Installation October 2015 Digital Edition

TECH PLATFORMOil and gas industry is an AV showcase p26

Issue 184 / October 2015

AV INTEGRATION IN A NETWORKED WORLD www.installation-international.com

p20

p34

p40

Show reviewsDigital Signage Summit Europe, IBC 2015

A warm welcomeHospitality venues raise their game

High end, high techThe discreet charm of invisible technology

01 Install184 Cover_Final.indd 1 22/09/2015 17:43

Limitless variations 4K UHD Hybrid Modular Design 12.8 Gbit/sec data rate Instant Switching

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03www.installation-international.com WELCOME

As we were fi nishing o� this issue, we were saddened to hear that Andy Duckworth, founder and owner of educational integrator CDEC, had passed away after a short illness. Shockingly, he was just 50 years old – no age at all.

I don’t think I’ve come across another company like CDEC. When I attended its supplier and sales conference in Mallorca in May, it soon became apparent that Andy had a real passion for AV in education – and for the company that he founded. Together with Toni Barnett, CDEC managing director and his partner, he created something very close to a family atmosphere within the company. It may be a cliché to say that they work hard and play hard at CDEC, but it’s pretty close to the mark – and it speaks both to Andy’s generosity and his understanding of the value of building business relationships in a relaxed atmosphere.

Part of that passion came from his background in education – at the chalkface. A native of Liverpoolo, he graduated from university there with a degree in maths and computing, returning there later to obtain a teaching qualifi cation. He taught maths and IT in that city, then moved to a school in Kent as an assistant headteacher, where he set up the ICT – he was one of the fi rst teachers in the UK to use an interactive whiteboard. Gradually becoming more involved with ICT suppliers, he left the world of teaching and set up CDEC in 2000.

There was never a dull moment with Andy. He had a tendency to say the fi rst thing that came into his head, for a laugh – like at the InstallAwards this year (where CDEC had the liveliest table) when Andy let out a loud cheer when the compere asked if there was anyone in the room from the USA… I’ll also remember his approach to timekeeping at the Mallorca conference, where he signalled that it was time to move on to the next supplier stand by passing from room to room with a toy megaphone that played ‘Olé, olé-olé-olé’.

He leaves behind a company that has been widely recognised as a leader in its fi eld. As he told me when I interviewed him and Toni earlier this year: “We’ve got a clear aim: we want to be the biggest university AV supplier in two years, and the biggest education AV supplier in two years – and we’ll get there.”

Our sympathies go out to Toni, to everyone at CDEC, and to Andy’s family. Donations can be made in his memory to the Hillsborough Justice Fund – a cause very close to the heart of a lifelong Liverpool FC supporter – at https://crowdfunding.justgiving.com/AndyDuckworth.

Subscriptions to Installation are free to qualifi ed readers. Register online at www.installation-international.com/subscribeCirculation & subscription enquiriesTel: +44 (0)1580 883848 Email: [email protected]

Installation is published 12 times a year by NewBay Media Europe, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LR, EnglandEditorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000 Please send press material [email protected]

Remembering Andy

Paddy Baker, [email protected]@install8ion

Editor: Paddy Baker [email protected]

Managing editor: Joanne Ruddock [email protected]

Sta� writer: Duncan Proctor [email protected]

Head of Design: Jat Garcha [email protected]

Designer: Tom Carpenter [email protected]

Sales manager: Gurpreet Purewal [email protected]

Account manager: Peter McCarthy [email protected]

US sales – Executive vice president:Adam Goldstein [email protected]

Production manager: Jason Dowie [email protected]

Digital content manager: Tim Frost [email protected]

Contributors: Mike ClarkDavid DaviesByron Harrison Rob LaneIan McMurraySteve Montgomery

Special thanks: Katinka AllenderStefanie HanelTorsten HøjerIlona Jacobi

© NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Printed by Pensord Press, Wales

Print ISSN: 2050-6104 Online ISSN: 2052-2401

‘Andy had a tendency to say the fi rst thing thatcame into his head, for a laugh’

Driving the Creation of Knowledge

Presentation. Collaboration. Knowledge Sharing.www.cynap.net

Cover image: Emerson iOps centre, courtesy of Barco

A sister title to SCN

03 Install184 Welcome_Final.indd 1 23/09/2015 15:55

04 CONTENTS October 2015

06 Analysis Businesses failing to invest in videoconferencing Growth in EMEA digital signage displays market10 Regional Voices: Ireland 12 Industry Moves

14 Opinion Rob Lane on Microsoft Surface Hub Byron Harrison discusses what determines the acoustic performance of a venue18 Interview Peter Fell of Feltech talks about bridging the gap between AV and broadcast

20 Digital Signage Summit Europe review22 IBC2015 The latest products and our Best of Show winners

26 Oil and gas How have falling oil and gas prices a ected AV manufacturers and integrators?34 Hospitality venues To stay ahead, venues need to optimise new technologies to attract both corporate and regular visitors40 Discreet and invisible technology Developments in discreet AV technology have made high-end performance attainable without impacting on the aesthetics

44 Aquae Venice 2015 Multimedia technology is utilised at this exhibition designed to illustrate the importance of water 46 Bronze Age Cinema, Hallstatt Mountain Salt Mines A 4K cinema 400m below the earth’s surface guides visitors through 7,000 years of this historical site48 Solutions in Brief Featuring TiMax’s World Expo 3D audio experience, d&b audiotechnik at the Turkish Parliament building and NanoLumens’ electrochromic glass install

51 New Products Including Flare Audio, InFocus, NEC and QSC54 Demo of the Month Planar Clarity Matrix Video Wall Calculator56 Showcase Conferencing equipment

News & Data

People

Also inside

Features

Solutions

Technology

18

26

44

51

22

04 Install184 Contents_Final.indd 1 22/09/2015 16:01

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06 ANALYSIS October 2015

The majority of UK business users believe videoconferencing increases productivity but many are failing to invest.

Research by Blue Jeans Network shows that 59% of UK business users believe videoconferencing has led to increased employee productivity. Despite this, the vast majority of businesses still have not invested su�ciently in the tools needed to gain the benefits that videoconferencing brings. There is a significant gap between what employees see as a useful tool and the number of businesses with the right technology to make use of it.

In the future, companies will need solutions that are intuitive and user-friendly, that harness cloud-based technology, reduce dependency on ageing hardware and are designed with flexibility and interoperability in mind.

“The hot topic in businesses right now is the balance between austerity measures and productivity gains. Organisations are doing everything they can to move forward e�ciently. Without the right services in place, they are really being held back,” said James Campanini, Blue Jeans VP & GM, EMEA.

With emerging virtual reality games, smartwatches, smart TVs and other consumer electronics and IT applications entering the market, shipments of gesture sensing

control user interfaces are poised to grow 10% year over year, to reach 1.8 billion units in 2015. While touchscreen technology works well in smartphones, tablets and other mobile devices with flatpanel displays, it is less suitable for use in some new and emerging applications. Gesture-sensing control will fill an industry gap.

“Gesture-sensing control will not compete with touchscreens, but will instead be complementary, because each technology is appropriate for specific applications,” said Calvin Hsieh, director for touch and user interfaces for IHS. “Smart TVs, for example, are not good candidates for touchscreens, because they are too far from viewers. On the other hand, gesture-sensing control is especially suitable for future immersive augmented reality and virtual reality computing.”

Businesses failing to invest in VC

Gesture-sensing control shipments grow

By Steve Montgomery

By Steve Montgomery

www.bluejeans.com

Source: Blue Jeans

Source: IHS *= forecast

Percentage of users believing videoconferencing....

Gesture-sensing units – worldwide shipments (billions)

www.ihs.com

Reduces miscommunication

Provides significant positive impact on business

Achieves better sta� morale

Puts sta� in position to achieve business goals

Requires IT sta� set-up

Is not interoperable with other users’ systems

Is hard to use

Requires business to own outdated hardware

Current hardware will not be usable in two years

Increases productivity

82%

75%

67%

59%

41%

34%

49%

53%

56%

83%

0.0

0.5

1.0

1.5

2.0

2.5

3.0

2013 2019*2018*2017*2016*2014 2015*

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06 Install184 Analysis_Final.indd 1 22/09/2015 16:03

Audio Conferencing today can be a complex task. To integrate different input sources into a reliably working conference setting one needs to provide fast and easy access, reliable signal processing and intelligible sound. TeamConnect provides all of this, plus it changes the status quo for the better due to its exceptional ease of use. Designed as an all-in-one system for telephone and web conferencing it will simply perform – from set-up to every day operation. It’s a true plug-and-play solution for any business communication device.

sennheiser.com/teamconnect

TeamConnect: Stress-free meetings.

THE ALL-IN-ONE AUDIO SOLUTION FOR MEETING ROOMS

TC_Advert_300x245 10-14.indd 1 19/05/2015 17:02TC_Advert_300x245_05-15.indd 1 22/09/2015 14:56

08 ANALYSIS October 2015

Figures from the invidis consulting Digital Signage Yearbook 2015/16 show the EMEA region’s digital signage professional displays market is performing well, with growth being experienced across many

countries in the region.The DACH countries (Germany, Austria,

Switzerland) have the biggest market share at 18%, with the UK and Ireland just behind on 16% following growth of more than 30% last year. France and the Nordic and Benelux regions retain approximately 10% market share, but the Polish market has shrunk by over 10% and constitutes just a 3% share of the EMEA market.

In addition to the strong growth seen in the UK and Ireland, Spain and Portugal and the Gulf region also experienced over 30% growth last year, and account for 4% and 6% of the market respectively.

The dominant vertical market in every region or country is retail, with corporate communication in second place in over half the territories surveyed.

According to R&M, a Swiss developer and provider of cabling systems, the new generation of Power over Ethernet (4-pair Power over Ethernet, or 4PPoE) can supply up to 100W, compared

to the current 13W or 22W, but also presents issues with heat build-up that planners and installers need to consider.

In addition to the 10Gb Ethernet speed, 4-pair Power over Ethernet can also supply IP terminal devices via the local data network, and small sensors and control systems can be run remotely in buildings without additional cabling. The move towards greater use of PoE would also incorporate the Internet of Things.

A consequence of using 4PPoE is the load increase, as every twisted pair in the network has a current of between 650 and 1100 mA, which is a significant increase compared to pure data transfer. As a result of the energy transfer, the cables and cable bundles heat up and R&M claims a long-term temperature increase of 10ºC

can halve the service life of the cable. Higher temperatures also increase copper’s resistance and weaken signal transmission.

Therefore, when planning a cabling project, R&M stresses the importance of factoring in temperature increases and avoiding thick cable bundles and heat build-up in cable channels. Recommendations include larger conductor cross-sections and/or using shielded cables for

longer cabling links, as they do not su�er such significant temperature increases. In addition, R&M advises using modules and plugs with insulation displacement technology to create stable connections between the cables and connecting contacts.

Strong growth for digital signage displays market

R&M prefaces 4PPoE with advice on heat build-ups

By Duncan Proctor

By Duncan Proctor

www.invidis.de

DACH

UK and Ireland

France

Nordics

Benelux

Italy

GCC

Spain and Portugal

Russia

Poland

Turkey

Source: invidis consulting Digital Signage Yearbook 2015/16

Digital signage in EMEA 2014 – professional displays market shares

www.rdm.com

18%

16%

11%10%

8%

6%

6%

4%

4%3% 2

%

08 Install184 Analysis_Final.indd 1 22/09/2015 16:51

NEW GENERATION AMPLIFIERS FOR INSTALLATION.

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With new features dedicated to the requirements of fixed installations, the latest generation 10D and 30D amplifiers combine four -channel amplification with powerful digital signal processing capabilities to deliver a cost -efficient sound reinforcement solution. More at www.dbaudio.com/10D30D

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10 REGIONAL VOICES October 2015

IRELANDConfi dence is on the up, according to our latest survey, but some parts of the market

still don’t appreciate the value of integrated solutions

You might be surprised to learn that Ireland leads the world in attracting foreign investment. For the fourth year, IBM’s Global Locations Trends report has put the country at the top of the list of

countries ranked by the value and quality of the investment they attract. According to the report, these investments are for “projects in industries characterised by high knowledge intensity and

economic value added, such as life sciences and information and communication technology”. This is all to the good in a country that was hit hard by the 2008 banking crisis, and has had a bumpier road to recover than many of its neighbours.

But what of the installed AV market? We asked some of our readers in Ireland to give us their views. As is customary, we asked for advice to companies entering the AV market. Most of the comments we received were negative: one integrator thought that a manufacturer should only enter the Irish market if it had a relationship with a company already established there, because of the di� culty of winning contracts. And, advising an integrator thinking of entering the market, one respondent said: “Look how many have gone out of business here chasing an ever-decreasing market being driven by the concept

that cost is everything.”This view of the market was also borne out

when our respondents were asked to select the issue most of concern to their company – from a list of fi nancial, market and technological topics. The one causing by far the greatest concern was clients going for lowest price rather than best value. “Clients do not always understand what they are getting, so go for the lower price,” said one integrator – indicating that a degree of customer education is required. This was echoed in a comment by another respondent who, when asked how they would like the industry to change, said: “Try and get the customer to realise what it is we do, and make them understand how this can help them.” Credit terms and other cashfl ow issues were also a concern for some.

In the light of this, we were surprised by the answer to our question about confi dence levels. We asked whether these had risen, fallen or remained the same compared with six months ago: risen was the most popular choice, fallen the least.

The overall impression, then, is of a market where a number of challenges persist, but with su� cient growth in key verticals such as corporate and education to keep the industry ina reasonably healthy state.

6.7% GDP annual growth, 2015

Source: Trading Economics

4.1% Budget defi cit, 2015

Source: Trading Economics

Predicted trends in key vertical markets

GREATEST INCREASE

Corporate

Education

Digital signage

Retail

Sports venues

Bars, clubs, restaurants

Performing arts venues

Museums/visitor attractions

Worship

DECREASE

10 Install184 Regional Voices_Final.indd 1 22/09/2015 16:42

Switcher ControlEthernet lets you plug in a computer for control and uploading graphics.uploading graphics.

The ATEM 2 M/E Broadcast Studio 4K is a live, multi camera production switcher that features 12G-SDI so you can now work in high frame rate Ultra HD which is perfect for live events such as sports, music concerts, theater and more! The advanced 12G-SDI based design featuring 20 12G-SDI inputs with full re-sync lets ATEM 2 M/E Broadcast Studio 4K work in all HD and Ultra HD formats all the way up to 2160p60! You also get advanced broadcast features such as chroma key, transitions, keyers, multi view and much more!

