rigby says the lengthy and comprehensive review process underscores the fact that the safety of workers, performers and audiences is now a primary concern. "The Guide takes into account all of the experiences, good and bad, of the last several years," he says.

Google Docs — Yes, Google Docs

As live events become more complex, entire forests are denuded of trees as scripts undergo countless revisions. Increasingly, AV supervisors are turning to Google Docs to create paperless management systems that allow for revisions of scripts distributed through personal laptops, tablets and smartphones. That's how audio supervisor Michael Abbott has been managing the information flow for the Grammy Awards show for the past two years. He and his crews use Google Docs to create scripts and convert them to .PDF files distributed throughout the show's backbone. New versions are pushed through to everyone instantly, and individual user revisions can be made. Abbott says he uses this system to move scripts, audio I/O lists and stage plots around the cavernous Staples Center for the Grammy Awards and other shows.

"A typical one-week show will generate a 7- to 8-inch pile of paper," he says. "Multiply that by two hundred people and you see why we have to move to iPads for scripts."

4K — Almost

Well, maybe 4K resolution imagery won't go mainstream for live events this year, but it will soon. Technology is already in place that to project 4K resolution — approximately quadruple that of current 1080p — at 48 frames per second to a 70x30 film screen. That's 55,000 ANSI lumens, if you're counting. It's going to be bright, certainly bright enough for outdoor use. Hollywood is looking hard at 4K, and historically formats that become successful in cinema migrate to other commercial venues, including live events, such as corporate product launches. So if you're anticipating the live events trends for 2014, add 4K to that list, too.

This column was reprinted with permission from InfoComm International and originally appeared here.

Image via retinafunk

Extron Ships Fiber Optic RS 232 Inserter

none@none.com (rAVe Staff) — Thu, 16 May 2013 03:08:55 GMT

Extron is now shipping its new FOX RS 104, a four port RS232 inserter for long-haul transmission of control signals to remote source and destination equipment over fiber optic cabling. Each port provides a bidirectional fiber optic connection to an Extron FOX Series transmitter or receiver for the insertion and extraction of control data, while maintaining a continuous pass-through link for video and audio.

RS232 data from the Ethernet port is inserted onto one or more of the fiber optic outputs, providing remote monitoring and control. Reclocking on the unit’s buffered fiber optic outputs ensures signal integrity and transmits the fiber optic signal at its original power level. The FOX RS 104 maintains the performance of the optical signal transmission while providing bidirectional control from a control processor, eliminating the need for separate control system wiring to remote devices. Available in multimode and singlemode models, it is compatible with the extensive line of FOX Series extenders, distribution amplifiers, switchers, and matrix switchers.

Here are all the specs: http://www.extron.com/product/product.aspx?id=foxrs104&s=5

Yuvad Intros New Encoders

none@none.com (rAVe Staff) — Thu, 16 May 2013 02:30:59 GMT

Yuvad Technologies is now shipping its Yuvision family of video encoding solutions, developed specifically for multiscreen encoding for the over-the-top (OTT) market. Yuvision says its products can be configured by customers for either live/real-time encoding or file-based transcoding because both real-time and file-based transcoding licenses are delivered with each system.

Yuvision also claims the performance of its encoders is measured not only in terms of the number of output streams per system, but also in terms of the bandwidth efficiency of the encoded output streams. With higher compression efficiency, users obviously save on the costs of network transport and storage, both of which are recurring costs, and improve the general viewing experience - higher video quality at any given bit rate.

There are three models - Base, Standard and Premium. Each system can be configured as a cluster (requiring an iCluster server node) to support fault-tolerance for live stream encoding. The same cluster, under the control of the Yucoder file transcoding manager software, can also provide load-balancing and fault-tolerance amongst multiple transcoding nodes.

You can see each of them at: http://www.yuvad.com

Polycom & Aragon Research Release Enterprise Video Report

none@none.com (rAVe Staff) — Wed, 15 May 2013 02:41:06 GMT

The Perfect Storm in Enterprise Video: Act Now or Get Left Behind, is available from Polycom and Aragon Research. This is a paper that discusses the major video on the network shift occurring in enterprises and provides:

Insight on key trends fueling this major shift to video, and how enterprises will need to keep up to avoid losing their competitive advantage.
Direction on VEBAs (video-enabled business applications) that enterprises must embrace today, or risk getting left behind.
Considerations for developing a video strategy including business use cases, depolyment models, storage, network bandwidth, security and requirements for vendor selection.

Here's the free paper: http://images.info.polycom.com/Web/PolycomInc/%7Be0f72072-07f5-4033-b371-5b81135fc242%7D_PerfectStormInEnterpriseVideo.pdf

CEA Rejects AMX, Crestron and Control4 Standards and Announces New Standard Group for Connected Home and Smart Energy

none@none.com (rAVe Staff) — Wed, 15 May 2013 02:39:16 GMT

The Consumer Electronics Association (CEA) announced this week that it is forming the R7.8 Working Group 2 to develop a new standard to enable home electronics to communicate energy use data to smart energy management systems and apps. The new standard will be called CE-Energy Usage Information (CE-EUI) and will conform to the North American Energy Standards Board Energy Usage Information (NAESB -EUI) model, which forms the basis for the national Green Button initiative.

“Product manufacturers already understand how much energy a device will use during operation, based on its design,” said Brian Markwalter, senior vice president of research and standards at CEA. “By programming that information into the device and enabling the device to calculate how much energy it uses over time, manufacturers can help homeowners accurately capture the data for their energy management systems and applications.”

The standard will be compatible with the new Green Button “Download My Data” and “Connect My Data” initiatives. Green Button defines how consumers and authorized third-party services can access a history of their home’s total energy usage and cost based on smart meter readings. By enabling each device to report its own energy usage, consumers will be able to see the energy each CE-EUI-compliant device consumes and make better informed decisions. The standard will be network agnostic, operating over networks, such as Wi-Fi, Ethernet, ZigBee and Z-Wave, that are an existing part of the home ecosystem.

For more information on this new effort and how to get involved, email: standards@CE.org

VISIX Announces Winners of 6th Annual Expression Awards

none@none.com (rAVe Staff) — Wed, 15 May 2013 02:37:30 GMT

Visix, Inc. has announced the four winners of the company’s sixth annual Expression Awards. The company launched the annual awards in 2008 to recognize the best content designs from end-users of its digital signage software applications.

More than 80 designs were submitted to the online photo contest hosted on the company’s Facebook page. The judging committee, comprised of marketing, communications and design specialists, have given three Judges’ Awards to organizations who excelled in technical design, creativity and communications effectiveness. Online voters chose the People’s Choice winner.

Judges’ Award: Anadarko, Bring Your Kids to Work Day
Judges’ Award: Anadarko, Anadarko Encourages Employees to Vote
Judges’ Award: First Presbyterian Church of Bethlehem, Service Times
People’s Choice: Mountain Empire Community College, Happy Holidays

“We are excited by the quality of entries we received this year,” says Debbie DeWitt, marketing communications manager for Visix. “We’re thrilled to see a true understanding of digital signage design principles from our customers. The array of clever graphics combined with calls to action is impressive. I applaud all of our winners and entrants and thank them for participating in the awards and strengthening our community.”

The Expression Awards are part of Visix’s ongoing strategy to bring AxisTV software users together, to spotlight creative abilities and system management skills, and to recognize Visix customers for their contributions in the field of visual communications.

All of the entries and winning content can be viewed at http://www.facebook.com/visixinc in the Photo Contest section.

Dukane Intros HDMI Document Camera

none@none.com (rAVe Staff) — Wed, 15 May 2013 02:30:32 GMT

The Camera 336B from Dukane is a digital gooseneck, LED-lit document camera (native 640x480p) that can magnify both 3D objects and well as documents you place under the lens. Integrated with an HD output via HDMI or VGA, the zoom is optical (and digital) -- thus, you get the benefits of an actual camera zoom lens that's capable of capturing both still images and videos (with audio) on its internal memory and grab it via the integrated SD card. It's aimed at classroom installs, but can be used as a multipurpose document camera as well.

The Camera 336B lists for $599 and complete specs are here: http://www.dukane.com/av/products/documents/specs/336B.pdf

RGB Intros SuperView 4K

none@none.com (rAVe Staff) — Wed, 15 May 2013 02:27:41 GMT

RGB Spectrum's new SuperView 4K is aimed at multi-windowing "Ultra HD" (aka 4K) monitors and projectors. The company says it can handle resolutions up to 3840x2160, so it can display up to eight HD graphic or video windows on a single Ultra HD-resolution display device.

Features include window sizing and positioning, input grouping, panning and zooming, custom borders and titles, HDCP support and programmable presets. Images can be arranged anywhere on an Ultra HD display - in any size, with or without overlaps, and with any desired priority. For control applications, the SuperView 4K multiviewer offers SinglePoint KVM control of computer sources.

Connectivity is either single-link or dual-link DVI and control is via RS232 or the system's Web Control Panel (WCP) via a Web browser.

Here are all the specs: http://www.rgb.com/products/SuperView4k/?c=n

DPA Microphones Introduces d:dicate Recording Microphone Range

none@none.com (rAVe Staff) — Wed, 15 May 2013 02:24:35 GMT

DPA Microphones this month launched its d:dicate Recording Microphone, which includes the MMC4018 Supercardioid Capsule and the MMC4007 High-SPL Omnidirectional Capsule, a modular version of the company’s 4007 microphone. Both capsules are entirely compatible with other d:dicate preamplifiers and are ideal for capturing sound from percussion and brass instruments, as well as for audio measurement purposes.

Rounding out the d:dicate line are microphones from the familiar DPA Reference Standard series, which has been absorbed into the d:dicate range. These include the modular 4000 and 2000 Series, which are manufactured to perform within very narrow tolerances and offer linear frequency responses, high SPL and gain before feedback. Included in the d:dicate range are a wide variety of 4000 Series capsules, including the new 4018 Supercardiod, 4017 Shotgun, 4015 Wide Cardioid, 4011 Cardioid and 4006 Omnidirectional. 2000 Series Microphones that are in the line consist of two twin diaphragm capsules - the 2011 Cardioid and the 2006 Omnidirectional. Both of these microphones are rooted in the design technology of DPA’s classic miniature capsules. All of the former Reference Standard capsules can be combined with the company’s preamps, including the A, which is transformerless; the B, a low cut and high boost filter version; and the compact C option for discreet miking.

New accessories have also been developed for the d:dicate Recording Microphone range, including modular active cables (MMP-ER with rear cable entry and MMP-ES with side cable entry) plus modular active booms (MMP-F) that are compatible with all d:dicate capsules.

You can see them all here: http://www.dpamicrophones.com

Extron Ships Economical DVI Twisted Pair Extenders

none@none.com (rAVe Staff) — Wed, 15 May 2013 00:21:02 GMT

Extron's new DTP DVI 230 and DTP DVI 230 D are desktop and Decora-style twisted pair extenders that transmit DVI-D video, audio and bidirectional RS232 and IR control signals up to 230 feet (70 meters) over a single CATx cable. The DTP DVI 230 and DTP DVI 230 D provide what Extron calls an economical and effective means for extending single link DVI-D or HDMI signals. The transmitters are each equipped with a buffered DVI loop-through output to support a local computer monitor. Both models feature remote power capability of either the transmitter or receiver, and can be mixed and matched for installation flexibility.

The extenders support signal resolutions up to 1920x1200 and 1080p/60, and are fully compatible with HDMI signals when used with the appropriate DVI-HDMI adapters from Extron. The DTP DVI 230 and DTP DVI 230 D can transmit HDMI signals, supporting Deep Color up to 12-bit, CEC, and embedded HD lossless audio formats. They also allow a direct connection from devices with an analog stereo audio output, such as desktop computers or laptops, and provide balanced and unbalanced audio output from the receiver.

In addition, the extenders continuously maintain DDC communication of EDID and HDCP between a source and display for reliable operation, ensuring direct compatibility and optimal signal transmission between devices. The DTP DVI 230 and DTP DVI 230 D are compatible with CAT 5e, CAT 6, and CAT 7 twisted pair cable, and can be used as a point-to-point solution or integrated with a switching and distribution system to extend inputs or outputs to remote locations.

Check out all their specs here: http://www.extron.com/

Channel Vision Announces High-Resolution Varifocal Dome Camera

none@none.com (rAVe Staff) — Wed, 15 May 2013 00:18:03 GMT

Channel Vision has intro'd a new Varifocal Dome Camera in the 6821-O Varifocal Eyeball Dome, which uses the Sony 700VTL CCD. It offers the following features:

IP66 Rated
vandal-proof
oil rubbed bronze finish
waterproof outdoor design
LED illumination for applications where there is no ambient light or shelter for the camera

The 3-Axis mount allows for external focus and zoom control screws for fine-tuning during installation.

The 6821-O Varifocal Eyeball Dome list for $122 and you can see it here: http://www.channelvision.com

IMCCA Has GIANT InfoComm 2013 Plans with Multiple Educational Sessions

none@none.com (rAVe Staff) — Wed, 15 May 2013 00:12:54 GMT

The IMCCA is a non-profit association aiming to strengthen and grow the collaborative conferencing and unified conferencing markets through education and they're gearing up for a big InfoComm next month in Orlando.

The organization kicks off Wednesday at 8 a.m. with a session entitled, "The Merger of AV and IT - What Works, What Doesn't" moderated by Dr. S. Ann Earon, president of Telemanagement Resources Intl, Inc. Then at 10 a.m. a session on the new HTML Video Standard HTML5WEBRTCH.265 is to be discussed by Dave Danto, principal consultant, (AV, Multimedia, Telepresence, UC, Video) Dimension Data and director, Emerging Technology, IMCCA. That's followed by the annual IMCCA State of the Industry Luncheon from noon to 2 p.m.

Thursday kicks off a half-day a session about the Deployment of UC where where IMCCA will answer standards questions and they'll present the latest industry trends regarding audio, web, video and UC technologies that will end with a Round Table Discussion with all the day's presenters.

You can see all the sessions and register here: http://www.infocommshow.org/press_1213.asp#.UZUNi6U4T8v

Digital Signage Expo Opens Call for 2014 APEX Awards Nominations

none@none.com (rAVe Staff) — Tue, 14 May 2013 23:30:42 GMT

Digital Signage Expo (DSE) is now accepting nominations for its 11th Annual APEX Awards.

New for 2014, DSE has added a Professional & Personal Services category to differentiate services provided by banks, insurance companies, accounting firms, brokerages and salons from the general retail category. The definition of the “Interactive Self-Service” category has also been broadened to include submissions from the burgeoning automated retail sector

To qualify, nominees must have a new or current digital signage or interactive technology program installed between Nov. 1, 2012, and Nov. 1, 2013. Submissions deadline is Fri., Oct. 4, 2013, and forms are available at: http://www.digitalsignageexpo.net/dse-apex-awards.

Nominations will be evaluated by a panel of independent judges on the basis of:

Challenge – The size, scope or unique requirements of the deployment and what problems had to be solved or overcome to ensure successful implementation.
Solution – The degree to which the solution was “cutting edge” (new, unique, or innovative).
Result – The quantitative extent to which the digital signage or interactive technology deployment benefitted the viewer and achieved the installation’s goals.

Nominees remain the venue where the installation was deployed. The nominating companies can be the venues themselves, the technology providers that provided the installation hardware and software, the architects and design firms who conceived the project, as well as thesystem integrators who did the installation.

The 5th Annual Apex & Content Awards Dinner will beheld on Wed., Feb. 12th from 7:00 to 9:00 p.m.

Again, submissions deadline is Friday, Oct. 4, 2013, and all the forms you need to enter your own company or installation are available at: http://www.digitalsignageexpo.net/dse-apex-awards

Extron Opens Manhattan Demo and Training Office

none@none.com (rAVe Staff) — Tue, 14 May 2013 23:25:42 GMT

Extron's newest product demonstration and training facility is now open in New York City and they've already scheduled a wide range of classes in the coming months, including Extron Institute schools and certification courses. The first class was conducted on April 29th.

At the heart of the new facility is a large demonstration room, showcasing the latest Extron products and technologies. Hands-on stations let guests experience live demonstrations of video signal processing, AV signal distribution, configurable control, and audio products. A training room features a 4x2 video wall powered by a Quantum video processor. A conference room, featuring the Teamwork Collaboration System, can be used for meetings and presentations.

Other North American training facilities are located in Anaheim, California; Raleigh, North Carolina; Dallas, Texas; and Washington, DC. Extron also has training facilities in China, India, Japan, the Netherlands, Singapore, South Africa, South Korea and the United Arab Emirates.

Extron is here: http://www.extron.com

Futuresource Q1 Projector Sales Tracking Report Released (Infographic)

none@none.com (rAVe Staff) — Tue, 14 May 2013 23:16:46 GMT

The global projector market came in at 1.76 million units in calendar year Q1 2013, a year-on-year decline of 7.5 percent on the same period in 2012, according to the latest market tracker research from Futuresource Consulting.

Futuresource Global Roundup

The largest declines are seen in standard definition mainstream products (1000 - 3999 Lumens) as demand shows signs of retraction in key western territories. Growth markets like Russia and India that had driven volumes in CY Q1 2012 experienced a difficult quarter as funding for education and public sector projects were suspended. Globally, volumes of mainstream SVGA projectors fell 13.2 percent while mainstream XGA volumes declined 16.7 percent YoY. Widescreen resolutions continued to take a share of the mainstream segments, B2B WXGA volumes grew 7.7 percent YoY while volumes of B2B 1080p product grew 74.7 percent with favorable pricing expected to increase demand for these products during the rest of the year.

2013 is set to be a difficult year of trading in the US projector market which peaked in 2010, CY Q1 2013 returned a YoY decline of 5.6 percent on the same period in 2012 with reports that the education market is the vertical most visibly affected as district level education spend is expected to continue its decline this year (and available budgets are tending to be used on one-to-one computing projects, with iPad deployments continuing to develop rapidly in US schools). The Chinese market, forecast to continue its strong trend of growth in 2013 started the year only 2.4 percent up on CY Q1 2012 with reports some education business had been impeded after the change of leadership in the Communist party at the end of 2012.

Installation and Large Venue Segment

While mainstream volumes suffer, the installation and large venue segment (4000+ Lumens) continues to return good business, global volumes increasing 9.8 percent YoY to reach 146K units according to the Futuresource tracker. As a number of vendors continue to target the installation business, price competition is helping to drive increased adoption of widescreen formats in the 4000 - 6999 lumen market, widescreen resolutions accounted for 43 percent of total sales in the segment, up from 36 percent in CY Q1 2012.