High Frame Rate Ultra HDThe native 12G-SDI design lets you use the same high frame rate workflow in Ultra HD for fast action sports that you use in HD! 12G-SDI is 4 times faster than 3G-SDI so it easily handles Ultra HD in frame rates up to 60 fps. Because 12G-SDI switches speeds, you can instantly switch to operate in regular HD whenever you need!

Creative TransitionsYou get a huge range of real time high quality transitions in all resolutions and frame rates! Use mixes, dips, wipes and animated stinger transitions for eye catching live broadcasts! Every transition is instantly available and via macros so you get full control of transition type, pattern, length and other attributes. Create your own ‘on air’ looks with ATEM’s amazing transitions!

Multi View Monitoring in Ultra HDATEM 2 M/E Broadcast Studio 4K features two Ultra HD multi views so you can see your program, preview and sources with custom layouts and labels! For the ultimate in image quality you can use Ultra HD displays or you can use regular HD displays and the multi view will down convert to HD!

Media PlayersThe 4 built in media players are designed for high frame rate HD and Ultra HD! ATEM can store full motion video and full resolution RGBA stills with key and fi ll, or you can direct export from Adobe Photoshop to the switcher with the included plug-in. The media memory is big enough for 64 Ultra HD still graphics plus 360 frames of Ultra HD video or 1440 frames of regular 1080 HD video!

www.blackmagicdesign.com/nl

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Get a complete 12G-SDI workfl ow!Blackmagic Studio Camera 4K ......................................................€2 359*HyperDeck Studio 12G Broadcast Deck ....................................€2 559*Smart Videohub 12G 40x40 Router .............................................€4 495*Teranex Express Standards Converter ........................................€1 255*Teranex Mini 12G Converters .............................................................€445*

ATEM 2 M/E Broadcast Studio 4K .............................€5 395*ATEM 2 M/E Production Studio 4K ................................................€3 595*ATEM 1 M/E Production Studio 4K .................................................€2 245*

*SRP is Exclusive of VAT.

Redundant Power Two built in supplies keep the switcher running in case of a fault!

Aux ControlSelect video sources to aux output right from the front panel.

Built in MonitoringFull resolution HD display lets you view any router source!

12G-SDI Inputs20 inputs with 12G-SDI and re-sync for HD and

Ultra HD up to 2160p60.

Built in Audio MixerDedicated audio inputs

can be mixed with audio from all SDI sources.

Aux Outputs6 aux outputs allow

connection to on stage screens and projectors.

Program OutputsSend your program

feed to your audience, or for recording!

Multi Views in HD or Ultra HDMulti view lets you see 8 sources and program on

a single monitor.


12 INDUSTRY MOVES October 2015

Absen has announced the appointment of Thomas Peterfaj as the company’s new senior director sports for the European market.

In this newly created role he will be responsible for supporting the brand’s growing presence in the sports industry and promoting its digital signage and perimeter pitch solutions dedicated to stadiums and arenas.

Peterfaj has a decade of experience in the sports industry. Before joining Absen, he was the director of marketing operations at SPORTFIVE, specialising in project planning and co-ordination in Europe for LED perimeter boards. Prior to that, he worked as a project manager for

German company APA, a European leader in the production of advertising for the sports industry.

“I look forward to helping Absen in strengthening its presence in the sports industry,” enthused Peterfaj. “Absen has an ambitious strategy for this market, and knowing the quality of the products, I am confident it has the means to achieve its objectives.” With Euro 2016 just around the corner, Absen is setting the right foundations to reach the goal of becoming the leader in display solutions for the stadium industry.”

Thomas Peterfaj joins as senior director for the European market

Cadac has appointed Tommex as its exclusive distributor for Poland. The agreement was signed following Cadac’s launch of its CDC six console, a product for which Tommex envisages signi�cant demand among its customer base.

www.cadac-sound.comwww.tommex.pl

New Partners

n CalibreGeorge Koumishas been appointed technical business development manager with a focus on Calibre’s OEM business and sales channels in the Americas. He is based in Sacramento and will focus on

building OEM relationships. Koumis’ previous experience includes time at General Electric and Barco.www.calibreuk.com

n ExterityMarco Bompanihas been named channel account manager Italy. Reporting to Myriam Calaber, southern Europe & Mediterranean sales director at Exterity, Bompani will o�er specialist support for existing customers and partners as well as helping to expand

activity in the country. Bompani previously spent time at ZeeVee, ATS Group, SITE and more.www.exterity.com

n HelvarDan Willshas rejoined Helvar as senior strategic product manager for lighting controls. He previously spent six years at the company before moving to Havells Sylvania and the Wandsworth Group. His new role will be to develop and

implement the global strategic product and marketing plan for the Lighting Controls Business Unit.www.helvar.com

n Listen TechnologiesMaile L Keoneis now vice president of sales and marketing at Listen Technologies. This appointment builds on her previous responsibilities as VP of marketing and sees her role signi�cantly expanded. Keone is now responsible for ensuring exceptional customer experience

and serving as chief steward of the Listen brand. www.listentech.com

n VDC Trading Susie Rushdenhas joined VDC Trading in the role of sales manager. She has worked in a sales management, development and training role for several major UK companies and counts motivation, training and

sales psychology as her main areas of expertise.www.vdctrading.com

Absen extends its reach in the sports sector

www.absen.com

Comm-Tec has been named as the o�cial distribution and solutions partner of Teracue. Described by Comm-Tec general manager Carsten Steinecker as “nothing less than a new era at Comm-Tec”, the partnership covers the entire Teracue product line.

www.comm-tec.dewww.teracue.com

Optoma has formed a new distribution partnership with IT distributor Disway for its operations in Morocco. Mohsin Abakhti, Optoma manager Middle East, Turkey & Africa, said: “With Disway’s expertise in the markets of French-speaking countries, we will look to increase our presence across north and mid-Africa.”

www.disway.com www.optoma.co.uk

Lang has formed a new partnership with interactive multitouch applications provider eyefactive. The collaboration between the two companies will generate a range of complete touch solutions consisting of hardware and software. eyefactive AppSuite has already been integrated into Lang’s portfolio.

www.eyefactive.comwww.lang-ag.com

12 Install184 Industry Moves_Final.indd 1 22/09/2015 14:05

Over 71,000 mission critical video wall installations.See the bigger picture.

InControl

As a company that builds power generation plants, and puts satellites into orbit, Mitsubishi Electric understands better than anyone the importance of delivering mission-critical information to the people that need it; clearly and reliably — every time.

rom the control rooms that keep our tra c owing, the utilities that light and heat our homes, to the emergency services that watch over our safety, Mitsubishi Electric builds the systems that touch our daily lives.

Mitsubishi Electric video wall systems are trusted to provide the eyes and ears for operators managing some of the world’s largest mission critical control rooms. From Moscow to Tokyo and from New York to Istanbul, Mitsubishi Electric Seventy Series displays operate around the clock, helping ensure the smooth running of the network and allowing operators to zoom in quickly to any potential trouble spots.

Mitsubishi Electric’s Seventy Series displays use the latest LED lighting technology to guarantee excellent performance, reliability and longevity in 24/7 applications. With an expected lifetime of up to 100,000 hours, Mitsubishi Electric video wall cubes are designed and built to meet the most demanding requirements of the end user.

Where there is a need to monitor and control information ows, itsubishi lectric is there

www.mitsubishielectric-displaysolutions.com [email protected]

UK + 44 1707 278 684Middle East + 971 4 372 4720Turkey + 90 216 526 39 90

Benelux, Eastern Europe & Scandinavia + 31 297 282 461Russia & CIS + 7 495 721 1043

Germany + 49 2102 486 5970 Spain & Italy + 34 935 653 118France + 33 1 5568 5553


14 OPINION: ON THE AGENDA October 2015

Rob Lane Collaboration game changer?

Shipping may be delayed, but Microsoft Surface Hub continues to turn heads

The corporate AV market is experiencing significant developments, in both technology and the way technology is deployed. Indeed, the sector is arguably leading the way with technology

consumption, with huge tech brands such as Amazon, Google and Microsoft committed to corporate AV solutions.

The latter has, of course, recently announced delays in the introduction of its Surface Hub ‘collaboration device’, despite taking orders from 1 July. Rumours are that Microsoft has run into a few manufacturing problems as a result of high demand, but this is just reading between the lines of the company’s delay announcement: “Based on the early interest we see, we’re tuning our manufacturing process to prepare for production at broader scale. To do this, we are adjusting our product roll-out schedule.”

Whatever the reasons behind the delay, what’s certain is that we won’t see Surface Hub in corporate meeting rooms until Q1 2016 at the earliest. “We will not start shipping on September 1,” Brian Hall, general manager for Surface, explained in his blog post. “We’ll have more details on our updated shipment schedule in early August. In the meantime, we will continue to take pre-orders.”

True to his word, the blog was updated on 12 August, confirming that the devices won’t begin shipping until January 2016. It continues to be a long road to market for this product, especially if you see its gestation as being around the time that Microsoft bought Perceptive Pixel in 2012. Regardless, of the delays though, the corporate AV market is excited about Surface Hub, with Simon Fagan, director at European distribution

partner Maverick UK, calling it “revolutionary”.The new 55in and 84in touchscreen solution

has been designed for today’s tech-savvy workplaces and is said to combine all conference room components into one collaborative device. According to Microsoft, it adds “the best group productivity and collaboration device to the most productive personal devices in the world”.

Utilising applications such as Windows 10, O�ce and Skype for Business, Surface Hub is designed around a highly responsive screen built for ink and touch. Both versions are integrated with optically bonded displays capable of detecting 100 points of multi-touch and up to three simultaneous pen inputs, as well as dual 1080p front-facing video cameras, and a four-element microphone array that detects and follows voices to eliminate background noise during videoconferencing sessions.

“Microsoft Surface Hub is a fundamental step change in integrated technology,” Fagan told me. “It’s revolutionary and will allow videoconferencing and sharing to screen from home workstations to become commonplace, thanks to the delivery of full communication and collaboration functionality through the highest-quality touch interface.”

This perhaps understandably enthusiastic response from one of Microsoft’s chosen European distributors is echoed by James Shanks, international managing director, AVI-SPL, who had this to say: “We have waited a few years in our industry for the next big thing; the Microsoft Surface Hub is it. It will be disruptive to the current attitudes and use of technology in various environments and the manufacturers that had provided solutions in those areas previously.

It is the solution to a number of challenges that existed in the collaboration space.”

And, predictably of course, comments from within Microsoft itself underline the revolutionary nature of Surface Hub. Mike Angiulo, corporate vice president, Microsoft Devices, is quoted as saying: “Just as the PC revolutionised productivity for individuals, Surface Hub will transform the way groups of people work together.”

That latter statement might be stretching things somewhat, but the corporate AV market is certainly ripe for a solution which integrates seamlessly into the workplace, and Surface Hub is well positioned to tick a lot of boxes for a lot of corporate technology specifiers.

“It’s a game changer,” continued Fagan, “a complete solution for businesses that wish to reduce the management costs of AV and VC systems by combining conference room components into one collaborative device. It is built on features that make it unlike any in the market, including the digital whiteboard experience, real-time collaboration and meeting interface.”

This broad-church, one-stop appeal is certainly what’s driving interest, thus delaying shipping. Surface Hub provides great value for businesses by combining key collaborative scenarios, including visualisation brainstorming, remote collaboration and data insights.

Revolutionary. Game-changer. Next big thing. Fundamental step change. We’ll have to wait until next year to find out if these accolades are accurate.

PR and tech journalist with a 22-year Mac habit, Rob Lane looks forward to Apple taking its own bite out of the collaboration market.

14 Install184 Opinion 1_Final.indd 1 22/09/2015 14:08

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16 OPINION: ON THE AGENDA October 2015

Byron HarrisonSounding out the sublime

Reverberation time should not be relied upon as sole indicator of a space’s acoustic performance

My company, theatre and acoustics consultancy Charcoalblue, has been working recently at St George’s concert hall in Bristol. The most unusual aspect of the hall is,

arguably, the consistency of its praise. Musicians – including famous names – adore playing there, and audiences are engaged and free with their compliments, while vocal about their excitement for what they hear. This unanimity allows the venue to be absolved of many sins – cramped front of house space, awkward circulation, meagre artist accommodation and a lack of breakout space for education and events. These aspects will be corrected in a proposed addition to the building.

While recognising the opportunity to improve the facility, Suzanne Rolt, executive director of the organisation, and her sta� acknowledge the potential risk of disturbing what is most cherished about the building. Accordingly, Charcoalblue has been engaged to advise not only on the acoustics of the addition, but also to safeguard those of the auditorium. It is certainly not the intention of the project to change the acoustics; however we have performed a simple battery of tests to explore what is most precious about the sound quality.

Our simple reverberation time (RT) measurements returned nothing particularly unusual. A generous mid-frequency RT of 2.2s is heard when unoccupied. One would expect the acoustics of a hall with such praise to have an absolutely textbook performance: however, the frequency contour of the acoustic response is weak at low frequencies and is particularly uneven as one moves throughout the room.

As acoustics grew up as a science and an industry, the most apparent, most conveniently observed feature was the duration of the sound decay. Acousticians fixated on this single number, expecting any rooms that fell in line with it to sound equally good. Over time, our obsession with RT has begun to unwind, with other more esoteric aspects gaining prominence. The measurements at St George’s underscore this once again.

The qualities of St George’s that trump the RT conditions are as much qualitative as they are quantitative. We note that the hall dimensions are extremely favourable for sound clarity. At the centre of the seating area, the ceiling and sidewalls provide a tidy packet of sound reflections 50ms and 55ms after the direct sound. However, the unusual features we believe are more di�cult to measure.

The stalls level seating at St George’s is on a flat floor. Not only does this reduce the amount of sound absorbed by the audience, lending benefits of loudness, but it also tips balance against the visual. Yes, the sightlines are challenging, but do we listen better when we can’t see so well? We suspect that contemporary surround-style (‘vineyard’) concert halls are conditioning listeners to being bombarded by the visual sense.

What the surround concert halls and St George’s have in common, however, is an emphasis on clarity and the coherence of the acoustic response. Vineyard halls have, by definition, steeply raked seating areas that place emphasis on the overhead reflection, giving generally excellent qualities of detail and localisation. St George’s, with its modest

reverberation, flat ceiling and muted bass response also shares this characteristic. This may be a trend that originates from the modern conditions of listening – through headphones or to home audio systems. However, it certainly points to a preference, even within a shoebox concert hall form like St George’s, for clarity and localisation over reverberation.

The audience experience at St George’s is also enhanced by the seats – leather upholstered benches – and the floor, which is uncarpeted. Overall, it’s a comfortable experience, but it’s not the plush recliners you might find in other classical music venues. Arguments for sound absorption in the audience area come from conductors (who desire minimal change in acoustic conditions between occupancy conditions) as well as audiences. St George’s helps us to challenge that assumption. So much of what we hear comes from the reflective surfaces very near our ears. Couching a listener in a sea of sound absorption diminishes the e�ect of all the other great things that the room can provide.

There is much to be learned in concert hall acoustics generally. Our limited study of St George’s lends a few technical clues and many qualitative clues about where our listening – and playing – preferences lie. These are lessons that will inform our designs and, we hope, our listening experiences in the future.

Byron Harrison is head of acoustics at Charcoalblue.

www.charcoalblue.com

16 Install184 Opinion 2_Final.indd 1 22/09/2015 14:12

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18 INTERVIEW: PETER FELL, FELTECH October 2015

How did you get into the industry?I started out working in the engineering team at ITN (Independent Television News) in 1980, and worked my way up to the level of supervisory engineer before taking voluntary redundancy and leaving to form Feltech in 1989. I’d initially started working as a sole trader during days o� while at ITN, providing video for exhibition stands and at motor shows, so I was already established as Feltech. When I left I formed the limited company, adding broadcast installations to my o�er.

Live news is a dynamic, exciting environment to work in. There’s nowhere to hide, so engineering and installation standards have to be high – something that I have carried forward into Feltech. ITN gave me a strong foundation as an engineer and ignited my passion for innovative technologies and solutions.

I’m proud to say that Feltech’s broadcast credentials are impeccable. Our engineers have been responsible for groundbreaking work throughout our history, from the first live television pictures to come from inside the Channel Tunnel, to transmitting the first images

of Barack Obama as he took the stage at the G20 Summit.

How did Feltech’s presence in broadcast & AV originally come about? Would you say that the two sectors have become closer, in technology terms, in recent years? I’ve always been passionate about technology, and on an engineering level the boundaries between AV and broadcast are far less distinct than they used to be. In the early days of the company, through client demand, Feltech bridged the gap between broadcast and AV, and this was a natural fit for us.

Over the past decade, advances in technology have blurred the lines between broadcast engineering, AV and IT; our broadcast, UHD and 4K workflow expertise is as relevant now to our corporate clients as to our broadcast installations.

AV technologies and unified communications are constantly evolving, and as a privately owned, proactive company we can work fast and respond to our customers’ needs without

anything getting in our way. I’ve always stressed the importance of investing in training, engineering, research, technology, customer support and great design. Whether it’s applied to the AV or broadcast sector, for me success is all about the people behind the technology.

What’s got better and what’s got worse about the AV integration industry since Feltech was founded in 1989?In the past, clients focused on the design of distinct AV areas, be it videoconferencing, videowalls or meeting rooms – often after all other elements of a building were in place. With today’s projects and truly integrated technologies we can take a more holistic view, enabling us to o�er business solutions that make a real di�erence to the bottom line.

At Feltech we take time to listen to our customers, understand their needs and develop systems that are more than merely out-of-the-box solutions. Great AV/IT is invisible and is embedded deep inside client spaces. Get it right and we can improve client workflows,

‘We’re clearly doing something right’

Rob Lane talks to the founder and managing director of renowned integrator Feltech about bridging the gap between AV and broadcast, as well as unified comms, sta� loyalty and engineering credibility

18-19 Install184 Interview_Final.indd 1 22/09/2015 16:10

communication and productivity, o�ering much more than a traditional AV contractor could deliver.

This means we are often involved much earlier in the process, and we have expanded our team accordingly. Over the past four years we have nearly doubled in size and are still recruiting. I initially operated Feltech on my own for 12 months, before taking on a sales executive in 1990. He’s still with us 25 years later, and is now our business development manager! This is a key point about Feltech – our sta� rarely leave, and when they do they often return having realised that the grass isn’t greener. We’re clearly doing something right! We are lucky to have this extremely low turnover rate for sta�, but we’re extremely busy so it’s key we maintain the same level of personal service our clients are accustomed to.

If there’s a downside to the current marketplace it’s the lack of emphasis on quality of solution made by procurement-led tenders. We design intelligent systems that o�er far more than the sum of their parts; it can be hard to communicate this without an open dialogue between the client who will ultimately benefit from the system and the designer.

Last year, the MD of another integrator told us, “We will see the industry taking further steps away from being the biggest cottage industry in the UK”– in other words, a more professional, corporate-style approach rather than “family-run, lifestyle businesses”. Do you agree with that observation?I think the scope of AV work in the marketplace means it’s impossible to generalise. There’s always going to be a niche for the small family-run, lifestyle businesses in the same way that SME specialist companies will always exist pushing the boundaries of new tech.

I strongly believe that there is a space

between cottage industry and an impersonal, corporate approach. Whether we are designing a small TV studio or working on a £5 million project for a City corporate, we still maintain the importance of dedicated account managers, on hand to support our clients every step of the way. We are big enough to compete with any large integrator, but we are still small enough to be passionate about getting it right every time.

I see us as being quite specialist actually, always emphasising the engineering side of things and ensuring that everything is properly engineered. We’re certainly not a ‘volume is king, churn them out’ type of company, preferring more challenging installations – lecture theatres, recording suites – to multiple display installs, for example. That said, we’re more than happy to take that kind of work on, as part of a more challenging build.

Our role as primary partner for the GPA (Global Presence Alliance) in the UK means we are supported by a global network of like-minded AV integrators sharing a common vision and passion for delivering excellence. We are delighted to be able to o�er our clients a dynamic multinational network of similar, forward-thinking partners around the world with a common commitment to integrity, customer service and support.

Are we getting enough new blood into the industry? During our recent recruitment drive we worked with local universities and colleges to access a new generation of engineers and IT specialists. It’s worked out really well: we’ve found some great new talent and we’re supporting the local community at the same time. We’re lucky; we are often approached by people working for competitors looking to join the Feltech team, so there’s no shortage of candidates to keep HR busy!

What do you look for in new recruits?It’s not a 9 to 5 job, and technology doesn’t stand still, so we look for innovative people who thrive on change, with a proven track record. It sounds like a cliché but we are like a big family, each bringing something di�erent to the table, so it’s important new recruits are as passionate about the industry as the rest of us. Personality and passion are very personal traits and not

something that can be taught, so for me these are far more important in the recruitment process than, for example, a specific piece of industry knowledge.

What new technologies are you most excited by in the AV world?We are very excited by the team collaboration tools that are coming to the market, and we’re delighted to be part of the Microsoft Surface Hub commercial sales channel. Business customers are increasingly seeking devices that empower teams to be more productive together, can be easily managed and configured, and have the right software to get the job done. I think Surface Hub is much more than just a new product; it will change the way we work together for years to come.

The move towards IP is also very exciting. The broadcast industry has been moving content around via IP for many years and the AV industry is finally waking up to the possibilities that the network can bring to AV systems integration. The AV engineer of the future will need a whole new set of skills in order to succeed in their day-to-day jobs.

What keeps you awake at night?That’s a tricky one. At the moment it’s the expansion of Feltech and the strain that is putting on car parking capacity at our HQ!

Do you have any unfulfilled ambitions? My aim is that Feltech will be one of the top three systems integrators in the UK, in turnover terms, and number one for engineering excellence. Arguably we have already achieved the latter; in the next five years it is my ambition to achieve the former as well!

Going forward, I’m keen for us to grow by finding new customers, having broken into new areas – something we’ll be able to do once I’ve expanded our sales team again.

However, as mentioned above, I’m convinced we can do this while being true to our core beliefs, and am determined that we will grow while maintaining our business culture and engineering standards – I would never want to lose that ethos.

One of our cultural ideals, if you like, is providing five-year warranties – to underscore our quality control. We virtually never get called to deliver on these warranties, so they mainly exist as a quality badge.

Ultimately, I firmly believe that there’s room in the market for a big integrator that does things properly, and as we expand our remit Feltech will prove that this ambition can be fulfilled.

19www.installation-international.com INTERVIEW: PETER FELL, FELTECH

www.feltech.co.uk

n Peter Fell formed Feltech in 1989 after working for ITN since 1980, having quali�ed with a HND in electrical engineering

n A PRINCE2 practitioner (project management) and InfoComm CTS-D certi�ed, Peter has a wide knowledge of all facets of the broadcast and AV industries. However, he remains an engineer at heart and still plays an active role in detailed systems design

n An industry professional for 36 years, Peter has worked extensively for the UK government, the police, the banking fraternity, higher education and FTSE 500 companies

A brief biography

‘Personality and passion are far more important in the recruitment process than

a specific piece of industry knowledge’

18-19 Install184 Interview_Final.indd 2 22/09/2015 16:10

20 SHOW REVIEW: DIGITAL SIGNAGE SUMMIT EUROPE October 2015

The latest edition of the OVAB Digital Signage Summit Europe took place on 10 and 11 September in Munich. Although this was the ninth such event organised by invidis consulting, it was the fi rst

one that also benefi ted from the involvement of Integrated Systems Events, following the establishment of a joint venture between the two organisations that was announced at ISE 2015. The Summit’s unique selling point is that it is the only conference to cover both technology (digital signage) and market (digital-out-of-home) topics. This year, it attracted some 470 delegates – a signifi cant increase on last year’s number.

The venue was the Hilton Munich Airport – just a few minutes’ walk from the airport terminal. The lunch, refreshment and exhibition areas were in the spacious hotel atrium, whose glass walls helped to give the impression that one had not left the airport at all!

The fi rst day saw a digital signage tour of Munich in the afternoon, followed in the evening by a visit to Weihenstephan, the world’s oldest brewery. Here, Digital Signage Awards were presented to the best-performing display, software and integration companies during 2014 – based on data compiled by invidis consulting.

Networking opportunities were plentiful during the conference – not simply by the provision of long breaks during the day, but also through a ‘matchmaking’ service, which enabled delegates to look at the attendee list ahead of the event and request appointments.

Industry driversThe conference proper began the next morning. Florian Rotberg and Oliver Schwede outlined some of the key themes of the conference in their keynote presentation, ’Digital Signage 2020 – the shifting balance of power’. They discussed a number of drivers from within the industry, from the customer side and on the DOOH landscape.

Disruptions to the industry included the decision by German outdoor agency Ströer Media to used Ayuda’s ERP system in place of a combination of ERP and CMS – taking a potential 5,000 software licenses o� the market; the advent of Adobe Experience manager and the licence-free Google Chrome Digital Signage; and a global content partnership between Samsung and digital publishing house Axel Springer, which could potentially extend to digital signage.

Freelance contractor Giovanni Flore presented two major Benetton digital signage campaigns he was involved with in recent years, one in-store, the other which used shop windows to show engaging, quirky, sometimes interactive content. “A brand cannot involve its customers with commercial content only,” he opined.

Flore then took part in a panel debating ‘The evolution of digital signage – from instore TV to customer engagement’. Here, Damian Rodgett of Pilot Screentime pointed out that two of the most sought-after deliverables from signage projects are engagement and reach, but that these are generally “polar opposites” – you can either deeply engage with a limited number of people, or reach a large number of people but

in a less engaging way. He added that signage technology was now su� ciently mature so that e� ective point-of-sale campaigns are no longer restricted to global brands: they can work for national or even regional brands, which wasn’t the case two years ago.

A number of case studies were presented during the day, most of which were talking about increasing customer engagement rather than directly driving sales. An exception was the case study from the FCBarcelona digital megastore, presented by Daniel Urruchua of TMFactory. Here an in-store screen-based system allowed customers to choose a size and style of football shirt, and add the name to be printed on the back; robots then printed the shirt and delivered it to the shopper. This was no small software feat, he pointed out: the software had to be “like an orchestra director”, connecting digital signage, ERP, payment, printing and RFID systems.

Roland Grassberger of Grassfi sh (which last year, it was revealed, toppled Scala from the top position as top DS software vendor in the DACH region) presented a case study of system at the DHL Innovation Centre, which cleverly uses standard digital signage software, dynamic device control through trigger points in playlists, and integration with the AV and lighting system, to create a showroom experience that can be customised by non-technical sta� to suit the interests and industry of corporate visitors.

Felix Reinshagen of NavVis (a company spun out of a research project at TU Munich) and Thomas Kallmayer of Munich Airport presented a

Shiftingthe balance

Now a joint venture between invidis consulting and Integrated Systems Events, last month’s Digital Signage Summit Europe drew a greatly increased audience this year. Paddy Baker reports

Discussing the evolution of digital signage were (on the big screen, L-R) Florian Rotberg (invidis) and Joachim Bader (Sapient Nitro), fl anked by Giovanni Flore (Benetton), Damian Rodgett (pilot Screentime) and Claus Adams (Cheil D-A-C-H)

20-21 Install184 Show Review DPS_Final.indd 1 22/09/2015 16:46

mapping and AR solution for Munich Airport, which compares live video from passengers’ phones with a detailed pictorial model of the airport as a very accurate location fi nder. As they walk through the airport and into shops, they are presented with information on points of interest, which they can search through in more detail – for instance, individual shops’ stocklists.

John Bache of Razorfi sh Software presented the company’s Razorshop solution, which looks to improve the customer journey in the retail environment as well as providing analytical data to the retailer. As well as combining aspects of online and physical retailing, Razorshop can suggest items to complement what a shopper has already selected, and even highlight the store shelf where the item can be found.

In the momentThe most wide-ranging presentation we saw came from Dmitri Hguyen, managing director of the European Stadium Safety Management Association and project director of the Euro 2020 football tournament. His presentation ‘Sports venues of the future: from fan interaction to live engagement’ looked at how various kinds of technology can improve the fan experience, increase revenues in venues (on match days and other days) and help to attract more of a family-oriented audience. Being able to sell to people when they are “in the moment” of engagement is a powerful thing, he said – and gave as an example the AT&T Stadium, home of the Dallas Cowboys, where fans can interact with the displays using their mobile phones.