Home Cinema

The dedicated home cinema market, which typically experiences a slow post-Christmas CY Q1, remained relatively consistent in the period, volumes increasing less than 2 percent YoY, 720P and WXGA models retain their price position in the market maintaining a 33 percent share. As global volumes of dedicated home cinema volumes remain stagnant, vendors show increased innovation in the sector with new products including LG's Hecto Laser TV coming to market in CY Q1 2013.

Ultra Mobile

In the Ultra Mobile segment (sub 2KG projectors) LED models continue to fuel the market, taking share from lamp based models. The global ultra-mobile market grew 26.7 percent YoY in CY Q1, LED volumes increasing 31.4 percent. As the brightness of LED models increases, the B2B applications for these products increase also providing new markets for LED projectors in the road warrior and small meeting room sectors, taking share from lamp based models. A host of new models in this segment due this year are expected to continue this trend including the ML1000 from Optoma and Qumi Q7 from Vivitek.

You can see all Futuresource reports here: http://www.futuresource-consulting.com

Here is a link to a rAVe infographic incorporating this information: http://bit.ly/YHgInW

Digital Screenmedia Association Announces 2013 DSA Industry Excellence Award Winners

none@none.com (rAVe Staff) — Tue, 14 May 2013 19:10:45 GMT

The Digital Screenmedia Association (DSA) announced its 2013 DSA Industry Excellence Award Winners at its Digital Screenmedia Symposium in Dallas this month. These awards recognize achievement in digital signage, mobile, self-service and interactive kiosk technology projects.

The 2013 winners are:

Industry Deployer of the Year
Six Flags Entertainment Corp.

Network Operator of the Year
RMG Networks

Screenmedia Integration Award
Project: SportChek Retail Lab
Client: FGL Sports Ltd.

Best Digital Out-of-Home Campaign Deployment - Digital Signage
Project: Times Square Takeover Campaign
Client: Beats By Dre

Best Entertainment/Gaming Deployment - Digital Signage
Project: Digital Content Delivery for Match Days
Client: Fulham Football Club

Best Financial Services Deployment - Digital Signage
Project: Digital Branch
Client: BBVA Bancomer

Best Government Deployment - Digital Signage
Project: Digital Signage System
Client: Melbourne Convention and Exhibition Centre

Best Restaurant Deployment - Digital Signage
Project: Burgerville
Client: The Holland, Inc.

Best Retail Deployment - Digital Signage
Project: "Store of the Future"
Client: Build-A-Bear Workshop

Best Travel Deployment - Digital Signage
Project: Terminal 3 Digital Signage
Client: McCarran International Airport

Best Corporate Communications Deployment - Self-Service / Interactive Kiosks
Project: The Aramco Experience
Client: Aramco Services Company
Also contributing: FLOAT4 Interactive

Best Digital Out-of-Home Campaign Deployment - Self-Service / Interactive Kiosks
Project: Choose Your Subaru Adventure
Client: Subaru of America

Best Entertainment/Gaming Deployment - Self-Service / Interactive Kiosks
Project: Teeosk Gaming System
Client: JustOne Golf

Best Financial Services Deployment - Self-Service / Interactive Kiosks
Project: NOVO Experience
Client: Bank Audi

Best Government/Education/Non-Profit Deployment - Self-Service / Interactive Kiosks
Project: EZtouch Window
Client: Mayport Coastal Sciences Middle School
Also contributing: DXM Marketing Group

Best Restaurant/Food Service Deployment - Self-Service / Interactive Kiosks
Project: Costa Express Vending Machine
Client: Costa Express

Best Retail Deployment - Self-Service / Interactive Kiosks
Project: Showroom Digital Media
Client: John Deere

Best Travel Deployment - Self-Service / Interactive Kiosks
Project: Hertz gives self-service a human touch
Client: The Hertz Corporation

Judges included:

Digital Signage Award Judges

Lyle Bunn, Principal / Strategy Architect, BUNN Co.
Brad Gleeson, President & CEO, TargetPath LLC
Christopher Hall, Editor, DigitalSignageToday.com
Eric Himes, Director, Digital Media and Video Production, Marshall University
Gary Kayye, Founder, rAVe Publications
Keith Kelsen, CEO, 5thScreen Digital Services
Thomas Kunka, Coordinator, Network Systems & Operations, University of Illinois at Urbana-Champaign
Erik Larson, Assistant Professor - Broadcast Design, CUNY College of Technology
Barnaby Page, editor, Screenmediamag.com
Lucas Peltonen, Digital Out-Of-Home Director, PITCH
Sean Scott, President, SignIndustry.com
Lou Thurmon, CMO, Two West, Inc.
Michael Tutton, Manager, Digital Signage, Ontario Lottery & Gaming Corporation

Self-Service Kiosk Award Judges

Ted Blanchard, Principal, tedblanchard.ca
Natalie Gagliordi, Editor, KioskMarketplace.com
Eric Hoell, SVP, Operations & Product Development, SoloHealth
Dan LaFayette, Lowes.com Product Owner, Lowe's Companies, Inc.
Faith MacPherson, Senior Director, Global Payroll Services, Avery Dennison
Michael Mascioni, freelance writer and market consultant
Jared Padgett, Manager of Web Development & Digital Media, Pepperdine University
Frank Roscoe, Director of SSM Division, Qpay, Inc.
Janet Webster, President, Creative Solutions Consulting
Sean Whiffen, Co-Founder, AutoNetTV

Watch Replay of Kayye's AV Meets IT Webinar

none@none.com (rAVe Staff) — Mon, 13 May 2013 23:40:56 GMT

Last week, ihiji asked rAVe founder Gary Kayye to kick off its new quarterly AV Thought Leaders Webinar series. He was asked to address where the convergence AV and IT stand at this moment in the industry. It's a short, 30-minute webinar that addresses where we are and where we're likely headed in the not too distant future with networked AV gear.

You can watch it for free here: https://hk128.infusionsoft.com/app/page/ihiji-gary-kayye-thought-leaders

New Presenter Remote Control You Wear On Your Finger

none@none.com (rAVe Staff) — Mon, 13 May 2013 20:14:42 GMT

A company called Genius just debuted a really cool product called the Ring Pointer -- a ring-style presenter with built-in laser pointer for those making PowerPoint and Keynote presentations. Using one hand, presenters can start and stop presentations and switch between slides as well as use the laser pointer since you wear it like a ring on your finger.

Functions include Play/Exit, Last Page, Next Page, blank screen functions as well as the laser pointer (10-meter wireless range). It uses a 2.4 GHz wireless technology.

Transportation and recharging is simple. When the battery-low indicator lights up, just plug the Ring Pointer using the micro USB rechargeable cable into a computer. To prevent misplacing or losing the USB pico receiver, it can be attached to the Ring Pointer for storage.

The Genius Ring Pointer lists for $54.99 and all the specs are here: http://www.geniusnet.com

RGB Spectrum Intros New Codec for Recording and Streaming Graphics and HD Video

none@none.com (rAVe Staff) — Mon, 13 May 2013 19:32:18 GMT

RGB Spectrum has expanded its line of DSx codecs with the introduction of its new DSx 300M secure access model. The DSx 300M codec is specially designed for streaming and recording of graphics and HD video using H.264 compression. The codec records, streams and replays graphics and HD video at up to 1920x1200 and 1600x1200 resolutions.

Additional features include on-screen display (OSD) with titling and time code, external time code synchronization, event marking, variable speed playback, random access, extended-range bit rate adjustment and signal confidence monitoring. DSx codecs can be interconnected to support multi-channel, concurrent recording, streaming and replay. Multi Channel Manager software provides simultaneous control of multiple DSx units and it's integrated with Power-over-Ethernet (PoE) as well as external power.

The complete specs are here: http://www.rgb.com/

ViewSonic Reaffirms Commitment to the ProAV Market with the Launch of its Pro8 Series Projectors

none@none.com (rAVe Staff) — Fri, 10 May 2013 22:56:50 GMT

ViewSonic added two new models to its Pro8 line today, the Pro8520HD and Pro8600, making for a total of seven in its series of high brightness projectors. Both are single-chip DLP projectors, spec'd at 5,000 ANSI lumen for the 1920x1080 resolution Pro8520HD and 6,000 ANSI lumens for the XGA 1024x768 native resolution Pro8600, and also claim a 15,000:1 contrast ratio. They both use the TI Brilliant Chip technology. Both models are aimed at high ambient light environments and have HDMI (dual HDMI for Pro8520), RGB, S-Video, RJ45 and so-called plug ‘n play USB display.

The Pro8520HD and Pro8600 are priced at $2,099 and $1,979, respectively, and you can see all the specs on the 8520 here: http://www.viewsonic.com/us/pro8520hd.html and on the 8600 here: http://www.viewsonic.com/us/pro8600.html

AVnu Alliance Adds Bose, Arrive, Revolabs and LG to Advance AVB Certification

none@none.com (rAVe Staff) — Fri, 10 May 2013 22:52:29 GMT

AVnu Alliance, the industry consortium that certifies Audio Video Bridging (AVB) products for interoperability, has introduced four new member companies to the Alliance: Bose Corporation, LG, Arrive Systems and Revolabs.

We've written about the AVB Alliance a lot, as well as its competitive standard HDBaseT. If you don't have a clue what we're talking about, you'd better get educated as, eventually, you'll have to decide which way you're gonna go. Audinate's Dante, in case you were wondering, is AVB.

Here's information on AVB: http://en.wikipedia.org/wiki/Audio_Video_Bridging

Here's information on HDBaseT: http://en.wikipedia.org/wiki/HDBaseT

Seriously, read those two links!

Standing at 55 global members, AVnu Alliance is a consortium of professional A/V,automotive, and consumer electronics companies working together to drive certification and interoperability of open AVB standards and to enable interoperable platforms that offer bigger, better, faster, more flexible, and more affordable market solutions.

The Alliance has recently announced new AVB educational programs and new partnerships, as well as created the AVnu Alliance Broadcast Advisory Council to advance the broadcast industry's AVB requirements. This, along with the high growth of new members, speaks to the commitment that the Alliance and its members have for the promotion of AVB open standards across consumer, professional and automotive AV electronics.

The AVnu Alliance recently opened its certification testing for AVB-enabled networking bridges and professional audio endpoints at its appointed testing house, the University of New Hampshire InterOperability Laboratory (UNH-IOL). AVnu Certification is available to alliance member companies.

Here's all sorts of information about AVB: http://www.avnu.org/

FSR Teams with NSCA and WAVE to Sponsor Networking Reception at InfoComm 2013

none@none.com (rAVe Staff) — Fri, 10 May 2013 22:46:22 GMT

FSR, along with co-sponsors NSCA and Women in AV (WAVE), will host an informal reception on Wed., June 12, from 5 to 6:30 p.m. at The Peabody Hotel in Orlando, Florida. The event coincides with opening day of the InfoComm show, the premiere trade show for the commercial audiovisual industry. Women are encouraged to attend the unique reception where they can network with colleagues, share success stories, industry tips and ideas.

“It’s an honor to sponsor this reception,” said Jan Sandri, FSR president. “It’s important to provide opportunities that allow women from all industry segments to mingle with their peers, share knowledge, and benefit from one another’s successes. We’re pleased to join NSCA and WAVE in this initiative. “

Register today for the reception at http://www.womeninav.com

SANUS Introduces New, "Safer" TV Stand

none@none.com (rAVe Staff) — Fri, 10 May 2013 21:56:36 GMT

The new SANUS Basic Series BFV846 TV/AV Stand is actually three pieces in one: a solid piece of furniture, a tilting TV wall mount and an ultra-sturdy steel pillar. Use all three parts together to get the benefits of a wall-mounted TV without drilling, or use them separately to create your own custom home theater setup.

Other features include:

Fits TVs up to 52"
Open design maximizes airflow to equipment and provides easy access to back of components
Thick tempered glass on a powder coated steel frame offers durability and aesthetics
Cable management system organizes and keeps cables hidden
Adjustable feet ensure furniture is level on any surface
Quick and easy assembly; all hardware included
Compatible with the SANUS ELM701 TV anti-tip strap

Here are all the details: http://www.sanus.com/us/en/products/av-foundations/av-basic/BFV846

Wireless Ronin Reports Another Sales Decrease for Q1

none@none.com (rAVe Staff) — Fri, 10 May 2013 20:11:18 GMT

Wireless Ronin Technologies today reported financial results for the first quarter ended March 31, 2013. Revenue in the first quarter of 2013 was $1.4 million as compared to $1.8 million in the same year-ago quarter. The decrease was primarily due to reduced Chrysler development and content orders associated with iShowroom.

Recurring revenue in the first quarter of 2013 from the company’s hosting and support services was $495,000 or 35 percent of total revenue compared to $466,000 or 26 percent of total revenue in the same year-ago quarter. The increase was driven by a continued expansion of support services through the company’s network operations center.

Gross margin in the first quarter of 2013 was $746,000 or 53 percent of total revenue compared to $949,000 or 54 percent of total revenue in the same year-ago quarter. The one point decrease in gross margin percentage was primarily due to lower hardware margins in Q1 2013.

Net loss in the first quarter of 2013 totaled $1.4 million or $(0.27) per basic and diluted share, an improvement from a net loss of $1.8 million or $(0.40) per basic and diluted share in Q1 2012. The year-over-year improvement in net loss was primarily due to decreased operating expenses and effective cost management.

Non-GAAP operating loss in the first quarter of 2013 totaled $1.2 million or $(0.23) per basic and diluted share, an improvement from a non-GAAP operating loss of $1.4 million or $(0.31) per basic and diluted share in Q1 2012. The company defines non-GAAP operating loss as GAAP operating loss less stock-based compensation, depreciation and amortization and severance and other one-time charges (see further discussion of this non-GAAP term as well as a reconciliation to GAAP operating loss, below).

At March 31, 2013, cash and cash equivalents totaled $3.1 million, compared to $2.3 million at end of the prior quarter. The increase was due to the $1.4 million of net proceeds from the company's registered direct offering completed in March 2013.

Management Commentary

“During the first quarter, we focused on building recurring revenue and worked to enhance and broaden our digital marketing technology offerings,” said Scott Koller, president and CEO of Wireless Ronin. “Along those lines, we released our fourth generation of RoninCast software, designed to increase functionality and improve the customer experience while reducing installation and operation costs.

“RoninCast 4.0 software aligns perfectly with Samsung’s new open source digital signage platform, providing significant advantages for the end user, including lowering costs, simplifying installation, improving uptime, and ultimately improving the ROI for our customers. The combined offering dramatically simplifies deployment and ongoing management, breaking down barriers and opening the field to a much larger universe of potential users.

“Last month, we entered into an exclusive license and service agreement with Delphi Display Systems, a leading manufacturer of outdoor LCD-based display systems, to provide integrated technology solutions to the QSR market. Delphi will pay us a minimum of $2.0 million over five years, of which we received $750,000 in Q2 2013. Delphi will leverage its sales and marketing expertise to license our RoninCast software to its 30,000 customers in the QSR market, enabling us to focus our resources on our growing pipeline of opportunities in the automotive, retail and food service markets. We believe this arrangement will be truly transformative for Wireless Ronin by extending the sales reach for RoninCast software, while potentially increasing our stream of recurring hosting and maintenance revenues. “Altogether, these developments have set the stage for a productive second quarter. We now provide industry-leading technology and have world class relationships to capitalize on our growing pipeline and the tremendous industry opportunities.”

Here's the full release: http://www.wirelessronin.com/page/1/Q1-Earnings.jsp

BYOD: Mobile Interactivity with Digital Signage Networks

none@none.com (Todd Fender) — Fri, 10 May 2013 04:22:23 GMT

BYOD (bring your own device) has traditionally referred to the act of people bringing their personal devices into their work environment with the ability of being able to access privileged company documents and information on those devices. However, this acronym may soon find another application referring to personal interactivity with public digital signage networks.

Interactivity – whether via physical touch, gesture or other method – has gained popularity over the last several years. Smart phones with touch screens have single-handedly changed the way we expect all interactive devices to work. Console-based video games have also helped push the envelope with gesture or motion-based interactivity (Xbox Kinect, PS move, Wii remote, etc.)

Regardless of how it is accomplished, interactivity seems to be gaining traction and popularity with end users. As a result, software companies, integrators and advertisers are noticing. The good news for them is the infrastructure is already very large and growing larger every day.

According to NPD DisplaySearch’s Smartphone Quarterly report, smartphone shipments will reach 937 million in 2013, just over half of all mobile phone shipments. We live in a connected world and for the masses, there may be no going back. “Generation Y” is now driving many markets, and they thrive on interaction. Whether the interaction is social media (Twitter, Foursquare, Instagram, etc.), based on an ability to respond to simple surveys, polls or to provide feedback for the chance of winning or earning discounts or prizes, playing games with people at the same venue, or to receive additional product or service information on a new product they just saw; they want it and they want it now, on their device.

How will increased mobile interactivity with these networks affect the digital signage ecosystem? Will public kiosks become extinct or shift their focus to cater to the older generations and to the very young? Will the market for touch overlays and other touch technologies on large screen public displays decline? (According to our tracking of large format commercial display sell through in U.S. distribution channels, in Q1’13, touch-enabled monitor sales declined by 16 percent Y/Y.)

These and other questions will be addressed at the FPD Conference at InfoComm on June 11 in Orlando. In addition to providing attendees with several sessions of expert data and analysis of the display market, the conference will feature Stuart Armstrong, President of the Americas for ComQi, which provides a multi-channel message management platform for networked content and infrastructure, who will provide insights on the impacts and opportunities for mobile interactivity within the digital signage industry.

This column was reprinted with permission from DisplaySearch and originally appeared here.

Digital Projection Offers Free Lamps For Any Projector While in Warranty

none@none.com (rAVe Staff) — Fri, 10 May 2013 03:58:55 GMT

DPI has introduced a new 'Lamp Freedom' program for customers in both the ProAV and HomeAV markets that allows end-users to receive a free set of replacement lamps in years two and three of a new projector purchase made between now and the end of June 2013. The program is offered to end-users purchasing HIGHlite Series or TITAN Series projectors from authorized DPI Commercial AV or Home Cinema dealers in North America.

Lamp replacement costs are obviously a key concern when calculating the long-term cost of ownership of high-brightness projectors. DPI’s ‘Lamp Freedom’ program offers customers a dramatically reduced cost of ownership benefit on their HIGHlite and TITAN projectors. Depending on the DPI projector model purchased, this program can represent more than $10,000 in lamp savings during the three-year warranty period. For customers with typical use applications, which DPI defines as 1,000-1,500 hours per year, this program will completely eliminate lamp purchase costs during the warranty period.