A panel discussion on 4K in digital signage produced some contrasting opinions. Stefan Knoke of Seen Media pointed out that, while there were obvious cost implications of moving to the better quality that 4K provides, 90% of customers may not notice the di� erence. Je� Hastings of Brightsign countered that 4K had brought “a whole new wave of clients”, particularly from the world of fashion, who previously wouldn’t have considered digital signage because the image quality wasn’t good enough.

In addition to the conference sessions, there was an exhibition area where more than 20 of the sponsoring companies had stands. This remained busy even during the sessions – one exhibitor remarked that he had barely had the chance to visit any of the sessions because of the level of interest on its stand.

This was my fi rst visit to the Digital Signage Summit, and I couldn’t help but be impressed, as it ticks all the boxes: a strong conference programme, featuring market analysis, case studies and discussion panels; a bustling exhibition area; ample networking opportunities (facilitated by the organisers) – and all in a prestigious, well-sited venue.

On this showing, the Digital Signage Summit Europe looks like going from strength to strength. The model is also being rolled out in other territories, with the Digital Signage Summit Russia taking place on 28-29 October in Moscow, and Digital Signage Summit MENA being held on 16 November in Dubai.

www.digitalsignagesummit.org

More than 20 event sponsors were showing their wares in the exhibition area (Picture: invidis consulting)

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PLASA Show, LondonOctober 4 – 6, 2015

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22 SHOW REVIEW: IBC2015 October 2015

As we’re frequently remarking in Installation, the worlds of broadcast and AV are moving ever closer to each other. Content creators are increasingly looking to break out of the regime of

the broadcast schedule and are seeking other means of reaching audiences; while converging technologies – and falling prices – are bringing broadcast-quality transmission within the reach of ever-smaller enterprises. With this in mind,we set of to the Amsterdam RAI last month looking to see various product groups that would appeal to the Installation readership – and we weren’t disappointed.

IntercomRTS launched its fi rst OMNEO-based keypanel – the KP-Series. These are targeted at a wide range of intercom applications, including theatres, sports venues and houses of worship. Design assistance from the Electro-Voice speaker engineering R&D group has led to superior sound quality, says RTS.

Ergonomically designed four-way levers providing talk/listen and volume allow for

single-handed operation. A full range of external connections for GP-I/O and ancillary audio functions are now o� ered as standard.

Three models are available: the KP-5032 2RU keypanel with 32 operation keys; the KP-4016 1RU model keypanel with 16 keys; and the EKP-4016 1RU extension panel, also with 16 keys. Each keypanel features a full-colour HD display, and can display Latin, Cyrillic or simplifi edChinese characters.

The keypanels feature both backward compatibility with existing RTS analoguematrixes and forward compatibility thanks tothe OMNEO open IP architecture (which is builton the Dante transmission protocol) and OCA (Open Control Architecture).

Clear-Com launched the 2.4GHz version of FreeSpeak II at IBC2015. This extends the usability of the wireless intercom system to countries where the 1.9GHz band is licensed; but as the two versions can be used on the same system, it enables systems that are at their maximum number of users at 1.9GHz to be extended. When using the base station, up to 20 full-duplex wireless beltpacks using either or both 1.9GHz and 2.4GHz bands can be connected. The new version o� ers identical capabilities to the 1.9GHz version, and can also be integrated with Clear-Com’s Eclipse HX matrix system, which enables as many as 50 1.9GHz and 40 2.4GHz full-duplex wireless beltpacks to be used atthe same time.

Also on show from Clear-Com was LQ-R, an addition to the LQ Series of IP interfaces. These

link or extend industry-standard 2-wire or 4-wire intercoms and audio systems to remote locations over LAN, WAN or IP networks. They can operate in either point-to-point or partyline mode.

LQ-R provides either four or eight ports per rack unit, with the options of either eight 4-wire connections, four 2-wire connections, or four 2-wire and four 4-wire connections in a single unit. A maximum of six LQ IP interfaces can be linked together in any 2- or 4-wire combination.

Lectrosonics showed the smallest full-featured UHF bodypack microphone transmitter available today – the SSM (Super Slight Micro). A member of the company’s Digital Hybrid Wireless Series, the SSM is fully compatible with all current Lectrosonics receivers including the UCR411A, SR, L and Venue Series, along with several older models via compatibility modes. The SSM features a wide tuning bandwidth of up to about 76MHz depending on the specifi c frequency range, or three standard Lectrosonics blocks.

An infrared sync port on the SSM allows for quick set-up with compatible receiver systems, and a backlit LCD allows for setup in dim lighting conditions. Future fi rmware updates can be added via a micro-B USB port.

IP, streaming, recordingOne of the companies that has led the migration of broadcast technology into the AV space, Blackmagic Design was once again out in force at IBC. “AV is becoming a more prominent part of our business year on year,” commented senior communications manager EMEA Patrick Hussey,

Dutch coverage

Paddy Baker reports from the Amsterdam show that’s increasingly outgrowing its traditional broadcast roots

Helmut Seidl of RTS with the company’s OMNEO-based KP-Series keypanels

22-24 Install184 IBC Review_Final.indd 1 22/09/2015 16:56

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Once again, Installation was one of the NewBay Media brands running a Best of Show competition at IBC 2015. Our judges selected two winners from the new products entered for the awards.

Adder Technologies was showing the AdderView DDX30, which consists of three components: a user station, a 30-port matrix switch, and a computer access dongle (which therefore requires no rack space). “In terms of our product range, it sits between the analogue KVM world and our Infi nity high-end IP range,” explained Jamie Adkin, strategic sales manager.

The switch contains seven fi xed user ports, plus 23 fl exi-ports that can be confi gured as computer inputs or user outputs.

A multi-view on-screen display provides every user with a live preview on their screen of the computers they are authorised to see. Users can highlight their selection using a mouse cursor or touchscreen. Once highlighted, the user has the ability to choose from four di� erent connection modes – depending on whether they are viewing content, editing it or collaborating on it.

According to Adkin, DDX30 can provide a full 20x10 KVM system, including transmitters and receivers, for under £10,000.

The Best of Show judges described DDX30 as ‘a self-confi guring KVM system which can be fl exibly deployed to suit numerous use cases. It brings many of the features of networked IP KVM systems into the Cat5 environment, along with an intuitive multiviewer display and

user interface, at an attractive new price point.’

Making its fi rst appearance at an IBC show, AV Stumpfl launched Wings Engine Raw – a media server that can stream three channels of uncompressed 4K 60Hz video simultaneously.

Using a single custom-engineered RAID 10 system, Wings Engine Raw can deliver a constant data stream of three channels of 4K (4,096 x 2,304 pixels) uncompressed video content at 60fps, plus up to 16 text and picture layers, and up to 24 uncompressed audio streams. The server removes the need to convert content into any intermediate codec format. Content can include native picture sequences such as TGA or TIFFand even instant PNG imageformat processing.

Wings Engine Raw can process and deliver video content at full 4:4:4 colour sampling, ensuring perfect quality and colour accuracy for demanding installation environments. It uses the new WingsRX render core engine, which has been developed and optimised especially for premium picture quality applications. The company claims that the 64-bit program architecture and clever usage of SSE CPU instructions ensures “unequalled decentralised processing power”.

The Best of Show Award citation read: “A unique product that delivers multichannel, synchronised, 4K video streams for the highest quality video presentation. Uncompressed artefact-free content from the Wings Engine matches the performance levels required by today’s 4K projection systems.”

Best of Show winners

Adder strategic sales manager Jamie Adkin with the company’s award for the AdderView DDX30

Fred Neulinger with AV Stumpfl ’s Best of Show Award for Wings Engine Raw


24 SHOW REVIEW: IBC2015 October 2015

highlighting shopping centres and cruise ships among growing markets for the company. The stand featured a demonstration of the company’s video over IP technology – again, somethingof growing interest in both the AV and the broadcast spaces.

Among the company’s technology launches were three Teranex Mini video converter models: these are enable to convert from 12G-SDI to Quad SDI, from Quad SDI to 12G-SDI, and to distribute a single SDI source to eight SDI outputs.

Exterity demonstrated its new ‘Beyond the LAN’ range of products, which enable TV and video to be streamed to a variety of devices over WAN, WiFi, the internet or via a content delivery network. The combination of Exterity’s AvediaStream transcoders and its Origin Server enables organisations to make video content consistently available across their HQ and regional o� ces.

The company also demonstrated its embedded HDCPv2 technology, which enables it to legitimately encode and stream directly from an HDMI video source, keeping content secure across an IP network from source to display.

Making its debut on the Matrox Video stand were the Matrox Monarch HDX Dev Tools, which enable system integrators to harness the streaming and recording capabilities of Monarch HDX H.264 encoding equipment. Using the HTTP-based Monarch HDX Control API, developers can create their own control software to start and stop encoding, set bitrates and destinations, and get the status of a Monarch HDX device. By loading an XML confi guration fi le or instructing the device to retrieve confi guration information from a URL at boot-up, all Monarch HDXencoding and destination parameters canbe set automatically.

Teracue eyevis launched the ENC-400 H.264 fanless video encoder and recorder, which is designed for both broadcast and webcast use. Its dual-channel H.264 encoding and recording engine can deliver multiple streams in multiple bitrates and protocols to multiple destinations. The built-in frame synchroniser is said to guarantee stable signal processing. The encoder consumes less than 5W and can be poweredfrom a USB port.

Distributor 3D Storm was showing the brand new LiveMedia Server, the latest addition to the LiveXpert range of tools. Suitable for use at exhibitions and events, it is a multichannel and multiformat player and recorder.

The system supports a large range of audio and video codecs, in both SD and HD, with built-in up/down conversion and aspect ratio adjustment.

Thanks to LiveMedia Server’s ‘Play While Rec’ function, users can add a fi le to any playout channel while the fi le is still being recorded.

Two models are available: a dual-channel version in a 1RU unit and a four-channel in 4RU. Selection of inputs and outputs is fl exible, allowing any channel to be confi gured for recording or playout.

KVMIHSE launched the high-speed Draco tera KVM matrix switch, which features expanded bandwidth to enable real-time switching of large amounts of data, including 4K60 video signals. It is available in a variety of sizes, the biggest of which contains 576 I/O ports – twice the capacity of its predecessor, and believed to be the biggest in the industry for KVM – which can be confi gured for Cat5e/6, fi bre or a combination.

There is redundancy in almost every component, apart from the backplane – so boards can be hotswapped. The switch is compatible with the full range of IHSEinterface cards.

In a deal worth an estimated $500,000, the company announced the sale of the fi rst 576-port Draco tera KVM switch at the show,

Also on show at the IHSE stand was the Draco 4K ultra DP extender, which uses the LICI codec, developed in conjunction with Fraunhofer IIS. It can be used in point-to-point confi gurations or in conjunction with a matrix switch.

KVM manufacturer Guntermann & Drunck showed its matrix grid, which facilitates working across locations. This new function allows several KVM matrix systems to be interconnected and communicate bidirectionally – regardless of the topology of the individual systems. The resultis that any connected console can accessany connected computer even acrosslocations and at distances of up to 10kmover fi bre connections.

Also on show was G+D’s I/O-Card-Multi, which broadens the range of signal types that can be supported by the company’s ControlCenter-Digital to include, for instance, SDI, MADI and Ethernet. Independent devices can be connected and their signals switched and transmitted transparently, together with KVM signals.

AudioHHB presented the European debut of the Roland O.H.R.C.A M-5000C digital mixing. This o� ers all the fl exibility and power of the M-5000 console in a smaller footprint, delivering 128 freely defi nable audio paths, expandable protocols and multi-format I/O choices combined with a fl exible user interface and workfl ow, all with 24-bit/96kHz sound quality.

Also making its debut was the Roland V-1200HD 2 M/E video switcher. This features a new hybrid engine that combines a 4:2:2 / 2 M/E switcher with a 4:4:4/10-bit multi-format processor presentation switcher.

AKG was showing the MicroLite series of miniature wearable reference microphones, aimed at theatre and conference applications as well as broadcast. These are said to o� er incredible sound quality and durability in a tiny, discreet form factor, and are available in includes lavalier, ear-hook and headworn options. Broad compatibility, excellent moisture resistance and superior EMC protection are also stated benefi ts of the MicroLite range. They complement AKG wireless systems such as the DMS800, andcan be easily integrated with products fromother Harman brands.

Riedel took out an advertisement above one of the main entrances to the RAI with a perplexing message – it simply read “no news”. It turned out that the company was simply making a virtue of the fact that it was not holding a major press launch this year. There were new product announcements, however, including an AES67 card, which extends the connectivity of Riedel Artist digital matrix intercom systems. The card, which will be available next year, installs into the Artist mainframe and can then be confi gured through the Director software.

www.ibc.org

Clear-Com launched the 2.4GHz version of ita FreeSpeak II wireless intercom

Stefan Ruppert shows IHSE’s Draco 4K ultra DP extender

Guntermann & Drunck’s Jochen Bauer alongside an installed demo of the company’s KVM matrix grid


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26 BUSINESS FEATURE: OIL AND GAS October 2015

In mid-August, oil prices hit a six-year low at around $40 per barrel for US crude. That’s a precipitous fall since the heady days of 2008, when it was trading at $145/barrel – and also since just a year ago, when

Installation last covered the oil and gas industry, when the price per barrel was just shy of $100.

The news came on the back of reports earlier in the year that 2014 represented the UK o� shore oil industry’s worst performance in four decades, with £5.3 billion more being spent and invested than it was able to recoup in sales. Such is the over-supply in the industry, analysts are agreed that oil prices are unlikely to rebound any time soon.

For AV manufacturers and integrators serving the oil and gas industry, you’d think that times must be pretty tough.

Steady pace“In fact, we’re seeing that oil and gas customers are continuing to invest in solutions at a fairly steady pace as they seek to remain competitive in the global market,” says Gareth Gray, regional manager for Scotland and head of the UK energy vertical at NEC Display Solutions. “While there are challenges in the sector due to fl uctuating oil and currency markets, production has not decreased and there remains demand for companies to continually improve their productivity. The main change we have seen over the past couple of years is an increase in remote working and collaboration. We see the

future for this market growing as technology evolves, becomes easier to use and deploy and users become more confi dent.”

“It is defi nitely the case that certain end-users – particularly progressive end-users with respect to technology – are accelerating investment in visual collaboration systems as a means to

increase the e� ciency of their operations,” adds Hans Dekeyser, VP strategic marketing industry and government at Barco. “On the other hand, there are customers who are deciding to halt certain investments – but that’s more in the realm of general new o� ce spaces, for instance. It’s a mixed bag.”