To qualify, end-users must purchase and take delivery of HIGHlite and TITAN 3-chip projectors during the 5/1/13 – 6/30/13 timeframe. This qualifies the customer to order one set of replacement lamps, at no cost, in each of years two and three.

For more details on DPI’s ‘Lamp Freedom’ program, go to digitalprojection.com/freedom

An Industry Special Report & InfoComm 13 Preview

none@none.com (David Danto) — Fri, 10 May 2013 00:11:34 GMT

As I write this article, there are just a few weeks to go before the 2013 InfoComm conference and exposition in Orlando. The conference is a great opportunity to become educated, network with industry peers and see the latest in AV, collaboration and multimedia technology. This year, however, there will be a unique opportunity to see a number of disruptive changes in the world of videoconferencing. These changes in technology and market forces are so significant that they will permanently transform how organizations approach conferencing and collaboration going forward. For those of you able to join us in Orlando, here are some of the things to be on the look-out for.

Ding-Dong, The DSPs Are Dead

The video “Bridge” or “MCU” (Multipoint Control Unit) has been an essential part of any mature videoconferencing ecosystem since the mid 1990s. These products connect multiple video calls together so that many locations can participate in one call. Most of the better bridges on the market up until this point have used Digital Signal Processing chips to power the transcode process and manage the various signals passing through the system. The more signals (ports) you wanted to handle, the more DSPs you needed. The DSPs are attached to circuit boards that are mounted in metal boxes that are mounted in metal equipment racks -- “chunks of iron” as they’re sometimes called in the industry. When you had 10 or 50 or even 500 video systems in your ecosystem your multiple chunks of iron could process all your multiparty calls without difficulty. However, if you want to handle multipoint calls in organizations that have thousands of user endpoints, the chunks of iron become massive, and expensive. The solution could not scale to very large numbers in a cost-effective manner.

This year’s InfoComm conference will herald the beginning of the death of the DSP based MCU. A number of firms are introducing systems that do all of the transcoding and signal processing in software. There are solutions across many consumption models. You can buy a next-generation hardware box that significantly reduces the rack space needed, you can buy the software only and load it on your own servers or VM slices, or you can just buy all of it as a service in the cloud (VAAS.)

Cloud video as a service options are definitely gaining traction. Many organizations are looking into this model -- where video services are purchased as needed as an operational expense instead of investing in their own infrastructure. With this model, users can dynamically right-size their services -- starting small, bursting with extra capacity when needed, scaling back when not needed.

All the new options will have a dramatic effect on costs. With software MCUs and cloud based VAAS new and existing video customers can scale deployments to new heights and reach new user communities that were price prohibitive in the past.

These changes will drive infrastructure costs down and exponentially increase the possible scale of calls being processed. They represent a massive change in the industry approach to video collaboration.

IMCCA member firms to see displaying these technologies:

Acano – In booth number 1671, this new firm (which had been using the name SilverFlare up until recently, and includes much of the former development team from Codian) will be demonstrating a new class of infrastructure that unites previously incompatible audio, video and web technologies in “coSpaces” -- virtual meeting rooms, only radically better. With the company's coSpace concept, people can work wherever their ideas and creativity thrive.
AGT - In booth 1781, Applied Global Technologies (AGT) will demo its internally-developed Video-as-a-Service platform, which enables video conferencing across different networks and on a variety of video-enabled devices and endpoints, including HD video systems, tablets, smartphones, web browsers and UC clients.
Blue Jeans – In booth 2087, Blue Jeans will be showing enhancements to its industry first “any to any” cloud bridging service. These include its new “room to remote” services that allow full mobile participation and HD content streams next to the HD video. The company will also be explaining its 'All You Can Meet' pricing, which is tiered based on company size and includes an attractive low annual fee that can result in per user licenses as low as $10 per user, per month.
Cisco – In booth 2743, Cisco will show how it has now virtualized all components of its telepresence multiparty conferencing solutions - including TelePresence Server for bridging multipoint calls; TelePresence Conductor for resource optimization; Unified Communications Manager for call control; Video Communication Server (VCS) for B2B, remote and mobile worker support; and TelePresence Management Suite (TMS) for conference control, provisioning, scheduling, reporting, phonebooks and infrastructure management.
LifeSize (a division of Logitech) - In booth 2173, LifeSize will show its UVC Platform - developed to let users choose how they want to deploy video infrastructure (in their virtualized environment or on hardware), as well as offering flexibility regarding which applications they want to activate, which features they want to access and the ability to add capacity as needs grow.
Pexip – In booth 2167, Pexip (a brand new firm with former Tandberg executives and developers) has developed a truly virtualized software platform providing enhanced MCU functionality operating on industry standard servers. The company's solution will scale to thousands of users – finally allowing clients to deploy video affordably as an enterprise wide application.
Polycom – In booth 1759, Polycom will demonstrate its RealPresence Platform: a comprehensive and interoperable UC software infrastructure for universal video collaboration. The open-standards approach of the RealPresence Platform ensures interoperability with hundreds of UC, business, and social networking applications. This includes its Collaboration Server 800s – a virtual, all software MCU. It will also show its new CloudAXIS Suite: a software extension of RealPresence that enables universal access to enterprise-grade, interoperable video collaboration to any business or consumer. With CloudAXIS you can send a URL link in an email or calendar invitation to anyone with a browser and camera, allowing others to join a secure, enterprise-grade quality video meeting using their smartphone, tablet, computer or video room system.
Radvision, an Avaya company - will be in booth 1859 showing its Scopia Elite 6000 series MCU, which takes a unique hybrid software / hardware approach that delivers great video quality and very high port density.
Vidtel - In booth 2189, Vidtel will demonstrate its cloud-based MeetMe service that delivers any-to-any collaboration, supporting SIP, H.323, WebRTC, Skype and Google Talk - making B2B video collaboration easier than ever.
Vidyo – In booth 1581, Vidyo will be showing how its floating capacity licensing combined with its virtualized and networked infrastructure enables great flexibility and cost savings in large scale global deployments. Its system allows both infrastructure instances and capacity to float among locations for greater resource utilization and shorter ROI. Additionally, its VidyoWay interoperable cloud service is offered at no cost, further disrupting the VAAS marketplace.

How Much Did You Say That Costs?

Throughout the years that videoconferencing has been available it has been expensive. A decent room codec/system would run anywhere from $15K US to $30K US - and that was just for the videoconference device. In many cases you still needed to do room construction to make it ready, add in the cost for an appropriate table, good lighting and then all of the other AV parts needed such as displays and a control system – a room could easily run from $80K US on up. With the introduction of high-end telepresence about six years ago, the cost per remediated and installed room could easily go into the hundreds of thousands of dollars. Because of the high costs involved, a number of organizations have opted to use online “free” services for videoconferencing. (I explained why that was a bad idea in another blog - “Think Fred” – which you can read here.) At InfoComm this year we will finally see a major cost reduction in available endpoints. There are some really good room codec systems with PTZ cameras in the $3K US and below range, and at least one new HD room system that sells for under $1K US. Now you have to ask yourself, is a $1K US system as good as a $15K US system? The answer is clearly no, but it’s not fifteen times worse either. Organizations have to do their homework just as in the past, first understanding their actual business and ROI needs, then selecting a broad array of interoperable tools and systems to achieve ubiquitous and pervasive video – what I call selecting “The Right Blend.” This year’s InfoComm conference will have a number of price disruptive systems and applications on display.

IMCCA member firms to see displaying this technology:

Cisco – In booth 2743, Cisco will be discussing its new commercial offers for small, medium and large multiparty conferencing deployments which can provide simplified user-based pricing. It will also be demonstrating its new DX-650 Android based Desktop Collaboration Experience.
LifeSize (a division of Logitech) – In booth 2173, LifeSize will be showing its Icon Series, which blurs the lines between endpoint and infrastructure, delivering the performance of a full featured room system at a value price. It’s tightly integrated with the company's UVC virtualized platform – allowing for multiple applications, including streaming, recording, firewall traversal, multiparty video calling and endpoint management.
Polycom – In booth 1759, Polycom will be showing its RealPresence mobile, Desktop and Group series of endpoints and applications. This will include its new Group 300 system, which has many of the distinctive Polycom features (such as SmartPairing, virtual whiteboarding and compatibility with their dual “eagle-eye” cameras) for a list price of about $3K.
Radvision, an Avaya company - Will be in booth 1859 showing ots Scopia XT5000 room system, which features dual 1080p/60, H.264 High Profile and SVC, and now also offers an embedded four or nine-port MCU and SIP integration with Avaya IP Office. An affordable, all-in-one, room-based system, the XT5000 also offers an optional package for SMEs and workgroups that provides both Scopia Desktop and Scopia Mobile.
TelyLabs – In booth 1692, TelyLabs will be showing the TelyHD, which represents a new category of room-based collaboration system entering the marketplace. Unlike traditional solutions that focus on providing an optimal experience for high profile situations regardless of price, this new category of solutions focuses on providing the most important features at an affordable price - suited for mass deployment. TelyLabs will be showing solutions that fill the gap between expensive, dedicated, high performance group video conferencing systems and the low or no cost, lower performance software solutions – and it will be doing it with an enterprise ready, standards based appliance at an unheard-of sub-$1k price per room.
Vidyo – In Booth 1581, Vidyo will be making the case for its all-software endpoints, showing with their VidyoPanorama how a high-end, immersive telepresence room can be installed at less than $5K per screen.

Calling the death of DSPs, video in the cloud and extreme endpoint cost reductions industry disruptive factors is a significant understatement. These are trends that will permanently change the face of videoconferencing going forward. The 2013 InfoComm conference and the IMCCA Unified Collaborative Conferencing pavilion in particular are the place to be to see all these new systems and technologies. I hope you’ll be able to join us in Orlando to see all the changes first-hand. Here are the links for more information:

To get more information about InfoComm 13 and/or to register, click here: http://www.infocommshow.org/

To get more information about the IMCCA events at InfoComm 2013, click here: http://tinyurl.com/IMCCA-Infocomm13

Feel free to send me a note if you decide to go and want additional information on all the show will have to offer.

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This article was written by David Danto and contains solely his own, personal opinions. David has 35 years of experience providing problem solving leadership and innovation in media and unified communications technologies for various firms in the corporate, broadcasting and academic worlds including AT&T, Bloomberg LP, FNN, Morgan Stanley, NYU, Lehman Brothers and JP Morgan Chase. He now works with Dimension Data as their Principal Consultant for the collaboration, multimedia, video and AV disciplines. He is also the IMCCA’s Director of Emerging Technology. David can be reached at David.Danto@Dimensiondata.com or DDanto@imcca.org and his full bio and other blogs and articles can be seen at Danto.info. Please reach-out to David if you would like to discuss how he can help your organization solve problems or develop a future-proof collaboration strategy.

This column was reprinted with permission from David Danto and IMCCA and originally appeared here: http://www.imcca.org/news/the-changing-face-of-collaboration-disruptions-in-the-world-of-videoconferencing

Knoll Intros the Illusion M, a Tiny 15 Watt Audio Amp

none@none.com (rAVe Staff) — Thu, 09 May 2013 23:42:15 GMT

Knoll has introduced a new, small mono version of its Illusion 1 stereo amp, the Illusion M. This 15-watt RMS mono amp is an interesting solution for schools and commercial applications where high quality sound is required in rooms or hallways. It can be directly powered by 12- to 15-volt VDC or with the included 100-240 VAC power adaptor.

Here are all the specs: http://www.knollsystems.com/illusionm.html

Arsenal Media Dazzles InfoComm Attendees With Boundary-pushing “Fountain of Content”

none@none.com (rAVe Staff) — Thu, 09 May 2013 23:18:37 GMT

For InfoComm 2012, Arsenal Media launched a unique display concept dubbed the “Fountain of Content.” The concept explores the relationship between five types of display technology (LED, LCD, Christie MicroTiles, projection mapping and an iPad), with content streaming from one display technology to another. All five types of technology were connected and integrated into one structure developed by the Arsenal team, and wowed attendees at last year’s InfoComm.

Background

Arsenal Media developed a hybrid structure combining LCDs, LEDs, Christie MicroTiles, projection mapping and iPad technology that was inspired by the architectural elements of transformation, effervescence and marvel.

The project also involved live content creation, and live video jockeying (VJing) and disc jockeying (DJing), an iPad app and an interactive camera that was used to create live visual effects.

The Fountain of Content was developed to explore the relationship between form, content and technology, and also to make a strong statement about Arsenal’s ability to create unique, interactive and experiential destinations. The main objective was to inspire end users as well as integrators, architects, industry consultants and designers on how to use technology in a purely experiential approach.

In addition to its debut at InfoComm 2012, the Fountain of Content was recently showcased at Arsenal’s DSE 2013 booth.

Challenges

The main challenge Arsenal experienced with this project was establishing optimal technical specifications, both from an equipment and structural perspective, to ensure feasibility, efficient cost management and creative flexibility. More specifically, establishing the content flow through the various types of displays, as well as creating the creative guidelines, were major obstacles.

Another challenge Arsenal encountered was from a structural perspective: Designing a concept that was iconic and also integrated the various display technologies in a smart way proved difficult.

Last, from an operational perspective, Arsenal faced the challenge of forming an efficient workflow between the live content creation, iPad control, VJing, music and interactive cameras without creating too much chaos for the operator.

The main objective of the project, over and above Arsenal’s own digital exploration purposes, was to inspire end-users, integrators, architects, industry consultants and designers in how to approach the creation of experiential destinations.

The Fountain of Content installation featured a variety of custom built elements within the structure, including a custom Power PC and a VJ App based on the technology.

Solutions

Though Arsenal faced several obstacles with this project, the company was able to overcome them by:

Dedicating an in-house team to lab exploration for a period of five weeks to develop the concept;
Designing a signal flow matrix based on form, function and the technical specifications of each display type. Arsenal also designed a custom Power PC to playback the high-resolution content and manage the on-site, real-time interactive process;
Using the signal flow to create an architectural shape that could be seen from a distance, leveraging verticality to showcase the notion of content continuity and positioning the displays to symbolize the notion of uniqueness of form in the structural concept;
Integrating a work station within the installation and establishing direct content feeds to better coordinate/monitor the content creation and playback process; and
Assigning the iPad to one specific role: It was used as a content viewer and interactive VJing tool accessible to booth visitors.

Results

Arsenal Media welcomed the results of its hard work on the Fountain of Content at InfoComm 2012. The company’s booth and display structure generated much buzz at the show, and were consistently surrounded by a fascinated audience.

In addition, Arsenal’s booth produced about 70 percent more leads than it had at the last trade show where it had exhibited. Last, the Fountain of Content enriched InfoComm attendees’ brand perception of Arsenal, as observed by an on-site survey.

Nielsen Says U.S. Now Has 115.6 Million TV Homes

none@none.com (rAVe Staff) — Thu, 09 May 2013 21:57:09 GMT

The universe of U.S. television homes is growing -- and so is the TV audience. According to Nielsen’s 2014 Advance National TV Household Universe Estimate (UE), there are 115.6 million TV homes in the U.S., up 1.2 percent from the 2012-2013 estimate of 114.2 million. Nielsen estimates that 294 million persons age 2 and older live in these TV homes, an increase of 1.6 percent from last year.

Nielsen uses U.S. Census Bureau data and auxiliary sources such as state governments and the U.S. postal service to arrive at Advance TV UEs in early May before the television industry’s upfronts. It then distributes final UEs before the start of each TV season.

The 2014 National UEs reflect 1) real changes in population since last year; 2) updated TV penetration levels, differentially calculated for qualifying market break and age/sex demographic categories; and 3) the expansion of Nielsen’s current definition of a TV home to include homes that receive TV via broadband connection only.

“This year, the Advance National TV UEs are as we expected,” said Neilsen's SVP of Insights and Analysis Pat McDonough. “Though we see slight shifts reflecting trends in population changes, the Advance UEs are largely stable and television viewing remains very strong. The expansion of the definition of a TV household, which we announced in February 2013, will include viewing from additional sites in current homes and new homes for the September TV season. In collaboration with clients, we continue to expand the reach of television audience measurement—how and where consumers choose to view content."

Extron Releases TouchLink Interface for iPad

none@none.com (rAVe Staff) — Thu, 09 May 2013 21:51:17 GMT

Extron has put the TouchLink interface in the Apple App store for the iPad. TouchLink for iPad provides users with an additional point of control for rooms equipped with any TouchLink touchpanel. The app is compatible with projects created using Global Configurator 3.5, which is also available now. With this app, presenters can wirelessly control their AV system using a Wi-Fi network, allowing them the freedom to move around the room, or even between rooms. Each button press is tracked in real time between the app and the touchpanel, so that both stay in sync. TouchLink for iPad requires no additional GUI configuration, as it emulates the interface of the existing touchpanel. TouchLink for iPad is available for download now on the App Store.

TouchLink for iPad is compatible with all current versions of the iPad, including the iPad mini. Extron says it has addressed theft in high traffic environments by offering the Extron TLM 100T, a secure mounting enclosure that can secure most iPads to a tabletop, wall or other flat surface.

Here's details on the TouchLink iPad app: http://www.extron.com/company/article.aspx?id=mltlipad

Here are details on the secure mount for the iPad: http://www.extron.com/product/product.aspx?id=tlm100t&s=5

Crestron Replaces TPS-6X with TST-600 Wireless Touch Panel; But is an iPad Mini Good Enough?

none@none.com (rAVe Staff) — Thu, 09 May 2013 21:45:27 GMT

Yesterday Crestron intro'd the TST-600 wireless touch screen (replacing the TPS-6X touch screen) -- a 5.7" capacitive touch screen with dual-mode RF/Wi-Fi wireless, integrated Rava SIP Intercom and a lithium ion battery. It's capable of streaming H.264 video. Apparently, the TST-600 is compatible with older TPS docking stations, wireless gateways and other accessories.

In addition to the touch screen, the TST-600 features illuminated pushbuttons for programming macros like volume adjustment, channel selection and on-screen menu navigation functions. Eight additional pushbuttons located along the edges of the screen support additional programmable functions for virtually infinite custom possibilities. The integration of Rava SIP Intercom technology allows the touch panel to do hands-free full-duplex VoIP communication between any two Rava-enabled Crestron touch screens and third-party door stations.

Many reading this would just say, "Hey, why not just use an iPan Mini?" Well, having the side illuminated pushbuttons are key, in our opinion, to differentiate this panel from just using a Samsung or Apple tablet. Price-wise, the tablets are significantly cheaper. But, they don't offer the pushbutton macro-functionality. So, this sort of touch panel is definitely still viable in the AV market.

Full specs and details here: http://www.crestron.com/resources/product_and_programming_resources/catalogs_and_brochures/online_catalog/default.asp?jump=1&model=TST-600

Open Up!

joelrollins@mac.com (Joel Rollins) — Wed, 08 May 2013 22:14:41 GMT

The world of commercial audio visual, the world of shows and installations, is a world that is increasingly multilingual. But it's not just the languages that we people speak -- it's happening in our inventory as well.

Think about this: Only twenty years ago, virtually all AV equipment was controlled through switches or relay closures, if it was remotely controllable at all. Over the last two decades, we progressed from relays to serial and then to network control. But it has largely remained a world of different, proprietary control software, even when the connectors and transport systems began to merge.

Whether you are in the sales or the rental and staging end of our industry, it is likely that a big part of your job is to create working systems from components from many manufacturers. These devices use different types of control ports, and different software protocols and systems. Often, these are components that were not designed to work together, so the integration is our job.

In the integration portion of the industry, we use hardware control systems with many types of ports, combined with custom software, to make these devices work together in a coordinated system.

The principal difference between creating these systems for installation, and creating them for rental, is the speed with which it has to be done. Often, complex systems have to be created, and run, onsite. That speed says that it will usually be impractical to create truly "custom" control code, especially when the system may be (probably will be) used only once in any specific configuration.

So how do we accomplish control of these systems in a show situation? Lets break it loosely into three types of control:

Uncontrolled (or “Directly Controlled by Dedicated Human Being”): I was raised in the business this way. Every station, and nearly every complex device, had a human operator in a headset, waiting for cues. In a way, it's the earliest form of voice control.

Split control by discipline: As show control became more common, we began to work our way into “Control by Department.” Lighting went first, largely due to an accepted, open control protocol called DMX, which brought together equipment from multiple manufacturers into a single control “universe” (no pun intended, lighting folks). Audio followed suit with a variety of control systems, both open and proprietary, and video came along with serial and network control of a number of varieties, leaving three distinct points of control, organized by department, for many shows -- with the common bus between them once again being ClearCom.

Unified control: As soon as it was possible to control most equipment remotely, a number of different control systems manufacturers came to market with show control systems that worked a lot like Integration systems -- a software/hardware platform that combined disparate control ports and standards into something cohesive. There are, and have been, any number of these systems on the market. My personal favorites have always been Dataton’s, beginning with its Mac-based, timeline-oriented system called Traxx, but there have been similar systems from a number of manufacturers. However, like their counterparts in integration, they take a lot of time to learn, and operators are always having to add and develop driver software and adapter hardware for new systems. But they have been the standards whereby we controlled large shows that required a high degree of precision and repeatability. So they have traditionally been used for high-dollar shows that required that set of characteristics.

Now, however, we enter a world of increasing labor and equipment costs in the rental portion of the industry. As it becomes more and more difficult to maintain profitability, largely because of the cost of personnel, a simpler and more open standard of control could lower our costs of producing and staging shows.

Short of a true show control system, we are left with very few choices for remote control of gear and the resulting reduction in crew labor. Mostly, that choice revolves around manufacturers’ dedicated control programs that ship with the gear. And, as most of you know, these are of varying quality and level of control.

Personally, when it comes to low-end control, I like working with devices that generate a webpage internally. While this does not often give me combined control with other devices, I can at least stack my devices in browser tabs and page between them as necessary. Provided, of course, that these devices don’t specify differing browsers, or differing plug-ins. Other varying types of network and serial control programs can be made to work, but may be more effort than a small show is worth.

So let me give the manufacturers some ideas on improving their dedicated control programming.

First, stop specifying a particular browser, and in particular stop specifying Internet Explorer. It’s a declining browser even on the Windows platform, and open standards have become the norm. I should be able to control your device with Safari, Firefox, etc.

Then, Web-based software should also be platform agnostic. And so should your dedicated control programs. The rental industry in audiovisual uses a lot of different platforms, among them, the Mac. Many of you claim to accommodate the Macintosh by requiring the use of Windows under Parallels or Fusion. If I wanted to run Windows, I would not have invested in the Mac in the first place. And I do assure you that for me and for many of my colleagues the availability of native Macintosh-based software over Windows software does indeed make a difference in the device we will choose. Emulation is a lot like artificial respiration. It will do in a pinch, but I’d much rather have the real thing.

Then, take a look at your control interface. If it is nothing but a replication of the unit’s hardware remote control, it is insufficient. If I wanted to use a remote, I wouldn’t have bothered to bring a computer. Manipulation of your GUI via a graphical interface just doesn’t cut it.

Plus, those of you who don’t document your APIs -- many of us can do simple macro-based programming, and if I need to add just a single command could do it if I’d had documentation on what that command is.

What is needed in this arena? A common, simple, open standard for network-based software for device control. But it looks like will be a long time coming with that one. In the meantime, control manufacturers should look at their offerings and consider offering a stripped-down, configurable rather than programmable interface. Something I could use to control two or three devices during a show from one control position, without having to do dedicated programming.

Any takers?

rAVe Rental [and Staging] contributor Joel R. Rollins, CTS, is general manager of Everett Hall Associates, Inc. and is well known throughout the professional AV industry for his contributions to industry training and his extensive background in AV rental, staging and installation. Joel can be reached at joelrollins@mac.com

CEDIA Releases Telepresence White Paper

none@none.com (rAVe Staff) — Wed, 08 May 2013 21:48:28 GMT

Technology and demand for telepresence are increasing within the residential space. 3.1 million people consider home their primary place of work. CEDIA is keeping members on the forefront of this opportunity by offering a new white paper to guide home technology professionals in the installation of these high performance systems.

As technologies have evolved, video communications have moved from a static, blurry, delayed video conferencing system to a form that is more advanced. The advanced form is often called “telepresence video conferencing” and refers to the highest levels of video communications that employ improved reliability of both sight and sound, creating the illusion of being physically present. Telepresence is not easy to achieve. It requires expert implementation of the human sensory qualities of audio, video and environment.

“Video conferencing systems, from class rooms to board rooms, have long been a staple for commercial technology integrators. The demand for high performance video conferencing systems is now reaching into the residential market. This is where CEDIA professionals can step in to greatly improve collaboration and productivity for their clients,” said Rich Green, CEDIA technology council chair and president of Rich Green Design. “The CEDIA white paper on residential telepresence will introduce home technology professionals to new technologies in this developing market and help them get started with the design and installation of telepresence systems in their client’s homes.”

The white paper, Telepresence Opportunities for Home Technology Professionals, discusses room layout, data sharing, acoustics and other essential elements that are needed to create a high performance residential environment. CEDIA members may access their complimentary copy through the CEDIA Marketplace; non-members may purchase a copy for $9.99 in the CEDIA Marketplace here: http://www.cedia.net/marketplace/

rAVe Founder Gary Kayye to Speak at UBTech

none@none.com (rAVe Staff) — Wed, 08 May 2013 21:25:29 GMT

If you're headed to the UBTech 2013 Conference in June (10-12 in Orlando), you should definately add Gary Kayye's The Future of AV in the Classroom to your workshop schedule. UB Tech is a national summit on Higher Education Technology and Leadership and is higher education's most focused, high-level conversation about technology's impact on every aspect of campus leadership and practice. There are over 80 educational sessions that cover topics like:

Campus Network and Infrastructure
Facilities Planning and Design
Teaching and Learning Technologies
Marketing Your Institution
Financial Services

Gary was asked by UBTech to specifically address what the classroom will look like in five years from today in his session The Future of AV in the Classroom. It's being held Wed., June 12, 2013 - 9:50 a.m. to 10:30 a.m. Gary will not only talk about what the classroom will look like, he'll also demo new technologies that will make classrooms easier to design and manage as well as easier to teach in.

Details on the session are here: http://ubtechconference.com/session/future-av-classroom

Because Gary is a speaker, our readers are being given a 50 percent off registration fee pass (but, there are a limited number of them). Go to: http://ubtechconference.com/ and click on the orange REGISTER NOW button and use code rave2013 to get the discount.

Digital Projection Launches Home Cinema Trade Up Program

none@none.com (rAVe Staff) — Wed, 08 May 2013 20:59:22 GMT

Digital Projection is offering $500, $750 and $1,000 credits towards trading in an old projector (and in many cases, it doesn't matter if it's an old DPI projector or any third-party brand) and buying a new one.

This program is in effect from May 1, 2013 through June 30, 2013 and you can sign up to get details here: http://www.digitalprojection.com/RequestInformation/tabid/95/Default.aspx

Chief, Da-Lite and Epson Partner for Pre-Configured System

none@none.com (rAVe Staff) — Wed, 08 May 2013 01:41:11 GMT

Chief is now shipping the Chief Integrated Interactive System, an all-in-one design that brings together Chief mounts and Da-Lite screen technology to create a unified solution for the Epson BrightLink Pro 1410Wi (short-throw projector).

The system includes a custom Chief mount, Da-Lite Interactive Dry Erase Application Screen technology (IDEA), a dedicated housing for the interactive control pad and equipment and a marker tray. Since the mount is designed for the Epson projector, registration and service is fast and easy. The IDEA screen serves as a dual-purpose superior image quality projection screen and writeable marker board surface. The screen offers a gain of 2.5 and a 25 degree viewing half angle. The screen also is certified by the GREENGUARD Environmental Institute as a low emitting product.

The Chief Interactive System offers a complete, polished aesthetic for today’s boardroom. The platform comes in silver (AN1BA1), cherry (AN1BW2) or teak (AN1BW1) finish to fit any corporate environment. It uses four anchor points to float the board one inch off the wall to leave room for routing cables. A valence hides the projector from view to complete the clean installation.

An optional shelf accessory (AN1CA1) can be used to make the system camera-ready for teleconferencing purposes.

Chief is here: http://www.chiefmfg.com

Da-Lite is here: http://www.da-lite.com

Epson's projector is here: http://www.epson.com/cgi-bin/Store/jsp/Landing/brightlink-pro-interactive-projectors.do?ref=van_brightlink-pro

SANUS Readies iPad Mounts to Ship

none@none.com (rAVe Staff) — Wed, 08 May 2013 01:15:48 GMT

SANUS' new line of iPad Mounts and iPad mini Mounts will be shipping in the next two weeks. With SANUS iPad Mounts, you can take your tablet from your hand to your desk, the wall, under a cabinet or to any magnetic surface.

Other features of the mounts include:

MagFit Case keeps the iPad safe, clean and protected; easily removes and attaches to mount and stand options
Allows for easy iPad viewing at eye level and easily adjusts to deflect glare
Add additional mounts and stands for a complete home/school/office solution
Included MagFit case works with Apple SmartCover

Here are the details: http://www.sanus.com/us/en/products/visionmount/ipad-mount/

Samsung Offers Buy 10 and Get One Free SAMCAM 760

none@none.com (rAVe Staff) — Wed, 08 May 2013 01:01:02 GMT

Samsung Techwin America’s Electronic Imaging Division is offering the SAMCAM 760 with a ‘Buy 10 and Get 1 Free’ promotion until June 30th, 2013. All schools and districts are eligible, with a maximum of 25 free units allowed per school and/or district. Place your order with your preferred Samsung reseller and the free unit(s) will ship at the same time of your purchase order. Contact Samsung Techwin directly for additional program details.

The SDP-760 provides full HD (1080P) resolution at true 30 fps output. Equipped with Samsung’s proprietary dual noise reduction technology, plus a 16x digital zoom lens, the SDP-760 provides crystal-clear, noise-free results even in low-light environments. However, a built-in single LED lamp is available when additional lighting is desired. The SDP-760 also includes image freeze, an image mask mode and auto tracking white balance... all on an easy-to-use control wheel.

The weighted base is constructed of high quality materials to stand up to day-to-day use in the classroom environment. The extra weight allows easy positioning of the camera head with one hand. A Kensington port and threaded socket provide additional means to secure the unit.

The $499 Samsung SDP-760 is here: http://www.samsungpresenterusa.com

Control4 Intros New Wireless Lighting Control

none@none.com (rAVe Staff) — Wed, 08 May 2013 00:57:48 GMT

Control4 launched a new line of wireless lighting control products today that are controllable from the Control4 MyHome app on a mobile device. Control4 integrates lighting control with other automation functions to create "scenes" which enhance convenience and safety for customers. Some of the more popular uses include: a "Home" scene that creates a lighting path from the entry to the kitchen and disarms the security system; an "Entertainment" scene that dims all the lights and cues the AV system; an "Away" scene that lowers the shades, places the AC into energy savings mode, shuts off all but a few select lights and activates the security system.

The new Control4 Wireless Lighting product family includes products aimed at both residential and commercial installations - both for retrofit and new construction projects (100-277 volts). The new Control4 Wireless Lighting family includes:

Control4 Wireless Adaptive Phase Dimmer, which is compatible with a broad range of dimmable load types including most LEDs, incandescents, halogens, electronic low voltage (solid state) transformers, magnetic (iron core) low voltage transformers, fluorescents and compact fluorescents. It lists for $180.
Control4 Wireless Configurable Keypad can be configured with two to seven custom-engraved, LED backlit buttons, using four different button sizes, for a total of 37 possible configurations. It lists for $200.
Control4 Wireless Keypad Dimmer that lists for $250.
Control4 Wireless Fan Speed Controller with four fan speed buttons and an off button. The Wireless Fan Speed Controller also enables fan speed to be incorporated into Control4 systems for climate control and other automated events. List $190.
Control4 Wireless 0-10V Dimmer, which is an in-wall control of four-wire 0-10V dimmable fluorescent ballasts and LEDs. It lists for $190.
Control4 Wireless Forward Phase Dimmer for dimming forward phase compatible loads, including incandescents, line-voltage halogens and magnetic transformers. Particularly well-suited to dimming high-wattage loads such as chandeliers and large banks of recessed lights, the Forward Phase Dimmer is also compatible with forward phase dimmable LEDs, CFLs, and fluorescents. It lists for $140.
Control4 Wireless Switch provides on/off control for virtually every type of load, including LED lights, incandescents, halogens, electronic low voltage (solid state) transformers, magnetic (iron core) low voltage transformers, fluorescents, compact fluorescents, and motors, including ceiling fans and bathroom ventilation fans. It lists for $140.
Control4 Auxiliary Keypad offers three-way control and lists for $40.

The new Control4 Wireless Lighting products are compatible and easily integrated with the new Control4 Panelized Lighting products and you can see them all here: http://www.control4.com

Audica Professional Launches MULTIzone Audio System

none@none.com (rAVe Staff) — Tue, 07 May 2013 22:03:07 GMT

Audica Professional has announced it is expanding its MICROseries audio system capabilities with the launch of the MULTIzone. Aimed at retail, bars and restaurants, as well as hotels, museums and other public spaces requiring independent zone input and output control, the MULTIzone is a four-zone control mixer with six music inputs, plus a microphone input for paging. Each of the four outputs can be independently configured to provide music from any one of the inputs plus the paging microphone and the relative levels are set by front panel controls. The music is automatically ducked to allow for announcements to be heard clearly. Up to seven MULTIzone units can be linked for systems of up to 28 zones.

Zone outputs are individually switchable for flat response or Audica loudspeaker EQ, allowing for systems using Audica or any other brand of loudspeaker. A mute control input is provided for connection to fire control systems. This mutes all music inputs while keeping the paging microphone active for safety announcements. Remote zone control is possible via optional in-room wired wall control panels or via an RS232 interface. The RS-232 interface allows control of all basic functions of the unit.

The MULTIzone can be used freestanding, or mounted in its included 19-inch rack-mount panel. Balanced and unbalanced outputs are provided for the MULTIzone to partner with Audica’s four-channel MICROplus power amplifier, or any other unit.

Go here to see all the specs: http://www.audicapro.co.uk

Extron Releases GlobalViewer Enterprise 2.0

none@none.com (rAVe Staff) — Tue, 07 May 2013 00:05:11 GMT

Extron's GlobalViewer Enterprise 2.0 is a server-based software takes enterprise-wide scheduling, monitoring and help-desk functionality for both AV and IT gear. Microsoft .NET technology allows GlobalViewer Enterprise to integrate with third-party facility scheduling software for viewing room availability and managing meeting schedules. Working in conjunction with GVE, Extron's mobile AV resource management app, iGVE has been updated with several new features as well. This latest version of iGVE is available for download on the Apple App Store.

In addition to the features found in the current version of GlobalViewer Enterprise, version 2.0 offers many enhancements, including the ability to import up to five configurations at once; at-a-glance import status with progress bars and new icons; mouse-over tool tips for system menu, enhanced Event Alert List that is always visible or accessible in Help Desk and Monitor views; and added drag and drop functionality for rooms within Tree Manager. Also, with the addition of Google Chrome, this latest vesion of GlobalViewer Enterprise now supports all four of the most popular browsers.

All the details are here: http://www.extron.com

March Projector Sales - Top 5 in Each Category

none@none.com (rAVe Staff) — Mon, 06 May 2013 23:24:32 GMT

PMA Research has posted its recent Projector Tracking Service results to the “Top Selling Projectors” area of its website.

For more than 15 years now, PMA Research has collected monthly sell-through data from leading North American projector dealers, retailers, web resellers and distributors. Its Tracking Service family of monthly reports offers timely sell-through data and analysis on unit sales, true volume-weighted street prices, and inventories of front projectors for these channels.

Each month, PMA Research posts the Top 5 Projector Lists for the following product categories:

Pico and Personal (sub-1000 lumens) Projectors -- For Pico and Personal projectors, the March results showed that 3 of the Top 5 selling models, by unit volume, were WXGA resolution projectors. Taking the number one, three and five spots, respectively, were the Optoma ML-500, the Vivitek Qumi Q2 and the 3M MP410. Rounding out the Top 5 were the 480p resolution Optoma PK-320 and the nHD resolution Optoma PK-120 in the number two and number four spots. This Top 5 list is compiled from data collected from PMA’s monthly Retail Projector Tracking Service sample, which is made up of North American retailers and web resellers.

Mainstream (1000 to 3999 lumens) Projectors -- For the Mainstream category, the March results showed InFocus taking top honors with their SVGA resolution IN112. The remaining “Top 5” models were all XGA resolution projectors, with the number two through number five best selling projectors being the Epson PowerLite 93+, the NEC NP-VE281X, the InFocus IN114 and the Epson PowerLite X12, respectively. This Top 5 list is compiled from data collected from PMA’s monthly Distributor Projector Tracking Service sample, which is made up of North American distributors.