“We’ve seen an increase in the level of investment from oil and gas companies over the past three years as they look for ways to increase the lifespan of assets, or as they search for new reservoirs,” notes Graeme McGuire, operations manager, AV and o� shore solutions

at integrator AVC Media. “These environments can be very hostile and throw up new challenges on a regular basis, so companies are using new technologies to help them get and share the vital information they need during exploration. Meeting and presentation equipment and systems with the more collaborative approach to projects that AV enables are seen as a vital part of their business improvement.”

“The downward trend in oil prices has certainly made organisations within this marketplace defer non-essential installs,” believes Bryan Edwards, sales manager at integrator Refl ex. “Having said that, we do see a change starting to occur. Projects that were put on hold at the back end of last year are showing positive signs of recommencing. From our position as an integrator, the delay reduces our ROI because we have to invest in the time and cost of evaluating and scoping a job twice over.”

Dispersed operationsSo what are the AV technologies in which these companies are investing? Given the dispersed nature of oil and gas operations and the drive to create e� ciencies, it’s not surprising that collaboration is a recurring theme.

“The benefi ts of visual collaboration are being exploited within the oil and gas industry,” asserts Ray McGroarty, global director for enterprise UC solutions at Polycom. “The ability to easily bring together far-fl ung experts over video is a massive factor in travel

Fuelling the AV market?Such is the turmoil in the oil and gas industry, it might seem that it’s not a great market for manufacturers and integrators to be in. But Ian McMurray goes exploring for the truth of the matter

n There is contradictory evidence, but, for the most part, oil and gas companies continue to invest in AV technology

n From UC/VC to visualisation, and from telemedicine to digital cinema, few industries leverage AV technology more than the oil and gas industry

n The demonstrable ROI of collaboration makes it a hot application, but sales of control rooms and high-res displays are also rising

n AV companies remain bullish about the opportunity in the oil and gas industry

Key Points

‘There are two real drivers of AV technology in the oil and gas sector: faster, better, cheaper telecommunications, and the

proliferation of IP video’Bob Ehlers, RGB Spectrum

AV is truly pervasive throughout the oil and gas industry, according to NEC

26-32 Install184 Feature 1_Final.indd 1 22/09/2015 14:26

cost reduction and improved productivity. Travelling vast distances to reach locations for meetings is just not a good use of time and the delays that this can cause can have real and dangerous implications. Decisions need to be made in real time, whether this is based on information presented in virtual meeting rooms, or on live feeds from the production ‘floor’.

“Reliability is key,” he goes on, “in order for these multi-billion dollar companies to really depend on these technologies that have to be always on and always working. Ultimately, communications delays can cost lives in some situations, or a lot of money in others.

“Beyond that,” he says, “oil and gas companies are continuously expected to liaise with external partners and customers – whether that be governments, environmental agencies or disaster response services – so interoperability is key. They want to be able to use their AV investment externally as well as internally, so open standards-based technologies are vital.”

“Collaboration systems are top of most company wishlists, including real-time data sharing, videoconferencing and the ability to work live and interactively,” claims Graham Kirkpatrick, technical sales manager at Reflex. “These range from high-resolution videowall displays to review geophysical data to interactive touch displays

that can save project time by giving users the ability to annotate or update drawings and plans and discuss them in real time via a video link.”

“My view is that there are two real drivers of AV technology in the oil and gas sector today:

faster, better, cheaper telecommunications, and the proliferation of IP video,” says Bob Ehlers, vice president, marketing and business development at RGB Spectrum. “Both of these two areas lend themselves to the use of collaboration

27www.installation-international.com FEATURE: OIL AND GAS

American technology solutions company Emerson invested nearly $70 million in a new 26,200sqm iOps ‘Integrated Operations’ Center in Round Rock, Texas that o�ers a live demo environment to show oil and gas companies the way to succeed.The visualisation platform comprises a 360in Barco rear-projected videowall to simultaneously display dozens of sources from various locations, creating an operational picture that enhances situational awareness. Utilising Barco Control Room Management Suite (CMS) software, operators can dynamically display, configure and share all types of rich content. Barco Galaxy NW-12 projectors provide stereoscopic imagery utilising Emerson’s control, automation and management software solutions to precisely render visuals in 3D.

According to Barco, one of the most important aspects of a visualisation platform for oil and gas companies is collaboration due to the distributed nature of their operations. Emerson integrated its DeltaV Digital Automation System using the Open API for Barco’s CMS to fully leverage the benefits of the control room management software.

Case Study

Emerson chooses Barco to show how it can be done


28 FEATURE: OIL AND GAS October 2015

technologies, allowing geographically separated teams to work together in real time. Without fast, ubiquitous broadband, and readily available video cameras, you cannot have onshore/o� shore communications and collaboration. As soon as you have this, then the need for AV systems to process and display multimedia communications becomes essential.”

Not just collaborationIt’s not just about collaboration, however, as David Gri� ths, director, market development EMEA at Christie Digital Systems, explains.

“High resolution has been a big driver in oil and gas to 4K and beyond,” he says. “That’s where we’re seeing big investment, both in 2D and 3D. We’re also seeing more collaborative videowall displays, 3D immersive installations, single 3D screens – and not just in the control room, but everywhere, such as in the reception area. We’re seeing more and more demand for real-time applications and for big data strength, helping companies turn data into information that makes sense.”

“Prospecting for oil and gas has become a major challenge worldwide,” confi rms Alexis Sakallis, business development manager, Dubai at integrator Pixel Projects. “Drilling is extremely costly, and new technologies being used to identify the best extraction areas involve very large 3D screens to visualise the di� erent subsurface layers. On the operational side, large AV solutions such as videowalls are being used to monitor both the manufacturing and transportation of oil and gas products. All of this means that the industry has increased its investment in visualisation solutions.”

“We’re seeing increased demand for recording collaboration or control room activity, for the

purpose of what you might call ‘after-action review’ and continuous improvement,” adds Dekeyser. “This can help to educate new personnel also.”

The education to which Dekeyser refers is an important issue.

“The oil and gas industry has long been seen as an ageing industry with personnel who have been involved in the business for decades,” notes McGuire, “with very few younger people coming through the ranks to replace them. There is a concerted e� ort from both companies and trade bodies to recruit a new generation of people, and the use of advanced technologies is seen as a positive step to facilitate this.”

Similar – but dissimilarIn some ways, the oil and gas market is not dissimilar to any other AV market – but it does have subtle (if important) di� erences, a point made by Barco’s Dekeyser.

“The oil and gas market is a market that blends the general meeting room requirements and control room/operational decision-making requirements the most,” he believes, “whereas in other industries those needs and facility spaces are often more separate. This means that connecting those rooms, interoperability of systems, common user interface, higher-end visual collaboration and decision-making capabilities are more ubiquitous across the enterprise, which is a key reason why this market is attractive for innovative manufacturers.”

In fact, there is an extent to which it could be said that the sector is one that can act as something of a showcase for almost all AV technologies – as NEC’s Gray describes.

“The use of AV technology within the oil and gas industry is both wide and varied, with many

of the world’s leading exploration and production companies having departments dedicated to supporting their AV environments both regionally and globally,” he says. “AV technology touches almost every part of their business. Onshore geophysicists use advanced 3D visualisation and 4K UHD for modelling – Schlumberger has one of the most advanced E&P [exploration and production] software platforms called Petrel. Remote subject matter experts use visual collaboration and telepresence to provide advice to colleagues across distance and time zones – companies like Baker Hughes have video links to platforms for this purpose.

“Telemedicine allows remote doctors onshore to quickly diagnose potentially life-threatening conditions such as stroke or heart issues; both Shell and Conoco Philips use telemedicine systems on platforms to link to hospitals

Companies operating in high-risk geo-political locations that are violence-prone must take extra precautions to ensure the safety of their employees, assets and infrastructure. To this end, they often enlist the help of fi rms like the Risk Assistance Group, which provides turnkey security solutions for managing logistics and keeping the supply chain safe.During a recent facilities upgrade at the headquarters of a high-profi le client, one of the largest drilling companies in Mexico, the Risk Assistance Group chose to install RGB Spectrum’s MediaWall 4200 display processor with SinglePoint KVM control to add advanced display processing capabilities to the client’s expanded security system.

Located within the company’s Security Operations Center (SOC), the eight-monitor videowall is used to display video feeds from 30 IP-based CCTV cameras that monitor all areas of the facility. In addition, operators can display information from GPS systems tracking the movements of a fl eet of 80 vehicles, as well as visualisations, live news feeds, web pages, and access control spreadsheets on the videowall.

Case Study

RGB Spectrum helps ensure security in Mexico

Marathon Oil’s Visionarium is equipped with Christie Digital Entero HB DLP cubes using a Mirage projector and driven by a Spyder X20 processor


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onshore,” he continues. “Incident management and crisis rooms provide critical information to families, emergency services and press. Training centres provide skills on safe handling of tools and machinery. And there’s the entertainment and comfort of sta� working o�shore through digital cinema, televised sporting events, facilitating video calls. AV technology is truly pervasive throughout the industry.”

ChallengesThere are, though, more important points of di�erence. “Hardware is hardware – the same as other markets,” smiles Kirkpatrick. “The di�erences revolve around the challenges of the environment, such as remote access, secure networks and the ability to maintain and service equipment potentially in hazardous environments.”

“Within energy companies there is a greater duty of care to address environmental factors,” adds his colleague Bryan Edwards. “This leads to a demand for more intelligent AV solutions. Examples include global AV control platforms that seamlessly integrate with building management systems (BMS) and environmental monitoring system (EMS) platforms. We’ve also seen VC and displays with intelligent CO2 calculators included

as part of an AV solution with the aim of reducing the organisation’s carbon footprint.”

“Oil and gas companies have many unique requirements,” says Ehlers. “They’re geographically dispersed; they have demanding operational requirements; their communications availability can be very variable; and they have an environment where very old and very new infrastructure needs to co-exist.

“And then,” he laughs, “there’s the highly volatile financial model.”

McGroarty too notes the challenge posed by mingling infrastructures. “Legacy infrastructure is an important consideration for oil and gas customers,” he believes. “They don’t want to rip and replace what they have already invested in – and it can be even more impractical and expensive to do this on an oil rig than in an

o�ce building. For example, if they have already invested in Microsoft Lync from a technology and training perspective, then they don’t want to draw their end-users out of this environment in order to use other elements of UC that have been added at a later date. RealConnect allows organisations to contact users via Lync through voice, video, chat or content collaboration without stepping outside of that familiar interface, regardless of the solution the contact is using. This makes it a popular solution for the sector.”

Overall, however, despite its many challenges, AV manufacturers and integrators operating in the oil and gas market find it a rewarding one, and one full of opportunity for companies prepared to invest in understanding the unique needs of the business.

“It’s a good market to be in,” says Christie’s Gri�ths. “Not only is it vast, but it uses cutting-edge technologies such as high resolution and real-time data display.”

Exciting sector“The oil and gas sector is an exciting one for AV manufacturers and integrators,” believes McGroarty. “The virtualisation of many of the design processes within oil and gas will naturally

’The benefits of visual collaboration are being exploited within the oil and gas industry’

Ray McGroarty, Polycom



Hetec.indd 1 23/04/15 10:44


lead to more use of collaborative technologies as teams can be dispersed and collaborate on data within a common database. The use of virtual models of new exploration areas and new processes, combined with great communication technology, can be very powerful in helping teams to work through problems very quickly.”

“It’s a growing opportunity for AV manufacturers,” agrees Ehlers. “The slowdown in deployments of AV technology is a temporary situation. The sector is rapidly modernising, and

we think that this will only continue.“The oil and gas market is definitely more

value focused today than last year,” he goes on, “and AV technology really has to substantiate its value in order to be adopted. In the areas of remote monitoring, control rooms, abnormal situation management and the like – mostly related to production operations – we are seeing a fairly vibrant market. This would be expected, as operational e�ciencies in production control remain a high priority and have a good payback. Solutions like display wall processors, video switchers, multiviewers and control room management systems are definitely players in this application space.”

“In exploration, we’re seeing slightly less activity as resources wait for higher oil prices. This a�ects systems like codecs, recorders, high-end video processors for simulation and so on. The adoption of new geophysical modelling systems is waiting for the market to bounce back – so investment in this application space is slower.”

“We view the entire sector as a long-term investment,” concludes Ehlers. “We just opened demo centre showrooms in Houston and Dubai, and we exhibited for the first time at the O�shore Europe show in Aberdeen last month. We’re bullish on the opportunities in the oil sector for us.”

Equally bullish, but perhaps more philosophical, is Sakallis. “Oil and gas companies have to keep investing in new technologies to improve prospecting, extraction and transportation of raw materials – and AV technologies are playing a vital role. Investment is a key factor for survival in this industry: it cannot stop. Global reserves are not infinite, and no economy can survive without oil and gas. We’re talking about the role AV technology can play in global population survival.”

AV manufacturers and integrators alike, then, still see the oil and gas industry as a good one in which to be. The clue, perhaps, lies in that £5.3 billion overspend in the UK. Times may be challenging for the oil and gas industry, but it knows it needs to continue to invest – whether that’s in exploration and infrastructure, or in the improved productivity and e�ciency that is the natural outflow of today’s AV solutions.

www.avcmedia.comwww.barco.comwww.christieemea.comwww.nec-display-solutions.comwww.pixelprojectsav.comwww.polycom.comwww.re�ex.co.ukwww.rgb.com

Management consultancy PwC has this to say about the oil and gas industry:

“Boom to bust – the familiar cycle for the commodity business of oil and gas – is once again rearing its head… How low will prices go? How long will the price decline last? These are the burning questions of the day. But industry experts know that to provide products for the future, the planning and investment must continue today. Throughout the value chain, oil and gas projects take years to develop, and price �uctuations are all a part of the process… Even though the current global economy is struggling, the world’s population continues to grow. With this growth, energy demand will increase. “

Wise words


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34 TECHNOLOGY FEATURE: HOSPITALITY VENUES October 2015

Given their size and status, it is perhaps unsurprising that stadiums, arenas and major corporate headquarters tend to dominate the headlines when it comes to the deployment of groundbreaking

AV systems. But although they might generally have a lower profi le, hospitality venues have also witnessed a decisive step-change in their use of technology over the last decade.