High-End (4000+ lumens) Projectors -- The March 2013 results showed that four of the best selling high-end models were WXGA resolution. The Top 5 models in March were the WXGA Hitachi CP-WX4021N and WXGA Epson PowerLite 1945W in the number one and two spots, respectively. Mitsubishi took the third and forth spots with their XGA XD700 and the WXGA WD720. NEC rounded out the Top 5 with the WXGA NP-PA550W. This Top 5 list is compiled from data collected from PMA’s monthly ProAV Projector Tracking Service sample, which is made up of North American dealers and integrators.

Here's their website: http://www.pmaresearch.com

Click here to see our infographic based on this report data: http://bit.ly/10CmrYF

New Home Automation Company to Rely 100 Percent on Android OS

none@none.com (rAVe Staff) — Mon, 06 May 2013 19:49:51 GMT

A new company home automation company called Automated Control Technology Partners, Inc. (ACTP) will officially launch at InfoComm. Its home automation brand, TiO (Turn it On) is an entirely new approach to home automation, one driven by what they call an “outside in” philosophy that focuses on the customer experience. TiO home automation solutions will provide be marketed through integrators with a home automation solution that's Android-based.

“TiO is driven by our vision to provide homeowners with an experience that seamlessly captures their mood and provides them with comfort and peace of mind,” said Mike Anderson, president and CEO of ACTP. “TiO is unlike any other home automation system because it truly allows the customer to control how the system interacts with their daily life. We’ve designed the TiO system to be simple and intuitive enough for the consumer to perfectly match their moods and create satisfying and powerful experiences in their home. We want to deliver a solution that adapts to the customer instead of asking the customer to adapt to the system.”

TiO’s “outside in” philosophy will drive the company’s team of experts to effectively bring to market home automation solutions that perfectly and effortlessly match the mood of a homeowner and offer relaxing and comforting experiences in the home.

Among those in charge of bringing those solutions to life is an impressive collection of product development, engineering, sales, and marketing experts, including: Mike Anderson, president and CEO (formerly of JVC, Niles Audio and Russound); Matt Curtin, vice president of sales and marketing (formerly of Tweeter and Russound); Bert Culpepper, director of software development (formerly of Scientific Research and Mitsubishi); Kyler Anderson, director of operations (formerly of integration company Envirotech Integration Systems and Best Buy); David Fonseca, creative marketing director; and others.

TiO systems will run on Android-enabled devices. The company says it promises to be one of the easiest home automation systems to set up, with each system configured by an integrator via an Android tablet.

TiO will unveil its initial product offering in June 2013 and will demonstrate product for the first time at InfoComm 2013, June 12-14 in Orlando. The product is expected to ship by July 1.

For more information on TiO and to sign up to be among the first to receive information on the upcoming product launch, visithttp://www.tiohome.com

RF Analysis Right at Your Finger Tips -- An AV Toolbox Gotta-Have

none@none.com (rAVe Staff) — Sat, 04 May 2013 03:23:00 GMT

Imagine having the power of RF analysis right at your fingertips. Well, we've found a handheld touch tablet RF Analyzer from Kaltman Creations called the RF-Vue that offers just that. The RF-Vue is offered in several versions, but the flagship model is the RF-Vue T10, a handheld unit integrated into a 10-inch Windows 8 touch tablet. The RF-Vue T10 covers the standard wireless microphone and IEM frequency range of 470MHz to 700MHz. Additional models are available that offer greater frequency ranges, plus there are standalone RF electronics/software modules for use with user-supplied computers or tablets.

The analyzer has full finger navigation functions so the user can pinch, expand-zoom, and slide through the RF spectrum with ease. As a true handheld RF spectrum analyzer, the user can enter any frequency sweep range (within the range of the analyzer), and view the RF spectrum looking for open RF space for channel selections, interference avoidance or interference troubleshooting, all in real-time. The unit features current, average and peak spectral traces, Touch-to-Listen (listenin to all RF space); a RF Congestion Scale to gauge the severity of local RF, customizable screen markers and insta-save custom profiles. As an added option, the recently released Invisible Waves RF intermodPRO also integrates right into the RFVueT for simultaneous intermodulation calculations based off of the real-time spectral display.

The analyzers are sold in several different affordable packages. The RF-Vue T10 is integrated into a 10-inch Touch Tablet with Windows 8, and lists for $1,750 and the RF-Vue T10X is an extended frequency version that covers 40MHz up to 2.5GHz and therefore covers all VHF and UHF microphones, IEM’s, assisted listening and remote control equipment, including the 900MHz, 1.9GHz and 2.4GHz bands. It lists for $1,995. Other versions include the RF-Vue NT, which is an electronics/software only version for USB connection to the user’s own tablet or laptop computer, with pricing starting at $1,095, and the RF-Vue NTX, which covers 40MHz to 2.5GHz covering VHF, UHF, cellular, Wi-Fi, etc., with a list of $1,350.

Here are all the specs: http://www.kaltmancreationsllc.com/

Who’s Helping the Schools?

stiner08@gmail.com (Scott Tiner) — Fri, 03 May 2013 22:01:40 GMT

In 2002, under the direction of then-Governor Angus King (now a U.S. Senator), the state of Maine started a 1:1 laptop initiative with its middle school students. In a nutshell, the MLTI (Maine Learning Technology Initiative) program funded the cost of laptops for all middle school students. An RFP was created and the winning bidder was Apple. For the past ten years Apple laptops have been in 100 percent of middle schools in the state of Maine. Three years ago, this program was expanded to include high schools in the state who chose to be part of the program and pay for the lease of the laptops. Needless to say, Maine’s public school are heavily invested in Apple computing.

Recently, the contract with Apple expired and a new RFP was issued. Our new governor, Paul LePage, and his administration made the choice of an HP ProBook 4440 as the preferred device. Governor LePage indicated this was his choice based on the fact that this was the lowest price solution and the equipment most students will see in the future workplace.

Educators around the state are rallying against this decision. They claim that this choice will require drastic new training of the teachers and the students, and cost more money in the long run. For example, all the IT departments, who have configured their networks (think print servers, etc.) to Apple computers, and have tools for troubleshooting and repairing Macs, now need to change those tools. They argue that the Governor and Department of Education have made a horrible decision that will effect the use of technology in schools.

Now, why am I writing about this in a publication dedicated to the AV Industry? Well, it’s because I think that much of what we see in Maine right now is due to the fact that our technology support in schools is understaffed, and the staff that does exist is intended to only be technicians and help desk support. Often, these staff are former school librarians or teachers.

I believe that these technical support people make decisions not based solely on the best interest of the users (students or teachers). I believe they are made to keep the machines running at an expected level, with an absolute minimum amount of work from the school technology people – i.e., the greatest good for the greatest number. This is why we see laptops with software that “locks” them down, or teachers being required to give back a laptop over the summer. That is not a slap at those people; it is simply because they are enormously under-staffed. Our local school district has about 1,400 students and about 300 employees. They have four technology support personnel (including the director) to take care of all needs across the district. That is about a 1:400 person support model.

What is drastically lacking in K-12 schools is long-range planning, opportunity to stay up to date with technologies, acceptance of experimentation and lack of monetary support for training of the technical support staff. What does all of this have to do with the MLTI project that I started this article writing about? It is my belief that it should not matter what type of device you give to students and faculty. It could be a Surface Tablet, iPad, MacBook Air or a HP laptop, the schools need to be in a place to easily adjust to these changes. Two years ago they needed to be in a place where they understood that this could happen. Even if the governor had stayed with an Apple product, but gone with the iPad, just as many changes would need to take place. Frankly, the schools got caught flat-footed.

If I were a consultant today, my mouth would be watering. There is such a huge market in the K-12 education sector for solid, thoughtful consultation. You could be the person who helps schools develop strategic technology plans for the future, with a real understanding that future. You could be the people who attend InfoComm, and then make a visit to the schools to share with them what you have seen. You could invite them to your shop to show them experiments with technology that you are working on. You could be the person who points them to information sources (like rAVe ED). In Maine today, you would be a hero if the school you had consulted with was ready to make the switch to HP easily.

What about money? Is there any money in consulting with K-12 schools, particularly in a small district in Maine? There can be, but you need to be smart and inclusive. The smart part is not walking into a central office and trying to sell the superintendent of schools. That is only going to make the technology people your enemy. How about you take the technology people out to a lunch and tell them what you can offer? At public school salaries, free lunch is a real treat. You also have to be smart with costs. Give a reasonable offer of service for a reasonable price. That means you cannot sell a school district with 1,400 students a technology plan for $10,000. They won't buy it!

Inclusive means you need to cover the entire range of technology -- from servers, to video, to web, to A/V to networking to security. Show them you are a full service option. You could make money by having creative contracts. For example, many school systems are still paying decent money for licenses to Microsoft or Apple for their word processing applications. Why? How about you develop a plan of support for them to move to Google Docs? Your fee, the cost of what they would have spent on licensing that software for two years. Likewise, MANY schools still use local email servers and calendaring apps. Again, switch them over to our friend Google and your fee is simply the money they save over the next two years on servers, software, etc.

I have various experiences in K-12 education over the years, from working in high school, to family members as educators to currently sitting on my local school board. There is no doubt in my mind that this area has ENORMOUS potential. It also has the potential to allow your business to do well, while doing good.

Have you had experiences in K-12 consulting that have been positive? Do you think this is an area of growth, or simply a black hole of support time? Let me know; I look forward to hearing from you.

Scott is very active in the field, having presented at both regional and national conferences. In 2011, he was appointed as chair of the Technology Managers Council of InfoComm. Scott can be contacted via LinkedIn, on Twitter at http://www.twitter.com/stiner or via email at stiner08@gmail.com

Furniture For AV Pros: Part 2

lee_distad@shaw.ca (Lee Distad) — Fri, 03 May 2013 21:45:16 GMT

Last week I tried to make the case that AV dealers in search of both margin and market share need to embrace entertainment furniture as more than just an afterthought to audio and video. Rather, it has to be treated as an equally important category, and detailed some trends in styling and design that are worth being aware of.

Beyond styling, as an AV dealer, you’ve got equipment-centric considerations for any furniture line you offer. For one thing, storage is a major consideration, something that AV dealers are better positioned to understand than furniture stores. Remember the armoires for CRT TVs fifteen years ago whose designers didn’t grasp the depth those TVs needed? An AV pro will already be paying attention to those things. These days you’ll have other priorities, such as engineering for flow-through ventilation and cable management.

Many people’s media consumption takes place in multi-use rooms like living and family rooms. Alas, many designers see the TV as the elephant in the room and don’t consider storage for media, remote controls or even cord management. Hence the importance of a mix of storage options based on buying a system and then mixing and matching configurations to suit, allowing things that are deemed unsightly to be hidden, and contrast with showcase features like glass cabinets or open shelves where décor items can be displayed.

Another aspect of entertainment furniture to consider is built-in lighting: both as accent lighting for display areas and as general indirect room lighting. Good lighting strikes a balance between what to conceal and what to reveal. Additionally, lighting is a topic that can get design-conscious clients and their personal interior designers on board with new furniture very quickly.

AV dealers need to counsel their clients with regard to furniture choices just as wisely as they do with equipment considerations. The two most important things when buying furniture are to plan and to measure. Most AV furniture vendors have online or app-based planning tools that are great for designing and customizing furniture selections depending on the client’s space and the equipment.

Once you’ve committed to broadening your furniture horizons, bear in mind the need for good logistics and project management. Back room and warehouse space is typically at a premium, and with the exception of ready-to-assemble furniture that’s flat-packed, entertainment furniture, especially seating, can be massive. Having to store seating for twelve for several weeks until delivery during the final installation of a major integration project isn’t an ideal choice.

Fortunately AV pros understand the need for just-in-time shipping, and using project management to order the client’s furniture from the vendor with an appropriate amount of lead time. Proper liaison with your vendor to meet delivery deadlines and minimize the hassle of having to warehouse lots of furniture in your own space is just good management.

Lee Distad is a rAVe columnist and freelance writer covering topics from CE to global business and finance in both print and online. Reach him at lee@ravepubs.com

rAVe Founder to Lead Webinar on Impact of IT on AV, So Far

none@none.com (rAVe Staff) — Fri, 03 May 2013 19:33:15 GMT

ihiji has selected May as "Own the network" month and to celebrate, the team has launched a series of educational Thought Leaders sessions led by industry/subject matter experts to inspire integrators to think outside of the box and take advantage of the opportunities that lie in front of them.

Gary Kayye, rAVe founder, headlines the first session, which is scheduled for Wed., May 8th at 11 a.m. CDT. The focus will be on Networked (IP) devices and technologies, cloud services and other high demand technologies and services that integrators can and should capitalize on. The Thought Leaders sessions are free of charge and open to anyone in the industry who is looking to expand their knowledge base and service offering.

Registration for the first Thought Leaders session is now open via the following link:
https://hk128.infusionsoft.com/app/page/thought-leader-gary-kayye?inf_contact_key=7aedfe0fdf0c59a8002182cfa14682a4e1e71c71971dec60ee93547213f514c6

For those who recognize they need to learn more of the basics, ihiji also is offering a Network Essentials 101 course that takes place on Thursday May 16th at 11am CDT. Registration for Networking Essentials 101 is also open, and available via this link: https://hk128.infusionsoft.com/app/page/2013-may-networking-essentials?inf_contact_key=1b5a4e739f652416f1a2b92eea159866085e8cfb3fd3bc8e9b2ac527164c5d10

More information can be obtained by calling ihiji at (512) 832-6939 or by emailing sales@ihiji.com

New Dante Enabled Digital Processors from Xilica Audio Design

none@none.com (rAVe Staff) — Fri, 03 May 2013 19:29:29 GMT

Xilica Audio Design and Audinate have announced the launch of Xilica’s new Dante enabled Neutrino and Uno Series Digital Processor models. Neutrino is an open architecture-drag and drop based DSP while Uno is a hybrid architecture/apps based DSP. Neutrino and Uno digital processors are available in 8x8, 8x16, 16x8 and 16x16 I/O models. Dante enabled models provide an additional 32 channels (16x16) of I/O via Audinate’s award winning Dante network solution. Neutrino and Uno Series Dante enabled models not available in N America.

Dante is built on IT standards, and is a complete media networking solution. Dante delivers a low-latency, tightly-synchronized, sample-accurate playback, while simplifying installation and configuration of A/V networks.

Here are the details: http://www.xilica.com/

Why Is LGE Launching Curved A OLED TV?

none@none.com (Ken Park) — Fri, 03 May 2013 19:25:03 GMT

This week LGE announced that it will beigin taking orders for a curved OLED TV (the 55EA9800), with shipments planned to start in June. The price was set at 15 million Won ($13,550), a 4 million Won premium on the 55” OLED TV (55EM9700) it started selling in January for 11 million Won ($10,330). Even though there is no other competitor in the OLED TV market and LG’s existing OLED production is not yet stable and sales of OLED TVs are still very small, LGE seems to be in a hurry to announce another OLED TV product.

Standard OLED TV is not positioned well in the market, and Ultra HD (4Kx2K) LCD TVs are clearly a competitive threat. With an inventory overhang of old models from last year, launches of new models are somewhat delayed. Since the timing doesn’t look ideal, and since no case has been made for the benefits of a curved TV, the question is why is LGE moving forward with curved OLED TV at this time? It may be a reflection of longer-term strategic concerns at LGE.

First, there are still plenty of rumors about Samsung’s OLED TV. Some assert that Samsung cannot launch its OLED TV this year, while others say that Samsung will adopt white OLED (following LGE’s technology) because RGB OLED suffers from very poor manufacturing yields. Another viewpoint is that as TV market leader, Samsung would take the tactical decision not to launch a copycat OLED TV even if RGB OLED TV was ready to mass produce. Despite this, it is likely that LGE is worried about Samsung’s response in OLED TV and may be trying to occupy any potential territory available to its rival.

Second, production yield is still a headache for LGE. OLED TV shipments have been delayed in Korea, the first market, and other regions are also facing delayed launch and shipments, most notably the U.S. So, rather than increasing volumes, a value increase is better for such scarce quantities. If the shipment target is also June, LGE may be buying itself more time to improve manufacturing processes.

Third, like Sony, LGE is planning to launch 55” and 65” UHD TVs, following the launch at 84”. LGE may find it difficult to differentiate a hugely expensive flat OLED TV from a relatively cheap UHD TV. A curved OLED TV (with a higher price) would clearly be different than a simple LCD UHD TV. No TV has ever been produced in a concave design, as it requires some sort of flexible display.

OLED still faces the challenge of hitting LCD’s fast-moving target. LGE has not given up on thinking of new ways to compete.

This column was reprinted with permission from DisplaySearch and originally appeared here.

Niles Intros In-Wall Soundbar

none@none.com (rAVe Staff) — Fri, 03 May 2013 01:58:25 GMT

Today Niles launched the industry's first in-wall soundbar, called the Cynema Soundfield, that the company says can be perfectly centered under flat-panel displays without the hassle of cutting or drilling wall studs. The Cynema Soundfield system is available in three active models and one passive model in lengths of 48, 55 and 65 inches -- paralleling today's most popular display sizes. The in-wall soundbar consists of left, right and center self-contained speaker modules and includes a preamp/amplifier module for the powered models. Powered models also include a separate low voltage power supply - easily mounted in a stud bay adjacent to a wall outlet or behind the display - to eliminate the need for high-voltage wiring in the wall and the electrician required to do it.

Cynema Soundfield's speaker and amplifier modules easily snap in from the front into rails mounted on the wall's studs, and can be adjusted between the studs as needed to achieve the best soundfield. Installers can configure the mounting positions of each speaker module and the amplifier around existing studs with ease. The speaker and amplifier modules have small foldable L-shaped brackets on each side to enable the installer to temporarily hang the modules on the in-wall mounting system's rails, freeing up both hands and making the speaker and amplifier connection terminals easy to see and connect. Wiring is run through specially designed spaces in the mounting system to eliminate the need to drill holes in the studs. Included spacers can be inserted to cover any empty areas between modules for a clean installation. A low-profile, magnetically attached, and paintable MicroPerf grille makes the entire assembly virtually invisible to end users for a clean look.