Be it a bar, restaurant or hotel, part of this shift is simply a matter of maintaining parity with the kind of set-ups one might fi nd in other public buildings or even private residencies. But increasingly, it is also informed by the need to go ‘one step beyond’ in a market where both ‘regular’ visitors and business clients are confronted by a panoply of choice.

James Keen, marketing manager of Tripleplay Services, observes: “Technology is a huge part of a very competitive hospitality industry. Whether it’s the hospitality team in a hotel, sports venue or tourist attraction the needs of their clients are the same; they need high-quality presentation technologies, simple-to-use signage and good audio systems, for example.”

Patrick Heyn, training & education department senior manager at QSC, o� ers similar sentiments:

“Hospitality venues have become acutely focused on creating ‘an experience’ for their customers. Technology plays a huge role in making this experience, while remaining transparent. They key is to enrich the customer experience without having them notice the technology.”

High-quality audio is inevitably a crucial part of the overall blend given its role in “helping to create ambience in public areas,” says Bose

Professional business development manager Sue Harrison. “During quiet times it makes guests feel at ease, but the sound can be ramped up at lunchtimes and in the evening

to entertain. However, to attract both leisure and business visitors to return time and again to a hotel, bar or restaurant, the sound has to refl ect the atmosphere that the venue wants to achieve, and of course has to sound warm and welcoming. A mix of high-quality audio with good music profi ling can make a huge di� erence as to whether guests return.”

This push for quality has manifested itself in several primary ways. Firstly, a basic improvement in the standard of speakers specifi ed for public areas, including bars, corridors and meeting places. Secondly, a desire for systems to o� er high-quality audio and blend discreetly into evermore discerning aesthetics. And thirdly, a call for accessible control from various points around a facility and, in more top-tier projects, more seamless integration into other building systems.

Increasingly, this last-named factor is resulting in hospitality audio systems being brought onto substantial, sometimes building-wide networks – the intended result being fl exible and e� cient signal distribution. For Bose, Harrison points to the recent expansion of its ControlSpace product line, “tying many features in with Audinate’s Dante media networking technology”, as well as a more general demand for audio over “new and

Hospitable conditions

With the average consumer having access to an increasingly formidable inventory of AV on a daily basis, hospitality venues of all kinds have been obliged to raise their game in order to maintain the interest of ‘regular’ visitors and business clients alike. David Davies reports

The new Ritz Hotel in Place Vendôme, Paris, is due to open soon with SymNet Dante-enabled DSP throughout and several hundred Symetrix ARC-2e wall panel controllers to manage the zones

n Networked audio and superior ceiling and in-bedroom speaker systems now feature in a huge number of new projects or refurbs

n Venues with an appeal to the conferencing market are looking to provide more powerful collaborative technologies

n Readiness for 4K/UHD and the Internet of Things environment is becoming a hot topic throughout the hospitality sector

Key Points

‘Hospitality venues have become acutely focused on creating ‘an experience’ for their customers. Technology plays a huge role in making this experience, while

remaining transparent’Patrick Heyn, QSC


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existing Cat5 and Cat6 cabling, [thereby] building the system into the IT infrastructure, rather than relying on a standalone audio solution.”

Also on a Dante tip, Symetrix has registered strong take-up for its SymNet DSPs with support for Dante networking in this market. “Inexpensive PoE endpoints can be located strategically around a venue, allowing both ingest of signals and the option to overfl ow into any room in the facility on the fl y,” says Symetrix eastern US regional sales manager Jim Latimer. “Once the signals are on the network, they’re instantly available everywhere the network goes. Audio set-up for simple or complex events becomes a question of assigning desired routes within a matrix. Dramatic reconfi guration of multipurpose spaces can be accomplished very quickly.”

For QSC, Heyn notes the resonance with the hospitality market of its Q-Lan AoIP networking technology, which is a component of the Q-Sys processing platform. “Being able to put the audio system on the ‘house network’ is very appealing and cost-e� ective,” he says. “The Q-Sys amplifi ers [such as the CXD-Q series] give you the ability to distribute the amplifi ers from the main DSP rack, which makes for fl exibility in installation. The ability to use the local audio inputs on the amplifi er and have them be on the network really simplifi es the cabling and puts the power where it needs to be.”

Corporate comfortMeanwhile, for facilities with a keen eye on attracting corporate clients, there are several strands in play. Firstly, the ability to BYOD (bring your own device) and use it in conjunction with other devices via WiFi and other means is increasingly prevalent. Secondly, there is an onus on hotels with conference centres or standalone

facilities to make collaborative workfl ows as straightforward as possible. Indeed, it is in this latter area where hospitality venues can arguably deliver one of their strongest USPs.

“Companies are increasingly adopting new ways of working and the old adage of ‘one person one desk’ is giving way to hot desking and working from home,” says Christophe Malsot, regional director, Crestron southern Europe. “Yet despite this, when you look for a meeting room you can rarely fi nd one free. This is a massive opportunity for hotels to provide better AV than companies have in their own premises. They need to o� er a meeting room

experience that is truly collaborative and at a price point that makes it cost-e� ective for companies to hold their meetings at the hotel rather than on their own premises.”

In Crestron’s case, Malsot points to a video-enabled collaboration solution called Crestron RL that includes 65in touchscreens and Microsoft Lync software. In addition to being able to annotate over Microsoft PowerPoint slides in real time, participants have the opportunity to “choose the appropriate lighting scenario, control the shades in the room, and even adjust the room temperature to ensure the right ambience for the meeting.”

Making a hospitality venue more conducive to collaborative working can encompass a great number of di� erent spaces. For example, consider AMX by Harman’s Enzo platform, which provides instant on, instant access to content, instant meeting start and instant sharing. “With Enzo, a lounge or lobby can become a collaborative meeting space with the push of a button or by connecting a guest’s personal device,” says Michael Kurcab, senior manager, sales, Harman Professional. “Tied in to a guest loyalty programme, this now becomes a revenue-generating opportunity for the property, while providing added value to the guest. Additionally, our Contrio server allows real-time preventative maintenance and ‘self healing’ of the audio music and page system. This drastically reduces technical failures in high-revenue facilities like meeting and convention spaces.”

Forward to 4KOther developments in hospitality technology may be regarded as more subtle – but are important nonetheless. Lighting control to “provide a management of di� erent atmospheres” (Malsot) is one such example. Availability of easy-to-implement digital signage and IPTV is another, with Keen noting that Tripleplay’s provision of “a single platform to deliver all media services has proven hugely popular for hotel clients. It means they have just one management interface to use to update signage and IPTV screens around the venue, and to manage their in-room TV experience and the design of the screens, as well as the content on them. Our system also integrates with property management systems (PMS), making it simple for a venue to manage which customers get access to what content/services and charge them appropriately.”

‘More and more hoteliers now require that their AV installation

support UHD in order to avoid further changes in the future’

Christophe Malsot, Crestron

Bose loudspeakers, amplifi ers and DSP were all specifi ed for the fl agship Sports Bar and Grill outlet, located in London’s Canary Wharf

36 FEATURE: HOSPITALITY VENUES October 2015


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One might also point to a continual improvement in the standard of video display. As Latimer observes: “Commercial video displays, whether in the form of larger and large flat screens, screens for single or blended projectors, and videowalls, all present options that ordinary people don’t have in their rooms, but can have major impact in a presentation scenario in a commercial space.”

And so with a sense of inevitability, it is at this point that we arrive at one of the industry buzzwords du jour: 4K/UHD. Although opinions vary on how quickly UHD will become an installation default for commercial building – some think a year or two, others much longer – any venues thinking about UHD implementation will need to consider not just the provision of compliant displays and related technology, but also su�cient connectivity and bandwidth.

“More and more hoteliers now require that their AV installation support UHD to avoid further changes in the future,” says Malsot. “It is especially true in meeting rooms. For example, the international group ACCOR installs Crestron solutions in its hotels all over the world with Crestron 4K matrix. These developments also impact [with regard to the] internet where the speed needs to be higher and higher. The

Crestron AM-100 solution, which enables wireless presentation of HD content using laptops, tablets and smartphones, uses the WiFi network, so it’s important to have e�cient networks.”

“As far as 4K is concerned, I think that the impact will be felt in the kind of infrastructure upgrades that will need to be made,” says Heyn. “Many hospitality venues that still rely on coax cabling for in-room TV content delivery and even for their public spaces (like meeting rooms and ballrooms) will have to shift to higher bandwidth data cabling, whether or not they choose a video distribution technology that is Ethernet based or point-to-point, such as HDBaseT.”

Engineering ecosystemsThere is a feeling, too, that ensuring hospitality venue devices can operate successfully as part of the Internet of Things will be another aspect of maintaining an appeal that cuts across groups. But some observers, like Heyn, imply that there is a long way to go yet.

“I think that manufacturers just need to keep the IoT functionality end-game at top of mind in how they design products going forward, and look to establish more ways to collaborate and interoperate to provide real value to our

customers,” he says. “Unfortunately, many of them continue to push proprietary network technologies, or they do not fully utilise a Layer 3 network at all, which is fundamental for IoT. In addition, IoT means more than just having an RJ45 port on your box and providing a control protocol. It is an ecosystem of devices across vendors and the required software back-end infrastructure (cloud or on-premise) that needs to be fleshed out further to provide meaningful value to the consumers and for the IoT concept to really shape the future of our industry. This is true for hospitality but also for the larger AV space.”

Optimising these technologies will call for integrators with extremely fertile and up-to-date skillsets, and so it is likely to be the hospitality venues with the greatest resources – and, one might suggest, the most acute foresight – that are destined to retain the greatest competitive edge long-term.

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38 FEATURE: HOSPITALITY VENUES October 2015


drives business to exhibitors’ stands at the show and helps convert

business opportunities into solid revenues.

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Drive visitors to your stand

BY MONICA HECKThe Internet of Things is set to turn the ‘integrated systems’ that make up Integrated Systems Europe (ISE) into a single unified ‘integrated system’, according to futuristic business mastermind and consultant Lars Thomsen.

Speaking on the main stage during the ISE Opening Keynote speech, Thomsen predicted the future of the AV industry would depend on the IPv6 Internet standard, which would create a rapidly growing “digital nervous system” across the world not unlike the current energy grid everybody is used to.

“In 10 years, 1,000 devices per human will be connected to the internet and this digital nervous system will incorporate all aspects of things that are important to humanity,

such as comfort, energy, security, education and so on,” he said.

“Right now there are di�erent halls in this trade show representing di�erent parts of the industry. We are now at a tipping point where we

don’t have to think about isolated systems, but rather about moving onto a system that incorporates the internet as its backbone.”

Tipping points are a key concern of Thomsen’s, who doesn’t use slides

during his keynotes but prefers to let the audience connect the dots and imagine the future he describes.

“Tipping points are points in time where a new technology, or business model is cheaper and better than the way we did it in the past,” added Thomsen, listing the victory of artificial intelligence and robotics over ‘dumb technology’ as tipping points to look out for.

“Within 520 weeks, we will get to a point where robots can work in households or in elderly care, they will reach a price point where they are cheaper than employing humans for the same task. The implications to our society are big.”

“We have to do more than just look for trends, instead of waiting for the future we have to find the next tipping point and actively create that future,” he concluded.

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BY LINDSEY M. ADLER

A vacuum in professional computing has resulted from the evolution from desktop to laptop to mobile device. John Underko�er, CEO of Oblong Industries, views the world through pixels and sees them as the key to filling that hole, which he shared in his Smart Building Conference address: “The Future of Work – Workplace Collaboration Thrives in the Spatial Operating Environment”.

As an advisor to the film Minority Report, Underko�er shared a clip he musingly hoped was “the last time we have to look at this.” Instead of being wowed by the ahead-of-its-time gesture technology, something he derided as “not what’s important,” attendees were asked to look for what was missing.

“This sequence is as much about the collaboration and the room as it is the UI.”

Applying that to today’s business technologies, he asked,

“How does computation extend [the] room? It doesn’t. [Modern computing devices] don’t care about the room. You have a bizarre complication.” Because they are so personal in nature, “They are anti-collaboration devices and anti-architectural devices.”

Underko�er and Oblong Industries are working to get out of this “trap.” His solutions include: the more pixels the better; pixel interoperability; a user interface capable of managing all the pixels all over the place; and plurality, the

need for systems that think about more than one thing - enabling the physical and social space for more than one person to work in tandem.

By teaching a machine to speak pixels, multiple applications can run at the same time complementarily. “It’s a kind of quantum leap between what you can do with a machine,” Underko�er declared.

“We’re turning serialism into parallelism, linear into nonlinear, and raw technology into a more human approach.”

A minority report on the future of pixels

A DIGITAL THING HAPPENED ON THE WAY TO THE FORUM

BY KIRSTEN NELSON

It was “laptop land” at AudioForum@ISE yesterday. The fifth edition of the day-long educational event presented by Connessioni certainly featured digital in every way, as nary a professional audio discussion would be complete without talk of software or DSP. Topics relevant to audio design, integration and live events were discussed in the context of building knowledge and business for a rapidly evolving industry, with participants taking keen interest in sharpening skills in modeling, time alignment, networking and Class D amplification.

Attendees from the live sound and installation worlds convened at the event. The notion of convergence was very much on the mind of Jack Cornish, a project

Tuesday 10 February 2015

ISE’ managing director Mike Blackman introduces the event as Chiara Benedettini of organiser Connessioni looks on

Thomsen: “In 10 years, 1,000 devices per human will be connected to the internet”

Continued on page 4

01 ISE D1 2015 Live v2 NR.indd 1 09-02-15 18:39

International: Gurpreet Purewal T: +44 (0)20 7354 6000 E: [email protected] McCarthy T: +44 (0)20 7354 6000 E: [email protected]

Guaranteededitorial with all

advertising packages in the form of a Q&A

or opinion piece

artificial intelligence and robotics over ‘dumb technology’ as tipping

“Within 520 weeks, we will get to a point where robots can work in households or in elderly care, they will reach a price point where they are cheaper than employing humans for the same task. The implications to our society are big.”

“We have to do more than just look for trends, instead of waiting for the future we have to find the

create that future,” he concluded.

Professional Development Professional Development p68

need for systems that think about more than one thing - enabling the physical and social space for more than one person to work in tandem.

speak pixels, multiple applications

“We’re turning serialism into parallelism, linear into nonlinear, and raw technology into a more

A minority report on the future of pixels

BY KIRSTEN NELSON

It was “laptop land” at AudioForum@ISE yesterday. The fifth edition of the day-long educational event presented by Connessioni certainly featured digital in every way, as nary a professional audio discussion would be complete without talk of software or DSP. Topics relevant to audio design, integration and live events were discussed in the context of building knowledge and business for a rapidly evolving industry, with participants taking keen interest in sharpening skills in modeling, time alignment, networking and Class D amplification.