Included with the CSF-65A, CSF-55A and CSF-48A amplified models is a three-channel by 30 watt digital preamp/amplifier with Dolby Digital processing. The preamp/amplifier module can be operated via IR for simple integration and auto-senses audio input to function as a seamless extension of the TV's remote control. The amplified Cynema Soundfield systems incorporate versatile design features that enable them to work effortlessly as part of a whole-house distributed audio system and connect wirelessly with Niles subwoofers. The passive CSF-48P does not include an amplifier module, allowing integrators to utilize any form of amplification for added flexibility.

The Cynema Soundfield passive model contains three speaker modules, one in-wall mounting system with grille, and one cutout template for the in-wall mounting system. The three powered models contain one preamp/amplifier module, one in-wall power supply unit with AC power cord, one cutout template for the in-wall power supply box, one Niles SW-T bracket for mounting an optional Niles SW-T wireless subwoofer transmitter, one 3-meter TOSLINK optical cable, one stereo 3.5-millimeter to dual RCA cable, one 1.5-meter DC power cable for the optional wireless transmitter and three speaker wires for the left, center and right speaker modules.

The Cynema Soundfield system is now shipping at a list price of $1,195.95 for the CSF-48P, $1,599.95 for the CSF-48A, $1,749.95 for the CSF-55A and $1,999.95 for the CSF-65A.

Here are the details: http://www.nilesaudio.com/

See Gary Kayye Speak About Support Services and the Future of AV at InfoComm

none@none.com (rAVe Staff) — Fri, 03 May 2013 00:34:13 GMT

rAVe founder Gary Kayye will in Orlando in June as part of the organization Business & Management educational track of InfoComm's trade show. His session, "Support Services - The Future of AV" will be held Thurs., June 13th from 2:30 p.m. to 4:30 p.m.

As quality goes up, prices go down -- that's the nature of the industry. At the same time, year after year, the needs of the user also continue to increase. Are you concerned about lower profit margins in selling products? In the midst of all this change, rest assured that there is a constant: Design, install and control programming will always be in demand. End users need you to provide these continual services. Garu's course will help you to unlock the answers as to how these industry changes will touch you and your business. Leave with concrete answers about how you can revamp your business model to continue thriving.

To register for free for the InfoComm show, use code MCTRA at http://www.infocommshow.org. Gary's session ID is IS075. You will be able to register for classes during registration.

Extron Now Shipping New Compact HDMI Fiber Optic Extender

none@none.com (rAVe Staff) — Fri, 03 May 2013 00:19:57 GMT

Extron is now shipping its HFX 100 HDMI Fiber Optic Extender, a transmitter and receiver set for long distance transmission of HDMI video and embedded audio signals over one fiber optic cable. It extends HDCP-compliant HDMI signals over a multimode fiber at lengths up to 300 meters (984 feet). This compact extender uses all-digital technology to deliver perfect pixel-for-pixel transmission of images up to 1920x1200, including HDTV 1080p/60.

The HFX 100 supports HDMI specification features including data rates up to 6.25 Gbps, 12-bit Deep Color, HD lossless audio formats and CEC. To simplify integration, Extron's HDMI cables are attached to the transmitter and receiver, allowing direct connection with source and destination devices. The HFX 100 transmitter and receiver are housed in compact 1U, one-eighth rack width enclosures.

Here are the details: http://www.extron.com/product/product.aspx?id=hfx100&s=5

InfoComm: InfoComm Teams With SMPTE, AES and ASA on Audio’s Holy Grail: Sound Standards for All Enclosed Spaces

none@none.com (Dan Daley) — Fri, 03 May 2013 00:14:33 GMT

This column was reprinted with permission from InfoComm and originally appeared here.

Until the 1980s, cinemas were an acoustical hodge-podge, with dimensions of varying sizes and speakers arrayed in ways that often blasted sound at those in front and challenged those in the rear to hear. Then, in 1977, came Star Wars, George Lucas' paean to the sci-fi serials of the 1930s and 1940s. Its audio was anything but FDR-radio-address quality.

After putting that much effort into the sound of the first two Star Wars films, Lucas realized he had to raise the playback experience substantially in the cinema environment itself. Thus was born THX, named for its prime developer, Tomlinson Holman, Lucasfilm's resident audio wizard. The "X" stood for crossover, a way of segmenting audio frequency bands into appropriate banks of speakers and amplifiers, such as subwoofers, part of the THX standard that would revolutionize how we experienced film sound.

THX, introduced in 1983 for Return of the Jedi, was seminal: As theaters became better environments in which to listen to film sound, it prompted Hollywood to put more effort into movie soundtracks. Moreover, the concept of an improved listening space also migrated to other environments, creating an entire new industry around home theaters. But among the biggest collateral beneficiaries were spaces intended for live events. Concerts, theatrical productions, and performing arts centers — even churches and shopping malls — benefitted from enhanced awareness of issues such as acoustics, matching between speakers and amplifiers, and other specifications outlined by THX.

And that's largely where things have stood ever since. In the 30 years since THX's standards changed cinema sound, those protocols, which addressed issues such as standing waves created by parallel theater walls and the addition of a center channel for dialog, have remained largely static, even as the technology around them, from ray-tracing measurement technology for highly steerable line array speaker systems, has reached new levels of sophistication and capability. A consortium of technology organizations, led by the Society of Motion Picture and Television Engineers (SMPTE) and supported by InfoComm International, the Audio Engineering Society (AES) and the Acoustical Society of America (ASA), has set out to update the standards we use to create optimal listening environments.

Strengthening the B-Chain

In the beginning, SMPTE's Theater B-Chain Study Group, formed in 2010, focused on cinema environments and centered its work on what's known as the B-chain: the type and positioning of elements such as speakers, amplifiers and processors that comprise the part of a cinema sound system that audiences experience. (The A-Chain is made up of components such as the cinema server, projector, audio router and other similar systems.) The SMPTE study group set out to see how technologies, techniques and products developed over the last three decades could better measure and perform across the B chain to create a better-sounding environment.

The study group's findings were then handed over to a standards group, a technology team dubbed TC-25CSS (Technology Committee 25, Cinema Sound Systems), announced on March 4, 2013 to "update SMPTE standards and recommended practices to address opportunities created by the many technical advances since standards last were created, as well as to improve the quality and consistency of cinema sound," according to a SMPTE statement. The committee, led by Brian Vessa, executive director of digital audio mastering at Sony Pictures Entertainment, has 130 members, representing more than 90 companies and academic institutions from 14 countries.

TC-25CSS, which is the first such committee dedicated solely to cinema sound, aims to standardize techniques and tools for optimizing sound systems and cinema acoustics. Current activities include development of a recommended practice for measurement and calibration of B-chain sound systems using modern standards and measurement technology; creation of a standard pink-noise test signal that works for a digital environment; a final report on data and findings from the Theater B-Chain Study Group; and work by two new study groups examining immersive audio systems and new electroacoustic measurement methods and target curves.

It's a complex undertaking (the cinema sound lexicon now includes immersive formats such as Auro-3D, Dolby's ATMOS, IOSONO and Sonic Tier), but one that promises to extend its benefits well beyond movie houses.

Enter InfoComm

Joe Bocchiaro, CTS-D, CTS-I, InfoComm's Vice President of Standards and Industry Innovations, says that while cinemas and live-performance spaces tended to move along separate development tracks in recent decades, a study that InfoComm conducted three years ago underscored how the cinema audio environment diverged from evolutions in live sound and digital distribution. It also illuminated the shared interests between SMPTE and InfoComm constituencies today. InfoComm focused on the experience of simulcast concerts and other events held in movie theaters. Bocchiaro cited one Foo Fighters simulcast concert, in particular, that drew complaints based on poor sound quality in the cinemas. This laid the foundation for the collaboration now in place.

"Everyone has a stake in this," Bocchiaro says. The challenges include the fact that despite advances in precision measurement ability, audio analysis remains heavily weighted toward subjective interpretation, which can be addressed by more rigorous and widely accepted measurement standards and by the refinement (or elimination) of putative nostrums of questionable validity. Most notable of these is the X Curve, a high-frequency roll-off beginning at 2 kHz at -3 dB/octave, then -6 dB/octave from 10 kHz. It was based on pink-noise measurements of typical cinemas taken three decades ago. Critics contend that for contemporary cinemas, the X Curve is irrelevant, or worse, that its application can actually make cinema spaces sound less intelligible. In fact, a redefinition of pink noise for the digital era is part of what SMPTE is seeking to accomplish with the TC-25CSS initiative.

Since 2011, InfoComm has been working on a suite of standards addressing four distinct areas of sonic concern in enclosed spaces: spectral balance, undesirable sound, reproduced speech and music quality, and sound pressure level optimization in audiovisual systems. Combined with InfoComm's 2009 ANSI standard, Audio Coverage Uniformity in Enclosed Listener Areas [PDF], the suite [PDF] is meant to offer a comprehensive characterization of a sound system. Compliance with the parameters defined in all the standards would, for the first time, make it possible — in a measureable, reproducible way — to ensure that a sound system provides audio of high quality, intelligibility and fidelity.

InfoComm's goals happened to intersect nicely with those of SMPTE. Bocchiaro says InfoComm suggested that the organizations harmonize their efforts to create a set of standards that apply to a wide range of enclosed performance spaces, from cinemas to performing arts centers.

"With representatives from all of these organizations working together, we have a technical dream team that's not duplicating each other's efforts," he says.

While SMPTE members continue to focus on the cinema B-chain, and InfoComm pursues its audio standards suite, the two other professional organizations have carved out their own niches. AES has staked out two areas, both focused on measurement. The AES-X218 project will review the parameters that affect the audience experience in rooms, as well as the objective measurement methods necessary to quantify them. This effort should provide a basis for more detailed standardization of measurement and calibration protocols for controllable parameters. AES-X219 will indentify a standard method of measuring frequency and impulse response for sound systems in auditoriums.

The ASA is looking at how to apply findings from its own research and that of the other groups to create a set of standards for education environments, such as classrooms and lecture halls, to improve the intelligibility of life-safety systems, like those required by NFPA 72.

There's still a long way to go, both in terms of time and depth, for all of these pieces to come together. The TC-25CSS group was formed in March, and it faces many months of work before clear standards emerge. "We're at the beginning of a huge adventure," as Bocchiaro puts it. But the benefits for sound in all kinds of enclosed spaces will make the journey worthwhile.

NAD Launches New Audio Products with AirPlay

none@none.com (rAVe Staff) — Thu, 02 May 2013 23:26:48 GMT

NAD Electronics unveiled three affordable products: the D 7050 Direct Digital Network Receiver (MSRP: $999), the D 3020 Digital DAC/Amplifier (MSRP: $499) and the D 1050 USB 24/192 DAC (MSRP: $499). All three models will be July 2013.

The D 7050 Digital Network Receiver is basically an amplifier with Apple’s AirPlay Wi-Fi streaming technology integrated into it (in addition to Apple’s AirPlay, the D 7050 can also stream any UPnP audio content on a home network) - and, if no network is available, it can also stream directly from a smartphone or laptop using the latest Bluetooth. Of course, there's a wired digital audio (no analog input, though) and a USB drive port. Digital is converted to analog (for speaker ports) via a passive two-pole reconstruction filter located right at the speaker outputs. NAD claims it's the worlds’ first successful closed loop digital amplifier. Closed loop means that the output is compared to the input, and then compensated for any differences to achieve a ‘perfect’ output. Output is spec'd at 30-watts.

The D 3020 allows for inputs from a computer (analog) along with other digital and analog sources as well as a USB audio port. Coaxial and optical S/PDIF (digital) inputs allow for connection of anything digital (e.g., CD and DVD disc players, TV set top boxes and Apple TVs). There are also analog inputs for iPods and older non-digital audio components such as FM tuners. NAD also includes a headphone amplifier output. There's no network port though, like the 7050 has, but it does have a Bluetooth port. It, too, is specified at 30 watts of output power.

The NAD D 1050 USB DAC is an adapter that allows you to add computer audio (via 3.5 millimeter) and HD digital audio (S/PDIF, optical and coax) to a traditional component hi-fi system. The digital inputs include S/PDIF inputs support balanced AES/EBU, coaxial and optical connectors. It also supports USB Audio Codec 2.0 allowing 192 kHz signal transmission.

All three products consume less than 0.5 watts of power in stand-by -- making them a GreenAV product.

In the press release, NAD said these products were ground-breaking, however, embedded AirPlay, USB audio inputs and network, as well as Bluetooth audio have been available on many audio products for several years.

Check out all three of them here: http://www.nadelectronics.com

New Research Reveals Digital Signage's Impact on Sales and Promotions

none@none.com (rAVe Staff) — Thu, 02 May 2013 20:30:48 GMT

Editor's note: ProAV integrators doing digital signage, you can use this information as a tool to help sell your systems for retail applications.

A recent research project undertaken with the goal of understanding the effects of digital signage on non-gaming sales and offers in a casino environment sheds important light on the role of digital signage in general on sales and promotions.

A paper summarizing the results of the research is now available and provides valuable insight for anyone wondering whether to invest in digital signage and how to make their investment work.

What is clear from the study, which was a joint project conducted by Intel, Research Strategy Group, Ontario Lottery and Gaming, Capital Networks and EdCom, is that simply hanging a display on a wall without regard to placement or content undermines the potential dynamic digital signage offers versus traditional static signage.

The project, conducted between August and December 2012, was set up using an experimental design to compare three different digital signage deployment scenarios over three time periods:

venues with digital signage
venues with static signage
venues with no signage.

The results allowed the researchers to estimate the effect of digital signage at the casino venues in three areas:

free giveaways
restaurant menu item sales
sign-ups for a loyalty program.

Simple changes in advertising style can create a significant change in outcome. While most viewers did not notice the small font at the bottom of this ad, a more pronounced and visual “call to action,” included a flashing sign with the words “Free Tote Bag,” produced a tenfold increase in giveaways.

The Anonymous Video Analytics (AVA) data the Intel Audience Impression Metrics (AIM) Suite provided helped gain an understanding of the impact of the digital signage in relation to static signage and no signage and to draw important insights about the optimal location and content design for digital screens.

Overall, the results confirmed that digital signage has a notable impact on food purchase decisions such as those pertinent to free giveaways and restaurant items, but on the more complex decision-making required for signing up to a loyalty program, it was difficult from the results of this study to detect a measurable response.

Additional conclusions from the study include the following:

The positioning of the digital screens is extremely important for reaching the target audience and for collecting reliable data. Consideration should be given to all factors that might affect the data collection. These factors include whether the screens are positioned close to gender or age specific locations that may skew the data.
The average exposure time per visitor tended to be in the range of 2 to 3 seconds. This has implications for content design; like billboard advertising, digital ads are a glance medium. Content should be designed so that it allows the message to be absorbed at any point during viewing.
Digital signage might have a stronger effect on new patrons than on "regulars."
A high priority should be placed on the style of marketing messages. The project demonstrated that changing tote bag giveaway advertising to be more of a call to action increased the number of giveaways by a factor of 10.
Digital signage seems to have an effect on restaurant menu items. Advertising an item on a digital screen can boost its sales or prevent a decline in sales.
Overall, advertising of free items that require minimal decision-making seems to work better on digital screens than of products/services that require a more complicated thought process.

The complete research paper is available as a free download on the Capital Networks website.

This article was reprinted with permission from the Digital Signage Connection and originally appeared here.

Is The Switch From Volume To Value Unanimous?

none@none.com (Paul Gray) — Thu, 02 May 2013 02:47:09 GMT

Samsung has a regular spot at the IFA Global Press Conference, an opportunity to tease the world’s CE press before the IFA Show in September. This year, the big question the audience wanted answered was what Samsung would do in 4K2K. While flagship products such as 85” had been shown, the real question was what Samsung’s response to 4K2K products in real-world sizes like 55” would be.

The answer was realistic. Michael Zoeller, European sales and marketing director of TV at Samsung pointed out the hard facts behind the 4K hype:

There is no 4K broadcast standard
There is no 4K interconnect standard
4K Blu-ray is still not agreed
No 4K TV released today is future-proofed for even the first 4K formats.

At this point he explained how Samsung's expansion port and ‘evolution kit’ approach at least means that any of their 4K sets sold today have a fighting chance of being usable when 4K material does arrive.

Compare and contrast with Samsung's approach when 3D first appeared: Immediately Samsung went onto a war footing and out-developed its competition, producing the widest 3D product range within months. I don’t think that Samsung is being complacent today, but it does show how much the market has changed. Samsung's strategy is now to protect (and recover) margins -- a necessary step after the profitless prosperity which has broken retailers' and TV set makers' businesses. Samsung has gone from being the upstart to the boss, and we are of course promised more Samsung 4K TV product launches at IFA'13.

Of course, things do not stay still for long. Chinese set makers made their presence felt at the last two big events: IFA'12 and CES'13. They look to me to be poised to break out of their domestic market and are using 4K2K as a first attempt to reposition their brands, having mastered the technology. The new challenge for the Chinese brands is to master marketing in unfamiliar markets: product management of 4K TV will be the first test. If it turns into another price war, there will be no winners.

This article was reprinted with permission from DisplaySearch and originally appeared here.

ClearOne Reports 11 Percent Revenue Increase

none@none.com (rAVe Staff) — Thu, 02 May 2013 02:33:18 GMT

ClearOne today reported its financial results for the first quarter ended March 31, 2013.

For the 2013 first quarter, revenue for the first time in the first quarter surpassed $11 million, totaling $11.3 million compared with $10.2 million for the first quarter of 2012, an increase of 11 percent. Gross profit was $7.0 million, or 62 percent of revenue, compared with $6.1 million, or 60 percent of revenue, for the first quarter of 2012. Non-GAAP operating income increased by 48 percent to $1.4 million compared with $953 thousand during the first quarter of 2012. Non-GAAP net income grew 54 percent to $966 thousand, or $0.10 per diluted share, from $626 thousand, or $0.07 per diluted share. Non-GAAP Adjusted EBITDA increased 34 percent to $1.6 million, or $0.17 per diluted share compared with $1.2 million, or $0.13 per diluted share in the first quarter of 2012.

The reconciliation between GAAP and Non-GAAP measures is available in the tables attached to this release.

At March 31, 2013, the company had cash and cash equivalents of $42.6 million, down from $55.5 million on December 31, 2012. The cash position at the end of the quarter reflects the final net amount retained from the December 2012 $45 million favorable settlement relating to auction-rate securities, after paying $13.8 million of associated income taxes and $6.75 million in attorneys' fees.

ClearOne is here: http://www.clearone.com

Vaddio Combines Echo Cancellation and Automatic Mixing Into TRIO Microphones with SmartMIC Technology

none@none.com (rAVe Staff) — Wed, 01 May 2013 23:52:08 GMT

Vaddio's new TRIO audio line includes what it's calling SmartMIC technology -- a microphone system integrated with Digital Signal Processing (DSP) and echo cancelation directly into the microphone itself -- what appears to be an industry first. The internal DSP features microphone gating, equalization, AGC and noise cancelation.