Attendees from the live sound and installation worlds convened at the event. The notion of convergence was very much on the mind of Jack Cornish, a project

ISE’ managing director Mike Blackman introduces the event as Chiara Benedettini of organiser Connessioni looks on

Continued on page 4

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ISE 2016 advert.indd 1 22/09/2015 15:42

40 TECHNOLOGY FEATURE: DISCREET AND ‘INVISIBLE’ TECHNOLOGY October 2015

The inclusion of audiovisual equipment into buildings is generally seen as a necessary, but unwanted, intrusion that disrupts the architectural design and aesthetics of the space. As a consequence, architects,

interior designers and building owners have, for a long time, pushed AV suppliers and integrators to develop ways of concealing the equipment that is used to deliver sound and vision. The industry has responded with a range of products that enable equipment to be hidden or partially concealed, either permanently or when not in use.

The demands of the residential market have played a large part in this evolution: minimalist and free-fl owing architectural designs are adversely disrupted by large and bulky loudspeakers which often require exact placement to achieve the ideal soundfi eld. Early attempts at concealment by means of in-wall and in-ceiling drive units set into the building structure still required an unattractive grille to allow the sound out.

“The desire for modern minimalist designs is incompatible with traditional ‘dinner plate’ ceiling loudspeakers and in-wall speakers,” says Babs Moore, director at Amina. “An ever-increasing amount of technology in the home and people’s expectations for high-clarity, room-fi lling sound presents a huge opportunity for solutions that cannot be seen. Amina invented the plaster-over loudspeaker in 2001 and now many more

companies are coming into the market, which does help create awareness, but still only 1-2% of the population is aware of the availability of truly invisible sound. Within the AV industry, though, it is much better known than it was5-10 years ago.”

The demand for this type of speaker in domestic applications such as historic buildings or modern minimalist properties, has led Amina to work closely with customers to use fi nishes other than plaster and paint/wallpaper to render the product invisible. Moore says that these now include, wood, wood veneer, leather, gold leaf, Corian and even mother of pearl as well as many types of plaster like GRP, lath and plaster and polished plaster.

“The Vibrational Panel Technology (VPT) used by Amina is more akin to how an acoustic

musical instrument, such as a violin or acoustic guitar, works in reproducing sound than a normal loudspeaker. This explains why the dispersion characteristics are so good and also why the speakers can be designed to sound their best when covered by a 2mm skim of plaster as they are e� ectively ‘tuned’ for this weight.”

Steve Olszewski, vice president, Stealth Acoustics, concurs: “Product manufacturers are realising that it’s not just aesthetics or performance it’s now aesthetics and performance. Placing loudspeakers behind a projection screen ensures that the image and sound are synchronised and has been a feature of commercial cinemas using microperforated materials for many years. In smaller locations, such as the home, it has been more of a challenge but acoustic transparency cannow be achieved through the use of woven projection surfaces.”

The use in homes is now spreading to commercial installations. He continues:“O� ces and commercial institutions are increasingly recognising the need to have technology disappear. Corporate executives ask their AV teams why they don’t have to see speakers in their home, yet remodelled their boardrooms have wall acne. The markets are greatly expanding as awareness of true aesthetic integration crosses beyond initial market segments.”

More than meets the eyeWhile architects may traditionally have regarded AV kit as a hindrance to their aesthetic vision, the recent growth in discreet designs means it is now possible to combine high-end performance and design. Steve Montgomery reports

Artcoustic speakers in London club Amika are disguised as artworks

n Architects and interior designers increasingly seek AV solutions that can be concealed in buildings to maintain the clean and uncluttered look of their designs

n Some loudspeakers can be covered by various types of material to allow them to blend into the surroundings

n Performance of discreet equipment can match that of standard devices

n Projectors and screens can be temporarily or permanently concealed

Key Points

‘There is a lot of growth yet to be made in the mainstreaming of quality hidden technologies

in the professional and commercial AV spaces’

Steve Olszewski


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Retail outlets and hospitality sectors are also benefi tting from the technology. Moore adds: “Designer label fl agship stores are a rapidly growing area for us. These stores want to create an even ambience that attracts customers and does not detract from the aesthetics of the stores. It is attractive in public areas in hotels and some high-end rooms, the fact they are plastered over also aids security. In boardrooms and meetings rooms we are seeing more 5.1 systems being installed with speakers behind wood or wood veneer, creating a wow factor.”

Wider appealWhile speakers are the largest and most obvious area of application, other forms of technology are receiving the same treatment. The wider use of fl atpanel displays, projectors and videoconferencing, combined with the newer trend for multipurpose meeting and huddle rooms has driven demand. Wireless internet, Bluetooth device connectivity and mobile device sharing apps have contributed greatly to the removal of wiring and associated connector panels; as has the integration of remote control and data connectivity that is being built into commercial display devices such as projectors and interactive screens.

Retractable and foldable in-table monitors enable on-demand video and audio conferencing in boardrooms and meeting rooms and can be stowed out of sight to maintain the clean lines of stylised tables and furniture when not needed. “The old method of using an array of table-mounted microphones is giving way to discreet ceiling- or wall-mounted microphone arrays that can use beam-forming technology to automatically pick out individual voices. The

advent of powerful DSP technology has enabled a previously unobtainable price/performance to be reached,” points out David Webster, chief technology o� cer at RGB Communications.

“The AV integrator has a huge part to play in inspiring the end user, matching requirements to budgets to develop the best possible result,” says Audipack marketing manager Bart Altewischer. “The best solutions are a result of good collaboration between AV integrators and equipment manufacturers. For example, screen and projector lifts and tailor-made furniture hide equipment when not in use. Development of these mechanisms is through the combination of end-user requirements, ease of installation and a match with the equipment itself.”

Many auditoriums and conference facilities are designed and equipped for a variety of applications, each requiring a separate set of AV equipment. Vogel’s is experiencing extensive growth in motorised projector lifts for multipurpose venues, as Leon Grooten, product manager for Vogel’s Professional, explains: “Large projectors can be installed in a wide range of locations where they are needed for occasional use, such as ballrooms in hotels and conference centres, as well as boardrooms and corporate presentation suites, and retracted into the ceiling to preserve the beauty and style of the room when used for other events.”

Some application sectors, notably large historic buildings like ancient churches and cathedrals are highly resistant to completely invisible treatments. Many of these buildings have very little wood panelling, soft furnishing or suspended ceilings in which to conceal loudspeakers and other equipment. In these cases the best that AV integrators can do is

select the smallest types of devices that are able to provide su� cient coverage – and where possible choose a fi nish that blends in with the surroundings. Loudspeaker array technology is providing benefi ts, and projectors are falling in size and footprint while increasing in luminosity.

“In-wall speakers are not a viable option in many old buildings constructed of stone and concrete, nor are fl own speakers due to the height and building structure,” says Tom Back, managing director of Alcons Audio. “Not only are they virtually impossible to install, but the quantity and associated delay circuitry required in highly refl ective spaces make them uneconomic and highly obtrusive. Instead, active line-source array columns are an ideal solution. They are tall, thin and powerful and can be mounted unobtrusively on pillars and the sound beam can be steered to head level, whichkeeps it away from the fl oor thus limiting refl ections and distortion.”

Technology to conceal and hide AV equipment has developed greatly over the past few years, providing opportunities for integrators to excel. Benefi ts to users and the appreciation of architects and interior designers is well received. However, as Olszewski comments: “There is a lot of growth yet to be made in the mainstreaming of quality hidden technologies in the professional and commercial AV spaces.”

www.alconsaudio.comwww.amina.co.ukwww.artcoustic.dkwww.audipack.comwww.rgbcomms.co.ukwww.stealthacoustics.comwww.vogels.com

42 FEATURE: DISCREET AND ‘INVISIBLE’ TECHNOLOGY XOctober 2015

Vogel’s is enjoying growth in motorised projector lifts for multipurpose venues



44 SOLUTIONS: AQUAE VENICE 2015 October 2015

Organised under the patronage of Expo 2015, Aquae Venice 2015 is a universal exhibition running from May to October, alongside the Milan event. Dedicated to water, its aim is to describe, in a simple,

experiential and educational manner, how and why water infl uences our lives – through a series screenings, discussions, interactive displays and multi-sensory experiences. UNESCO’s World Water Assessment Programme, dedicated tothe study of global issues related to water, isan Aquae partner.

The new multipurpose 107,640sqft building hosting the event was designed by architect Michele De Lucchi, also responsible for Pavilion Zero at the Milan Expo (see Installation August). At the end of Aquae Venezia 2015 it will become Venice’s new expo and trade fair hub.

Interiors were designed by Gris Dainese under the artistic direction of Davide Rampello (TV and theatre director and cultural & management consultant for national and international institutions); the AV systems were designed and installed by Show Live Srl.

Visitors’ fi rst impact with the main multimedia systems is in the entrance tunnel as they walk under a virtual cool bubbling mountain stream

running over their heads that accompanies them towards the main expo area. Other areas are a large projection surface in the restaurant zone, a huge central dodecahedron (with video on all 12 sides) and the high-impact immersive 360º Journey into the Abysses.

Show Live’s account manager for northern Italy, Matteo Boro, explains: “The main di� culties faced on this project included the short time frame between confi rmation, defi nition of the executive design and move-in, and the fact that we had to work simultaneously with the teams responsible for set-up and stand-fi tting for the exhibitors, so we had to be careful to avoid our sta� ’s work overlapping.”

Shaping upIn the entrance tunnel, a pair of Christie Roadster HD20K-J projectors with 0.67 lenses fl own from the pavilion’s ceiling are used for rear projection on the 120sqm roof, which is made from Peroni Nevada milky white PVC rear-projection fi lm. Sound in the tunnel is played back via six Electro-Voice EVID enclosures powered by an Audiocenter VA-401 Class H power amp and four Work Pro NEO S8A self-powered subwoofers.

For the dodecahedron, the 12 19ft x 29ft sides are covered by 24 Christie Roadster HD20K-J projectors with 1.1 lenses, fl own in (stacked) pairs from the roof.

To support this original screen, made with three sections of Peroni Blackout PVC front projection fi lm, each measuring 82ft x 28ft, the structure’s framework was built with triangular trussing by Litec Italia, chosen for its combination of weight and structural resistance to the traction due to the screen’s dimensions. Over 820ft of TX30 SA trussing and 24 custom three-way corner junctions are used.

A hook-and-loop system was used to connect

High (-tech) water in VeniceMultimedia technology is helping to open up the debate around the importance of water, the environment and climate change, writes Mike Clark

As visitors enter they walk under a virtual cool bubbling mountain stream

ITALY

Video n Christie Roadster HD20K-J projectorsn Christie HD9K-J projectorsn Christie Roadie HD+30K projectorsn Dataton Watchout unitsn Peroni PVC rear and front projection � lm

Audio n Electro-Voice EVID enclosuresn Electro-Voice ZLX15P enclosuresn Work Pro NEO S8A subwoofersn Audiocenter K-LA28 line array enclosuresn Audiocenter TS-SW118 subwoofersn Audiocenter VA-401and VA-801 ampsn Electro-Voice microphonesn Yamaha MG16XU audio console

Structuren Litec trussing

Installed

OF THE MONTH

44-45 Install184 Soluitons 1_Final.indd 1 22/09/2015 17:00

the three sections of screen, enabling their tension to be adjusted during installation,thus ensuring a smooth continuousprojection surface, also bearing in mind the variation in temperature, to which PVC is particularly sensitive.

The fl own dodecahedron was a fi rst for both Litec and Peroni and features audiovisual clips on water and its relationship with food, climate, technology and religion.

The dramatic Journey into the Abysses spectacle features a 13ft-high circular screen with a diameter of almost 60ft. The total front projection area (2,420sqft) is covered by eight Christie HD9K-J three-chip DLP digital projectors with 0.67 lenses mounted on a truss ring in the centre. Here audio is courtesy of a quartet of Electro-Voice ZLX15P enclosures.

RestaurantThe 3,100sqft projection surface in the restaurant area (in this case the pavilion wall was used) is covered by two Christie Roadie HD+30K DLP digital projectors with 1.25/1.45 lenses. Here, the Audiocenter sound reinforcement system comprises eight K-LA28 line array enclosures, powered by two VA-801 Class H amps, plus a pair of self-powered TS-SW118 subwoofers (1 x 18in, 1,200W) with DSP. Handheld and headset E-V microphones and other sound sources at the various events staged in the venue are mixed on a Yamaha MG16XU 16-channel console.

Four Dataton Watchout units were deployed for the projections, with 18 of their 24outputs used.

The Show Live team designed and built the

screens, as well as installing them and the relevant AV hardware. The 360º immersive installation and the dodecahedron both ensure high-impact results but, in spite of the impressive amount of hardware they involved, the physical installation and the planning at drawing board stage were the most demanding aspects, as technical manager Claudio Renzetti explains: “We had to install all the aerial cable runs, as they were non-existent in the building – this involved a total of over 4.5 miles of fi bre, Cat5 and mains power cable and a week’s work.”

As far as the projectors were concerned, the suspension of the dodecahedron’s 24 projectors at a height of 15m had to be studied carefully, taking into consideration the risk of movement due to the conditioning system’s air currents, overcome by fi xing four suitable inclined steel cables to the roof girders for each pair.

Video content was produced by Padua specialists Drawlight, whose customer and project manager Alberto Gentilin explains: “As well as the content for the 104ft curved screen in the restaurant area, which was video footage dedicated to food, we produced a projection mapping project for the enormous 9m-high dodecahedron in the centre of the pavilion, which covers the 12 faces with synchronised video content supplied by artists and associations connected in various ways with water. There are also infographics dedicated to the world of water, including our 2D and 3D animations of fi gures regarding water, pollution, the evolution of the sea, fi shing, marine species, and so on, in the coming years.”

However, Drawlight’s production team’s biggest challenge was to entirely rethink in 3D

a descent into the abysses that would enable visitors to explore this mysterious world. The original video animation, produced in the Padua studios entirely in 3D, takes visitors down into the depths, meeting countless ocean creatures.