Each TRIO SmartMIC is equipped with three electric condenser microphones positioned to form a 360-degree pickup pattern. This technology is based on the microphone’s ability to actively manage the room’s live audio for gain, gating and echo cancelation. Once detected, the microphone will adjust and mix down to a single output.

The TRIO MIC I/O interface device allows the connection of up to four SmartMICs and because each input is running three microphones on three different channels, users can technically run 12 microphones all with independent echo cancelation and internal DSP. For installations requiring more than 12 SmartMICs, just add an additional TRIO MIC I/O for 12 more channels.

Here are all the specs: http://www.vaddio.com/product/trio-table-mic

SAVANT Adds SmartLink Digital Modules with HDBaseT

none@none.com (rAVe Staff) — Wed, 01 May 2013 01:20:15 GMT

Savant Systems, LLC has announced the introduction of the SmartLink digital modules. The SmartLink output and receiving modules can transmit audio and video signals up to 1080p over CAT5e/6 cable lengths of up to 100 meters (328 feet) using the latest HDBaseT technology. SmartLink service cards are available for Savant's SmartMediaPro family of controllers.

The output modules are available in both two and four-port versions. The receiving module comes in a wall plate form factor with Ethernet, HDMI and control outputs all accessible from the front panel of the device. SmartLink Modules break out the power, Ethernet and control protocol components of HDBaseT, directing them to a separate cable.

Savant SmartLink Modules with HDBaseT technology are will ship Q2, 2013.

For more information, click here: http://www.savantsystems.com

THIEL Intros the CS1.7 Floorstanding Loudspeaker

none@none.com (rAVe Staff) — Wed, 01 May 2013 01:18:03 GMT

THIEL Audio has announced the introduction of the CS1.7 Coherent Source floor-standing loudspeaker. The CS1.7 employs THIEL’s phase and time coherent design using precision engineered first order acoustic crossover networks and the latest technology for the woofer and tweeter engineered by THIEL specifically for the CS1.7 project.

The technology employed in the CS1.7 design is all new, leveraging much of the R&D from the company's flagship model CS3.7. The CS1.7 tweeter, based on the platform used in the CS1.6 has been highly optimized for the CS1.7, featuring a new voice coil, new magnetic circuit and reworked aluminum diaphragm resulting in increased linearity and lower distortion. The aluminum woofer’s “star” diaphragm was conceived using the latest laser measurement technology and also utilizes a new voice coil and magnetic structure that enables the driver to operate as a piston through a much greater range of frequencies.

The cabinet is 1-inch thick and the baffle, with a low turbulence vertical port, is 2-inches thick. Even the magnetically adhered grill has been carefully engineered to prevent any diffraction. The CS1.7 comes equipped with leveling feet and an optional brushed aluminum Outrigger base is also available.

The THIEL CS1.7 is now shipping with an MSRP of $3,999 per pair.

For more information, click here: http://www.thielaudio.com/products/floor-standing-models/cs1-7/

Furniture For AV Pros

lee_distad@shaw.ca (Lee Distad) — Wed, 01 May 2013 00:43:57 GMT

In the world of retail, the furniture business and the electronics business have been interwoven for a long time. While furniture stores often sell electronics these days and electronics stores sell furniture, the fact is that the latter seldom get as big a piece of the furniture pie as they ought to.
There are two main reasons for that. The first is that there’s a perception that the furniture sold at electronics retailers is low end junk. The second is that, for some AV retailers both large and small there’s a comfort-zone issue, and managers just don’t “get” the furniture business. As a result, they leave money on the table when dealing with their clients.

To address the first point, while the cheap chipboard and black-vinyl wrapped TV stands that are often offered as “Free Stand” promos on sale weekends and shoddy ready-to-assemble entertainment consoles are present at big-box chains, specialty AV retailers can offer their customers furniture choices that are both aesthetically attractive, as well as offering fantastic margins to the dealer.

Margin. We all want it, and sad to say precious few categories deliver it in the AV world anymore; all the more reason to get out of your comfort zone and seriously consider a product that delivers 50-70 points.

Offering furniture is simple: People who are shopping for electronics need something to put their equipment in, and they need something to sit on while using them. They’re going to spend that money anyway, so do your best to make them spend it with you!

If it’s such a great idea, why don’t AV retailers sell more furniture? In general, the big divide between furniture and AV retailers and the AV dealer’s barrier is that furniture dealers have the luxury of more selection and more styles displayed on the floor.

That challenge means that AV dealers need to seek solutions. Part of the solution is to find the key pieces to carry that will work for your customers. Building on that, you need to leverage your website, and the color swatches of the pieces that you do display in your showroom and offer more selection than you can realistically display in your showroom.

If your clients are leaving without buying furniture, it’s because of what you’re carrying, or more specifically, what you’re not carrying. While it’s tempting to stick with what you probably consider “safe”: black and stainless steel, customers want furniture that’s daring and interesting.

Further to breaking out of that mold is to reject the preconception that at an AV retailer people are buying furniture based on low price points. For their part, AV retailers themselves see furniture as more of an afterthought of an attachment, rather than a complimentary piece of equipment, the way a Blu-ray player goes with a flat panel TV.

Part of the solution is for dealers to see furniture as more of a centerpiece than just something that a TV needs to go on, and present it that way to customers.

With regard to what’s trendy and exciting in furniture, it’s understandable that TV size has had a major impact on furniture demand. Many consumers who already have a large screen in the main room are taking advantage of low TV pricing to buy a smaller second TV for bedrooms and other secondary areas, which is driving demand for appropriate TV stands to put them on.

At the same time, TVs are getting both larger and cheaper, and furniture that can accommodate a 60-inch or larger flat panel are in demand. Not everyone who purchases a 70 or 80-inch flat panel is going to wall mount it, but even if they do, they still require furniture to house the source components, and those pieces have to be scaled appropriately to not look out of place with the giant screen.

If you’ve been paying attention to AV furniture at all in recent years at CES and elsewhere (and if you haven’t, don’t worry; that’s what I’m here for), there have been a couple of major trends, both of which work to help AV dealers differentiate themselves.

The first has been the trend of bringing high quality to middle price points. Quite a few brands of AV furniture no offer great looking selections that only cost hundreds, as opposed to thousands of dollars.

The second is the growth of offerings that make use of sustainable materials. Green initiatives emphasize environmentally responsible manufacturing. And furniture products are made of sustainable materials, including woods that are harvested from managed forestry programs, and composite materials that comply with rigorous certification standards combined with environmentally friendly coatings and finishes that meet or exceed the most stringent air quality standards give dealers further selling points with their clients.

Next time I’ll expand further on what to look for and how to position furniture in your lineup.

Lee Distad is a rAVe columnist and freelance writer covering topics from CE to global business and finance in both print and online. Reach him at lee@ravepubs.com

Panamax Ships MD2-ZB SmartPlug and BB-ZB1 BlueBOLT Gateway

none@none.com (rAVe Staff) — Tue, 30 Apr 2013 21:20:47 GMT

Today, Panamax started shipping its MD2-ZB SmartPlug and BB-ZB1 BlueBOLT gateway, both of which allow for energy management, surge protection and BlueBOLT functionality to individual outlets. Part of the Panamax "MD" family of direct plug-in devices, the MD2-ZB SmartPlug provides energy monitoring, individual outlet control, scheduled and surge protection in a small form-factor that plugs directly into any standard 120V, 15A outlet. Utilizing ZigBee wireless communications, the MD2-ZB can be monitored, controlled, programmed and remotely accessed via Panamax/Furman's cloud-based BlueBOLT energy management and control platform via the wired BB-ZB1 gateway.

For integrators, BlueBOLT allows for service calls through remote control of the MD2-ZB's two discrete AC outlets from any Internet-enabled device. In addition, the platform provides real-time and historical power related data, including energy consumption in kWh and dollars by outlet.

At 1.5 inches, the MD2-ZB houses two side-mounted outlets and provides status, network and wiring fault indicators, in addition to push-button "override" power switches to power outlets on/off instantly from the top of the device. To protect electronics, the unit's Protect-or-Disconnect circuitry completely disconnects AC power to connected equipment in the event of a catastrophic surge. To accommodate the look of any room, the MD2-ZB's front cover can easily be removed and painted to match the wall color.

Offering the plug-and-play ease of installation that BlueBOLT is known for, the gateway (BB-ZB1) connects to a user's network via an Ethernet cable and creates a wireless mesh network supporting up to fifteen SmartPlugs per gateway. MD2-ZB units will be added to each user's BlueBOLT account along with any hardwired BlueBOLT power conditioner component models, providing a single destination for simple and intuitive remote power and energy management solutions, anywhere in the world, via the cloud.

The MD2-ZB and BB-ZB1 list for $119.95 and $99.95, respectively, and specs are here: http://www.panamax.com/

Community Intros New ProAV Design Series of Speakers

none@none.com (rAVe Staff) — Tue, 30 Apr 2013 03:10:44 GMT

Community Professional Loudspeakers have introduced a new line of speakers it is dubbing the Commercial Design Series that includes ceiling, surface mount and pendant loudspeakers. Commercial Design models are offered in a choice of 4.5-inch, 6.5-inch and 8-inch driver sizes and was designed to work with Community’s Distributed Design family of ceiling, surface mount and pendant loudspeakers in a combined installation. Features include real compression drivers and Tru-Phase phase plugs for high output and low distortion and all models feature Euroblock input connectors -- an external loop-through wiring design, weather-treated drivers, and corrosion-resistant, dual-layer, powder-coated grilles.

Ceiling model options include low-profile 4.5-inch, standard profile 4.5-inch, 6.5-inch and 8-inch formats. The 6.5-inch full-range C6 is also available in an optional black finish for restaurants, bars, nightclubs, or any installation requiring an off-the-shelf black ceiling mount system.

Surface mount options include full-range 4.5-inch, 6.5-inch and 8-inch loudspeakers in elegant black or white finishes. A Vari-Tilt yoke mounting bracket is included, which allows low profile mounting and precise aiming over a broad pan-tilt range. The surface mount CS4, CS6 and CS8 have passed compliance testing for MIL-STD-810G and can be used in outdoor direct exposure applications.

Finally, the 6.5-inch full-range CP6 pendant loudspeaker is available for open architecture spaces or any location where a stylish pendant form factor is desired. Available in black or white and utilizing the same components as the C6 ceiling model and CS6 surface mount model, the CP6 can be used in a wide variety of speech and music applications.

The ceiling systems are ETL listed to comply with UL1480, UL2043 and CSA60065, while the pendant loudspeaker conforms to UL1480 as well. All Commercial Design models can be painted to match room décor and are equipped with a built-in autoformer for selectable 8 ohm or 70V/100V operation.

All the specs are here: http://www.communitypro.com/

Green Business and Sustainability All Grown Up

none@none.com (rAVe Staff) — Tue, 30 Apr 2013 02:51:28 GMT

This month, I am going to throw some numbers, facts and statistics at you. I’m not going to give you all the answers as to how this information can be of benefit, but I want to provide the inspiration for you to think about how it impacts your business and how crucial sustainability is to your business success.

Mostly, I’d like to emphasize this: Just because sustainability and “green” aren’t the mainstream media and marketing darlings they once were, there is no escaping that this is a business practice that cannot be ignored. Green business has matured, and yet it seems that only a handful of the AV industry has figured out where our best opportunities lie. So, take in some of these numbers, synthesize the information and take a good hard look at where you may need some improvement. Think of this as your Q1 checkup…

Green Buildings – Growing or Static?

Think the popularity of green buildings has faded? Think again. LEED certified properties topped the 2 billion mark in 2012, and another 2 million square feet are certified every day.

Just because we don’t hear about sustainable buildings on the daily news like we once did, there is no denying that it’s a major industry force. Of special note? In the Asia Pacific region, building stock is expected to grow at an average of over 2 billion square meters per year.

28 billion square feet – 40 percent of country’s commercial inventory – uses ENERGY STAR to monitor and report energy performance.

Several cities (and more to come) now require the use of Portfolio Manager, EPA’s online energy management tool. These include Austin, Tex., Minneapolis, Minn., New York, Philadelphia, San Francisco, Seattle and Washington, DC.

The major consensus is that transparency is the order of the day -- there will not only be more mandatory reporting, but also as competition heats up for Class A property, landlords will use all tactics to be more appealing to potential tenants and provide voluntary reporting on energy management.

What are the opportunities here? Think about how AV systems can support there reporting needs. Are you familiar with the Portfolio Manager? Or what needs these landlords and builders have for this type of reporting? How can we contribute to their needs, and you have found an opportunity.

Sustainability for Corporations

Ernst & Young customers report a 66 percent increase of inquiries over the past 12 months from shareholders and investors about sustainability-related issues.

The world’s 3000 largest companies face over $2 trillion in liabilities created by their environmental impacts. The growing awareness of this accounting change has begun to influence equity investment analysis.

If this doesn’t smell like opportunity, I don’t know what does. If you service large corporations, you better believe they are going to be looking for continuing ways to improve their supply chains and reduce these environmental liabilities. If you have a prospect who generates environmental reports, now is the time to start the dialogue of how you can help (this applies to both the integrated and event side of the business).

Midori Connolly is the founder of AVGirl Productions in California. She wrote the first-ever set of Sustainable Staging best practices after discovering none existed. She was the co-chair of the AV committee for the ASTM Standard for Environmentally Sustainable Meetings and is a speaker, writer and consultant for green practices in live events and meeting planning. Reach her at midori@avgirlproductions.com

One Touch of Nature Makes the Whole World Kind – Part II

rkent@sustaintech-llc.com (Raymond Kent) — Tue, 30 Apr 2013 02:06:35 GMT

In my last installment, I scratched the surface of sustainability in the arts working to define what we mean when we discuss the topic. In addition, I discussed working within a built environment providing strategies and opportunities to start the conversation. In this article I will be discussing the other side of the coin -- touring and temporary arts. Some of the previously discussed strategies can be rolled over to reducing the impact of the traveling arts however many additional concerns pop up regarding transportation, storage, and other logistics inherent in the nature of the beast. Similar to the last article, I hope to provoke conversation, provide some insight to what is happening in the industry currently and talk about how we as technology designers can contribute, as well as some thoughts on moving forward. Although what I am providing is in no way complete or entirely comprehensive, the entire conversation is really starting to gain some legs and I invite you to contribute your time, effort and talents to shaping the dialogue. Many of the constructs below have been thoroughly studied by Julie’s Bicycle based on touring in the UK (Moving Arts: Managing the Carbon Impacts of Our Touring) and have been studied to some degree in the U.S. by Theatre Communications Group, Broadway Green Alliance and others. I highly recommend you seek out this information if you want to get into the weeds.

So to begin with, what are we really talking about? What do we mean when we say touring or temporary arts? In my opinion, we are speaking of that which is not permanent or has no permanent place it resides. This can include music festivals, rock shows, Broadway tours, educational outreach, temporary exhibits or the like. I am sure I have unintentionally left some things off the list but you get the idea. Inherently these have the potential to have a larger footprint then their more permanent counterparts mainly due to the environmental implications of travel. This can be related to the number of stops on a tour, location of venues and the sequencing of a tour, size, availability of equipment and transportation and many other logistics.
In general, participants in these events related to sustainability lag behind their counterparts with permanent homes and often do not systematically include environmental strategies into touring or temporary practices. This does not mean they are not willing or able, but may need guidance or commitments from others outside their control. We also have to keep in mind that quite often these productions stem from a permanent venue where, after the initial run (or sometimes concurrent), the producing organization seeks to reach out to other geographic regions or alternative audiences that might not have been able to attend the production at their “home base.” Lastly, we should include events that may be local but are temporary in nature. These could include festivals, live events or performance art each having an impact on the environment.

When looking at the challenges of sustainability in the traveling or temporary arts, three different areas are of concern -- the producing team, the actual production and the venues or locale in which they are to tour or be produced. Each area has specific responsibilities in evaluating and committing to sustainability goals for a particular event. The commitment has to start early and usually with the producing team. By making the decision to travel an event or show, the producing team is often striving to reach new audiences that can generate significant revenue and potentially enrich the experience by presenting in non-traditional spaces or coalesce an audience that otherwise might not have convened. Financial contributors to these events can and should play a pivotal role, just as funding sources in the built environment have, in many cases, mandated environmental considerations in projects. A key element to this is a potential for a larger payback to investors/producers’ triple bottom line of touring shows by reducing operational costs associated with these events while increasing their perceived environmental social standing. In addition, a good partnership between the producers, directors and artistic team whom are all in agreement on environmental considerations is crucial to successfully lowering the impact of a production.

The main way to do this is to agree to have a plan for sustainability within the tour along with the artistic and financial outlines. This can and should include things like scenic elements, lighting, audiovisual, costumes, show power, travel logistics and cast/crew amenities among many others. Having a conversation with the people in charge of the technical requirements at this stage will go a long way towards defining necessary goals. This is where technology designers can have the greatest impact.

Evaluation of potential tour stops or temporary event locations is most likely the major consideration on environmental impact. This can include distance traveled from where the show elements may be constructed or assembled, between venues, as well as access to public transportation to the venue for audiences and are good examples of targets one needs to take into account – especially since the event organizers may not have influence or control over these crucial elements. Having a plan will help evaluate the risks and rewards of taking environmental action. Identifying a “sustainability captain” (similar to a LEED AP within a construction project) whose function is to be involved with the planning and the execution is always a great idea.

Once a plan is developed, the financial side can then calculate the potential impact on the environment including life cycle, carbon footprint and Green House Gas emissions (GHG) of the tour or event. By being able to know this information the plan can then be evaluated and tweaked to reduce the impact to the greatest extent possible and remain financially viable. It also works into a production’s favor when understanding if there is potential for carbon offsets and other financial incentives that can boost revenues. In addition, there is the impact of the “social responsibility” or feel good side of the equation that quite often is tied to funding sources such as public grants. Having ready answers to potential GHG emissions and carbon footprint may help in securing funding from additional sources (or even traditional ones) simply because of the social implications of the actions of the plan. There currently are some tools available through Julie’s Bicycle, Broadway Green Alliance, the Department of Energy, the Center for Sustainable Practice in the Arts and others that are available to help in these decisions.

So now you have a plan. What next? The main thing is to have that solid commitment from all long-term and short-term staff, including the creative and production staff as well as talent. Work with that staff to understand the common goal and get their buy-in. In this area there is much overlap with brick and mortar productions that have a consistent home. However it mostly deviates in a few areas such as travel, technical equipment requirements, show power and production/talent accommodations that would be for the most part excluded or reduced for an organization with a permanent structure. For instance, learn about the pros and cons of different audio, projection and lighting packages to be able to maximize a more minimal show power scheme. That could potentially increase the opportunities for venues that otherwise might not have been able to accommodate the production without additional generator power. The technical designers here are a fantastic source for this information and should be utilized as such. Also, are there things that can be locally sourced in an efficient manner rather than freighting the equipment or other production pieces? Research is the key to success here and the Internet is your friend! Conducting meetings with potential venue operators via web conferencing or other electronic means to minimize advance site visits also will work to your favor.

Technology in today’s shows is abundant and rampant. Have a good understanding of new technologies such as LED lighting technology or more energy efficient power amplifiers and rack mountable intelligent power distribution. Having an all-digital distribution using simple fiber optic or category cable can dramatically reduce what you need to pack as well as setup/strike time. There are low- or no-cost strategies too such as really giving thought to how the truck is packed to minimize loose space while being able to efficiently unload a truck with the least number of crew members. Less crew means less GHG emissions for their travel, accommodations, etc. Seek out trucking companies such as Clark Trucking in the U.S. that are proficient in moving these types of events and manage their fleets in a sustainable way by buying carbon offsets and using advanced routing methods. The tighter your pack is, the less equipment you need to pack, and the easier it is to load and unload, the more sustainable you already are by reducing GHG emissions from the vehicles driving down the road. In addition, use a green tech rider and sustainable procurement policy sourcing goods and services from vendors that are able to provide you with credible environmental credentials. Many such vendors are now providing these credentials and lists are available at the previously mentioned resources. Reuse, recycle and up-cycle production equipment and creative pieces where possible after the event or tour by locating ahead of time where to take these items when you are done with them. Have a good understanding of what your host venue has for equipment and have some flexibility in using what is already installed or available at the venue.

An often-forgotten area is what to do with staff and talent on the road. Seek out hotels and restaurants for your stay that have environmentally sound policies. Minimize truck/tour bus idling or use solar power generation if available. Depending on the area and circumstances, look for a vacation rental home. This can often be more efficient than a hotel and can potentially be more comfortable. Getting audiences to and from the presentation is another overlooked area to consider. Work with the venue and host city to determine what public transportation is available and can discounts on travel can be given. The list of production elements that can and need to be considered is vast. Most of these strategies have very little cost associated with them while others require some up front capital with a potential payback over the run of the tour.

Lastly the actual venues or locations the event or tour may use should be considered. Strategies for reducing the impact are a two way street. Asking a venue for its sustainability plan and only presenting at those locations that have one in place is one way to pursue this. Another way to look at it would be to provide a green rider to the venue. This not only would include the production equipment needed, but could also address issues such as concessions, public transportation, and other venue provided considerations. What is the public transportation like around the venue? Can you offer discounts for ride sharing or use of public transportation? Many things discussed in the last article could be discussed with your host venue. Venue managers should want to communicate readily their environmental considerations to incoming productions including what equipment may be available on-site or locally. The communication to the venue manager from the production on what steps are being taken to reduce their footprint is also critical so they can be partners in achieving the best outcome. Work to measure the GHG and carbon footprint of your tour and promote it! This helps the industry improve and can be excellent PR for both the venue and the production. Venue manager should not be afraid to access a carbon emissions charge to productions that create high levels of GHG or have a higher than desired carbon footprint. This revenue can be used to purchase carbon offsets and fund other reductions within the community or the venue itself. Through further dialogue more strategies are available and some have yet to be discovered.

Now all of this said, and based on some feedback I received from the last article, it is important to recognize that there are indeed some perceptions about how feasible sustainability in the arts really is. There are certainly concerns related to the stifling of artistic vision, that budget constraints will preclude environmental concerns, or that there may be quality issues when using locally sourced materials and equipment. My question is how you cannot afford to do this? The reality is with a strong commitment, clear direction and consistent specific goals, it is not only achievable, but also affordable and profitable to produce sustainable art. There are thousands of articles from the business world of nay-sayers who said that they would go bankrupt by actually doing what was right and that they were powerless to make a difference or that their customer’s needs are inconsistent with sustainability desires. Time and time again this has been socially, environmentally, and most importantly, economically proven false. Hopefully these two articles will continue to generate more stimulating conversation and ultimately move us forward!

Raymond Kent is the Managing Principal of Sustainable Technologies Group, LLC specializing in technology systems for the performing and cultural arts, healthcare, Government, higher education, and corporate markets. He is a co-author of the STEP rating system and serves as the chair of the Technology Task Force for the STEP Foundation. Raymond received the 2012 InfoComm Sustainable Technology Award and is involved with developing sustainable practices in the arts. Reach him at rkent@sustaintech-llc.com

Smart TV: Will Moore’s Law Define TV Architecture?

none@none.com (Paul Gray) — Mon, 29 Apr 2013 23:21:00 GMT

The TV until now has evolved at a pace largely detached from Moore’s Law, an observation that the number of transistors on a unit area of integrated circuit doubles every two years. Its consequence is that computing power doubles per unit of cost in the same time.

TV has remained largely isolated from this trend for several reasons: TV capability has been closely tied to broadcasting standards until now, which have evolved at a much slower ‘infrastructure’ rate. After all, changes in broadcasting ultimately require rebuilding of studios, refitting transmitter masts or satellite launches. The industry started to move faster as TV chips became increasingly digital, with CMOS gradually taking over from analog. Moore’s Law powered integration of functions into a single TV IC, but by 2010 this had largely played out.

With broadcast requirements static for the time being, innovations in TV capability have instead been for Internet services and interactivity: Smart TV. These have brought a convergence of functions between TVs, tablet PCs and smartphones. Each can decode and display H.264 video, surf HTML web pages and encode video and audio. A high-end TV really is a large-screen smartphone! The consequence of the TV tracking the capabilities of handhelds is easily seen in the number of processor cores in the latest Smart TVs from Samsung: 2012’s models have two cores, while 2013 products will have four.

A collision occurs when the lifetimes of these devices are considered: A TV typically lasts 6-8 years in service, according to our TV Replacement Study. A mobile phone has a life (at least with the original owner) of around two years. So consumers own phones on a single Moore’s law cycle, while TVs are expected to last for several cycles. The capabilities of the TVs can be expected soon to lag far behind. While software updating is feasible, the gap in CPU power will limit its usefulness.

TV owners can be expected to perform mid-life updates to their sets to access attractive services by buying set-top boxes or unobtrusive MHL sticks which do not require an additional remote control and are fed power by the host TV. Samsung has also promised upgrade kits to its premium TV customers -- this promise made in 2012 was fulfilled at CES this year. However, the fact that the unit completely bypasses the processing in the TV (it even has its own Ethernet jack) shows just how hard it is to modernize even recent hardware.

Set-makers face three alternatives:

Continue as before and hope that consumers do not become sensitized to the rapid obsolescence (and growing uselessness) of their Smart TVs.
Give up and keep the processing outside the TV, which effectively becomes a monitor.
Rethink system partitioning and seek a way to maximize TV functionality yet isolate unstable and fast-evolving elements.
Arguably the first option is being pursued already in China and Japan, while the second appears to exist in North America, largely because US TV is locked inside pay-TV providers’ set top boxes.

The third would require that the TV becomes a kind of 'docking station.' Home audio has gone through bleak years recently as it first fought MP3 players head on with increasingly irrelevant CD systems. However, first with iPod docks and then Bluetooth wireless audio links, the category has learned to play nicely with personalized devices. While it may never return to its status symbol glories of the 1970s and 1980s, Hi-Fi is coming back! A visit to any trade show gives a wide variety of systems with attractive and individual design.

If audio is any guide, the shift of video content consumption to personalization and portability will be hard for the TV set to fight. Consumers will reach for their smartphones and tablets to search and watch shorter-form content. The TV needs to retain its relevance by making it easy to screen longer-form content or fetch material with search tasks performed by the handheld. DIAL and Miracast are open standards that allow these functions: DIAL installs a duplicate app in the TV, while Miracast could be the video equivalent to Bluetooth audio. At the same time, MHL allows an HDMI socket to become a transparent expansion port to permit additional decoders to upgrade the TV. (We analyze these and other technologies in the Quarterly TV Design and Features Report.)

Some Chinese set makers are already moving in this direction with their ‘Roku-ready’ TVs which allow a small Roku MHL stick to expand the TV to a Roku-powered Smart TV. Similarly, pay-TV providers in Europe are attracted by the idea of a STB that can be mailed in a small padded envelope.

Set makers need to consider carefully whether the costs and support burdens of Smart TVs will deliver the long-term added value to them (and their consumers). More open platforms may be an interesting alternative to fighting tablets and smartphones head-on.

This column was reprinted with permission from DisplaySearch and originally appeared here.

Gefen Announces Two New GefenPRO Scalers for 3GSDI

none@none.com (rAVe Staff) — Mon, 29 Apr 2013 23:04:44 GMT

Gefen has announced the release of two new GefenPRO Scalers: the 3GSDI to 3GSDI Scaler and the HDMI and DVI to 3GSDI Scaler.

The 3GSDI to 3GSDI Scaler includes a frame synchronizer that generates a high quality video output when using different SDI sources and displays. Any SDI input can be up- or down-scaled to match the ideal video resolution output, supporting ED-SDI, HD-SDI and 3G-SDI formats.

Gefen says adjustable cadence detection, frame rate conversion, detail enhancements and advanced noise reduction all improve video quality. A built-in pattern generator with color bars and hatch patterns gives the ability to further fine-tune the video. This scaler can also be used as stand-alone frame synchronizer, where the video output is genlocked to house clock. All features are accessible through the on-screen menu, IR remote or RS232 control.

The HDMI and DVI to 3GSDI Scaler allows the user to switch between an HDMI or DVI source and convert and scale the output to all resolutions supported by 3GSDI up to 1080p or 2K. It has backwards compatibility with all SDI formats and an enhanced frame synchronization feature to genlock the video on the output. When using an HDMI source, two channels of audio can be output separately as S/PDIF coaxial and up to eight channels of HDMI audio will be embedded onto the 3GSDI stream.

For more information on the 3GSDI to 3GSDI scaler, click here: http://www.gefen.com/kvm/gef-3gsdi-2-3gsdis.jsp?prod_id=10362

For more information on the HDMI and DVI to 3GSDI scaler, click here: http://www.gefen.com/kvm/gef-hdvi-2-3gsdis.jsp?prod_id=11269

AVI-SPL Medical's Mommy's Hear Connects Mothers to Infants in the NICU

molly@ravepubs.com (Molly Stillman) — Mon, 29 Apr 2013 22:58:46 GMT

AV industry professionals know AVI-SPL as the world’s largest video communications technology integrator. They specialize in providing solutions and services for professional AV installation, telepresence and videoconferencing, digital media systems, managed conferencing and content production. AV industry professionals know this.

But, what many industry professionals don’t know (and what I certainly didn’t know until recently) is the best kept secret of AVI-SPL that is AVI-SPL Medical.

AVI-SPL Medical has been around for over a decade -- 13 years, to be exact. The division has pioneered designs in integrating technology into minimally invasive surgical environments, intraoperative MRI surgical suites, specialized procedure rooms, interactive medical collaboration, 3D visualization, clinical audio video networks, monitored care and a variety of TeleHealth presentation systems.

They essentially standardized the platform for the fully integrated operating room. In fact, over the past 13 years, AVI-SPL medical has integrated technology into over 3,000 operating rooms across North America.

While AVI-SPL has been branding and is now essentially manufacturing medical technology for awhile, there was one particular piece of technology that I was floored by. It’s called Mommy’s Hear, AVI-SPL’s Neonatal Intensive Care Unit monitoring system.

Mommy’s Hear provides 24-hour virtual interaction with infants undergoing treatment in the NICU. This Class 3 medical device takes video, transmits that video and allows mothers (and fathers, friends or other family members) to see the incubated infant remotely via their computer, smart phone or tablet.

They can talk to, read to, sing to and interact with the baby from anywhere. In fact, the audio inside the incubator is clearer with Mommy’s Hear than it would be if interaction were occurring in person. In person, the sound would be muffled by the incubator, but with Mommy’s Hear, the sound is crisp and clear for the infant.

The other thing that is incredible about the technology itself is the actual visibility within the incubator. Most NICUs and, specifically incubators, are very dark. The camera included in Mommy’s Hear actually reduces visual noise and provides an amazingly clear (and rather bright) image for the viewer. I was able to see a live demonstration of Mommy's Hear in Tampa, Florida a few weeks ago and I was absolutely blown away.

Why is this technology so innovative and so important? For many reasons.

First, parents already feeling the strain, stres, and worry of having a new child in the NICU can now be fully connected with their baby when they aren’t even there. Many pre-term babies are required to stay in the NICU from anywhere from a week all the way up to sometimes six or seven months. Being able to see and connect with a child in the NICU is vital to the parents.

Second, allowing parents and family members to connect with their baby via Mommy’s Hear actually frees up space within the NICU. In most hospitals, the NICU isn’t a large department or area of the hospital and doesn’t allow for many visitors at a time. Mommy’s Hear cuts down on the need for more frequent in-person visitation and gives doctors and nurses much needed breathing room.

Third, introducing maternal sounds INTO the incubator dramatically reduces further health risks and problems. A recent study published by the Journal of Maternity-Fetal and Neonatal Medicine shows that the introduction of those maternal sounds can significantly reduce cardio-respiratory events common with premature infants and can actually aid in the child’s development by promoting accelerated weight gain when compared to children without this particular stimuli.

Mommy’s Hear has already been integrated in NICUs at Texas Health, but is rapidly becoming a must-have product for hospitals across the world. It is a complete solution with software and hardware. But at the end of the day, everything hinges on money. When will hospitals have room for this technology in their budgets? The sooner that happens, the sooner families and babies will be able to connect during a vital time.

For more information about Mommy’s Hear, contact AVI-SPL Medical.

Molly Stillman is the director of marketing and new business development for rAVe [Publications]. Reach her at molly@ravepubs.com

Kramer Adds New 14-Input Multi-Format Presentation Switcher

none@none.com (rAVe Staff) — Mon, 29 Apr 2013 20:45:36 GMT

Kramer Electronics has announced a new member of Kramer’s line of multi−format switchers, the VP−28.

The VP−28 is a 14−input presentation switcher that handles composite video, HDMI, DVI, DisplayPort, computer graphics video and stereo audio and microphone signals. The VP−28 operates as a 3x1 composite video, 3x1 HDMI, 3x1 computer graphics video, 3x1 DVI−I and 2x1 DisplayPort switcher, each with unbalanced stereo audio. The 3x1 DVI (digital) sections can be used for DVI signals or it can be used for 3 more computer graphics video (analog) signals using special breakout cables that are included with the device.

The VP−28 can operate as a 5x1 video switcher and a 14x1 audio switcher. The unit’s Audio Level Memory remembers and returns to the last audio level setting for each audio input signal during switching. It has button selectable options for condenser or dynamic microphones and microphone and audio mixing options, including muting of the master audio output when a microphone signal is sensed. The VP−28 is also HDCP compliant and HDTV compatible.

The VP−28 has flexible control options including IR remote, Ethernet and RS232 (supplied with PC control software), and two microphone inputs with a mixing facility. It's housed in a 19” 1U rack mountable enclosure, with rack ears included.

The VP−28 is shipping now. For more information, click here: http://www.kramerus.com/products/model.asp?pid=2393

Extron Ships TeamWork

none@none.com (rAVe Staff) — Mon, 29 Apr 2013 19:52:26 GMT

Extron's new TeamWork 400 Digital Collaboration System and the TeamWork VGA Kit is now shipping. The TeamWork 400 package supports groups of four users and is pre-configured for ease of installation with virtually any furniture system, new or currently in use. The simple and intuitive collaboration system also works with most flat panel displays, laptops, and tablets. For added flexibility, TeamWork is scalable and can be easily tailored to meet specific requirements with the addition of mounting hardware, support for legacy analog computer sources using the optional TeamWork VGA Kit, and other optional accessories.

The TeamWork system is designed for simple, intuitive operation with a minimum of training. Users simply connect their laptop or tablet to a TeamWork "Show Me" cable to start the system, then press the "Share" button to show their content on the presentation display. When done, users simply disconnect and walk away, and the TeamWork system automatically turns itself off and is ready for the next collaboration session. The TeamWork collaboration system is HDCP-compliant and supports full resolution, full frame rate digital video up to 1080p/60 and analog computer-video up to 1920x1200. Each TeamWork system package is complete and ready for installation, and includes HDMI "Show Me" cables, a switcher, a system controller, a Cable Cubby enclosure, and other necessary system cables. Mounting hardware is optionally available to facilitate different collaboration table or work surface designs.

To see all the specs, go here: http://www.extron.com/

NSCA and Women in AV to Hold Networking Reception

none@none.com (rAVe Staff) — Fri, 26 Apr 2013 02:33:10 GMT

NSCA, Women in AV (WAVE) and FSR will hold an informal networking reception on Wed., June 12 from 5 – 6:30 p.m. at The Peabody Hotel, Orlando, Fla. during InfoComm 2013. Both men and women are encouraged to attend this unique event where colleagues can network, share success stories, industry tips and ideas.

One recipient will also receive the Women in A/V Mentoring Award during the reception. This award will be given to a woman who excels in outstanding achievements in advancing women within the A/V industry. Nominations are now being accepted. Applications can be found at http://www.womeninav.com.

WAVE’s mission it to support women within the AV industry through collaborating, mentoring, and networking opportunities.

Register today for the reception at wavereception.eventbrite.com/

IMCCA to Hold Webinar on Video Collaboration

none@none.com (rAVe Staff) — Fri, 26 Apr 2013 02:29:46 GMT

The IMCCA will hold a videocast with Dr. S. Ann Earon, president of Telemanagement Resources International Inc (TRI) and founding chairperson of the IMCCA, on May 1 at 10 a.m. PST (1 p.m. EST). In this videocast, Dr. Earon will explain how enterprises are making video collaboration available throughout the organization and accessible to every employee now.

Topics to be covered include:

How to quantify the benefits of extending video collaboration to all knowledge workers
How new cost-effective room systems and cloud services are enhancing investments in boardroom videoconferencing
How businesses are realizing higher levels of productivity in the real world

Click here to register: http://pages.bluejeans.com/live-videocast-with-ann-earon.html