“We created an immersive 360º projection simulating a descent into the oceanic abysses. One of the pavilion’s main attractions, the installation is positioned in the very heart of the building, at the centre of the futuristic dodecahedral structure. The unique spectacle is screened every 15 minutes, and all the animations are the result of in-depth research, with the help of expert oceanographers, on the various species that inhabit the ocean depths. Thanks to the project’s combination of science and entertainment, visitors are treated to an exciting, high-impact experience.”

The video’s idea and direction was led by Davide Rampello and the six-strong production team (a combination of Drawlight sta� ers and freelance specialists who work regularly with the studio), consisting of Alberto Gentilin and Luigi Dalla Riva (art directors), Rudy Bertazzo (motion graphics), Nello Fontani and Simone Nastasi (3D artists and animation) and Edoardo Piccolo (music for the original soundtrack).

Gentilin concludes: “The spectacle ensures visitors enjoy an experience that is not only extremely exciting, but also educational!”

www.ac-pro.netwww.aquae2015.orgwww.christieemea.comwww.dataton.comwww.drawlight.netwww.electrovoice.comwww.grisdainese.itwww.litectruss.comwww.peroni.comwww.showlivesrl.comwww.workproaudio.comwww.yamahaproaudio.com

Twenty-four Christie Roadster HD20K-Js project onto the 12 sides of the dodecahedron n Showlive Srl (previously Di and Di Video Srl) has

two branches in Italy (Albano Laziale and Cernusco sul Naviglio) and a third in Adinis in Lebanonn It specialises in the rental and installation of multimedia systems, LED walls, maxi screens, video projectors and displaysn The company has UNI EN ISO 9001 quality management certi� cationn Its services include consultancy, design, supply, installation and assistance in a vast range of scenarios, including television studios (where its portfolio includes RAI, Mediaset and Endemol and shows such as X-Factor, The Voice and the Sanremo Song Festival), concerts, theatres, conferences, fashion parades, sports events and expos

About the installer

45www.installation-international.com SOLUTIONS: AQUAE VENICE 2015

44-45 Install184 Soluitons 1_Final.indd 2 22/09/2015 17:00

46 SOLUTIONS: HALLSTATT MOUNTAIN SALT MINES, HALLSTATT October 2015

The Salzwelten salt mine experience, located 400m below ground in the Hallstatt Mountain Salt Mines in Austria, has added a Bronze Age Cinema installed by multimedia specialist Scenomedia.

The core technology is AV Stumpfl show control, media players and motorised projection screen with Bose adding stereo audio to the experience.

The Bronze Age Cinema was created in a specially blasted 1,000-cubic-metre cavern in the experience’s Rose Chamber. Visitors can enjoy an eight-minute cinematic experience that ends by revealing Europe’s oldest wooden staircase, which was used during the Bronze Age to access the mine. It has since been restored and documented over a 10-year period by Vienna’s Natural History Museum. The cinema seats up to 70 visitors for each performance and at the end of the presentation they can view prehistoric artefacts in custom-made cases with the helpof LED lighting.

Inside the cavern and in front of the ancient staircase, the AV Stumpfl Magnum motorised

projection screen is 10m wide by 3m high. This is used to show a fi ve-minute fi lm documenting the staircase restoration process and latest 3D scanning results.

“During installation, these were fl own in by helicopter to the tunnel entrance and [guided]through narrow passageways with considerable skill,” enthuses Tobias Stumpfl , CEO atAV Stumpfl .

AV Stumpfl FHD Players drive content to three edge-blended Canon XEED WUX400ST short-throw projectors, installed 2.5m in front of the Magnum motorised screen to eliminate projected light on to the visitors.

The motorised screen then reveals the staircase and a two-minute holographic projection mapping show using a fourth projector onto the rock wall creating a 3D e� ect. This tells the story of Bronze Age children Uldo and Erie, and shows how salt was mined and transported using the stairs.

The soft salt rock and surrounding natural Dachstein limestone bedrock causes a shift of

Going undergroundThis unique visitor attraction has added another dimension with a cinematic experience that includes a holographic projection mapping show directly on the rock face, writes Tom Bradbury

The Bronze Age Cinema features an AV Stumpfl Magnum motorised projection screen

AUSTRIA

Video n Canon XEED WUX400ST short-throw projectorsn Gerriets Pepper’s Ghost projection screenn AV Stump� Magnum motorised projection screen

ControlAll AV Stump� n FHD Players n IOBox media control modulesn Modular Avio show control systemn Avio Manager 2D interfacen Wings Vioso

Lightingn REVO LED lighting

AudioAll Bose n MA 12EX line array loudspeakersn LT MB12 subwoofern PowerMatch ampli� er

Installed

46-47 Install184 Solutions 2_Final.indd 1 22/09/2015 17:08

several centimetres each year. All projectors are installed on a truss traverse; changes are compensated for by using adjusting screws and re-stretching the screens.

The ancient staircase sits behind a large transparent screen to protect it against the climatic conditions in the salt mine. Scenomedia worked with the Munich-based Fraunhofer Institute to develop the see-through transparent protective screen materials certified by the German Technical Inspection Association.

In creating the content, Andreas Scheucher, founder and MD at Scenomedia, says: “Using RED EPIC Dragon cameras, we recorded footage in 6K resolution (6,144 x 3,072 pixels).”

Video content is managed using the AV Stumpfl Wings Vioso toolkit, and show control of DMX, Artnet, triggers and lighting and sound e�ects is achieved using the AV Stumpfl modular Avio show control system. “Instead of using a central server or master components, Avio ensures all hardware communicates directly and independently ensuring reliability, system robustness and e�ciency,” explains Stumpfl.

All components of the control network are visually connected or ‘wired’ using the new AV Stumpfl Avio Manager 2D interface. AV Stumpfl IOBox media control modules store timeline and device control data on SD cards and operate independently. This removes the need for any programming computers. “Our IOBox solid-state hardware is able to withstand extreme conditions such as high humidity, salt and temperatures that the mines present,” adds Stumpfl.

Content is reproduced for each projector using frame-accurate AV Stumpfl solid-state FHD Players.

Ensuring that wiring is kept to a

minimum as well as guaranteeing power supply for programming and control, the FHD Players and IOBox are powered by Power over Ethernet (PoE). Scenomedia also designed the lighting and a Bose sound system, which includes MA 12EX loudspeakers, PowerMatch amplifier and an LT MB12 subwoofer.

“All show components are connected via a network and the installation is designed to operate during opening hours, seven days a week so operational sta� don’t have to worry about a thing,” adds Scheucher.

“The deployment of AV Stumpfl and their terrific support throughout the design and installation phases was invaluable. It allowed me to focus my time on the creative elements of the experience and together we have achieved a truly unique result of technology interacting with ancient archaeology.”

“The Bronze Age Cinema showcases over 7,000 years of the historical site and welcomes over 420,000 guests who visit the salt mines each year,” said Kurt Thomanek, general manager, Salinen Tourismus. “For this project, we wanted to restore the 3,000-year- old Bronze Age stairs. We called upon Scenomedia to integrate them into a cinematic experience as part of the regular tour of the museum. Since opening in May 2015, it’s been a tremendous success and the cinema is enjoyed by audiences of all ages.”

Scenomedia has installed multimedia technology in three Salzwelten locations in Altaussee, Hallein and Hallstat since 2002.

“We’ve enjoyed working with AV Stumpfl since its inception and there’s an incredible story of success and challenges over the years. As well as Hallstatt, all of our installations are equipped with AV Stumpfl technology!” concludes Scheucher.

www.avstump�.comwww.bose.comwww.canon-europe.comwww.gerriets.comwww.salzwelten.atwww.visionas.com/ erlebnis-welten

n Salzburg-based Scenomedia specialises in visitor centre installs as well as exhibitions, theme parks and brand experiencesn The company also produces �lms in-house including 5K standard post production

About the installer

46-47 Install184 Solutions 2_Final.indd 2 22/09/2015 17:08

48 SOLUTIONS IN BRIEF October 2015

The UK Pavilion at the World Expo 2015 in Milan features an immersive live 3D audio experience, shaped by the real-time movements of bees ina hive hundreds of miles away.

Visitors are able to follow the dance of the honeybee through a series of landscapes, including an orchard, a wildfl ower meadow and a giant abstract aluminium sculpture knownas ‘the Hive’.

To capture the bee activity, movement-sensing accelerometers were installed in a real beehive in Nottingham, UK. OutBoard–TiMax programmer Andy Coates created custom control data algorithms to provide interactive control and custom MIDI-triggering software to TiMax Soundhub, which in turn responded with a live 3D audio surround mix and spatial

panning events in the Hive. Coates’ software also controls 890 multi-element LED arrays distributed within the Hive to sync both light and sound to the real-time bee activity.

A total of 30 compact Meyer Sound MM4 loudspeakers were placed around the meadow and within the four-storey high hive structure, augmented by Meyer Sound sub bass cabinets. One TiMax SoundHub audio show controlmatrix handles the multitrack playbackand scheduling, processing, zone level management and multichannel distributionfor all areas, as well as the synchronised3D audio spatialisation.

A new audio system from d&b audiotechnik has improved intelligibility levels in the Turkish Parliament building in Ankara. A two-system solution was settled upon: a front-facing system of left/right d&b Ti10Ls enabling parliamentarians on the central platform to address the whole house; and a set of ceiling clusters using individually amplifi ed d&b 10S loudspeakers arranged to face downward and in a cross formation to give 360º propagation. The key to this system is the Salzbrenner Stagetec Nexus matrix system management that, through programmed time settings, can localise sound to the region of any Parliament member who is talking, relative to the rest of the chamber.

Communications and IT services company CenturyLink has unveiled a new Technology Centre of Excellence in Monroe, Louisiana, with NanoLumens NanoWrap visualisation solutions providing video content.

The 37,000sqft of View Dynamic Glass in the lobby makes it the single largest installation of electrochromic glass in the US.

Three columns in the building’s three-storey atrium are wrapped with NanoLumens’ 5mm NanoWrap displays in a 42in-diameter circular

panel that covers 12ft of vertical surface on each column. They provide a continuous stream of full-motion video that’s visible throughout the lobby and from any angle.

The NanoWraps are attached to the columns by a circular mounting system, incorporating a custom metal frame around the column in which the panels are attached.

Bees shape 3D audio experience at UK’s Expo Pavilion

Parliament ups intelligibilitywith d&b audiotechnik

NanoLumens chosen for Technology Centre of Excellence

www.dbaudio.com

www.outboard.co.uk

www.nanolumens.com

ITALY

UNITED STATES

TURKEY

Picture: Hufton+Crow

Picture: Idibri Consulting

48 Install184 Solutions In Brief_Final.indd 1 22/09/2015 17:12

Thinking. Inside the box.www.nexo.fr

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The highest possible output from the smallest possible cabinet. It makes NEXO speakers less obtrusive and

easier to transport, rig and install.

Measuring less than 38cm wide, GEO M6 delivers NEXO’s signature smooth frequency response for a highly musical

performance and enhanced speech intelligibility, with focussed dispersion for consistent coverage.

Whether you’re rigging a mobile A/V application or installing a fixed system in a theatre, bar or club, NEXO helps you fill the space with sound, not loudspeakers.

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TECHNOLOGYKit you need to know about

It’s… the latest addition to Christie’s 1DLP laser phosphor projector line up.

What’s di�erent? The Captiva Series is the only solid-state projector available with 3,000+ lumens, a 0.25:1 ultra-short throw lens and choice between HD or UltraWide resolutions.

Details: The Captiva Series provides 20,000 hours of lamp-free operation and can achieve

full brightness within seconds, or switch into standby with no cooldown period. The 1DLP engine allows the projector to be selected for high-usage applications, including 24/7, while ensuring continued performance.

Said to be ideal for retail and museum applications, it can also be used in landscape or portrait mode, adding to its creative possibilities. In addition, the UltraWide aspect ratio is useful for running one or more applications simultaneously on a desktop in meetings or classrooms.

The high-definition Captiva DHD400S o�ers native 16:9 aspect ratio matching up with the most common signals used today. The ultra-wide Captiva DUW350S brings a new creative wide canvas for tight spaces and, simultaneously, o�ers a practical workspace for everyday activities. Both the Captiva DHD400S and the Captiva DUW350S are designed for fixed installations where quiet operation is vital.

Available: Now

PRODUCT OF THE MONTHn New Products: Including d&b audiotechnik, Atlona, Canon p51

n Demo of the Month: Planar Clarity Matrix Video Wall Calculator p54

n Showcase: Conferencing equipment p56

This Month

Christie Captiva Series

www.christieemea.com

51 Install184 ProdOfTheMonth_Final.indd 1 22/09/2015 17:50

52 TECHNOLOGY: NEW PRODUCTS October 2015

It’s… installation versions of the new V7P, V10P and V-GSUB loudspeakers and subwoofer.

What’s di� erent? Building on the three-way passive design of the d&b V-Series line array modules, the Vi7P and Vi10P point sources house two 10in drivers in a dipolar arrangement with a rear mounted 8in MF driver attached to a dual chamber horn. The exits from this horn design create another dipole around the centrally mounted single 1.4in exit compression driver with a constant directivity horn. This maximises the performance-to-size ratio, by making almost the entire ba� e board radiate.

Details: The Vi7P and Vi10P deliver 75° x 40° and 110° x 40° (H x V) dispersion characteristics respectively. All components are arranged symmetrically around the centre axis of the cabinet to produce a symmetrical dispersion pattern. Due to the dipolar arrangement of the LF drivers, broadband dispersion control is maintained down to approximately 350Hz in the same plane as the dipole.

The installation-specifi c loudspeakers feature a smooth cabinet design without handles and an impact-resistant paint fi nish instead of a PCP coating. They o� er a visually discreet cabinet design and installation specifi c rigging systems.

Special colour and weather resistant fi nishesare also available.

The Vi-GSUB, meanwhile, requires only one amplifi er channel and shares the same acoustical performance, cabinet design and driver arrangement as the V SUB: an 18in driver in a bass refl ex design facing towards the front and a 12in driver in a two chamber bandpass system radiating towards the rear.

Available: End of this month

It’s… part of the SW-5 Series, Atlona’s fi rstline of HDMI switchers that support 4K/UHD video @60Hz.

What’s di� erent? The AT-UHD-SW-52ED is the top model of the SW-5 Series and o� ers added outputs for balanced stereo audio,mirrored HDMI and mirrored HDBaseT with Power over Ethernet for signal transmission up to 100m. The AT-UHD-SW-52ED is the only switcher in the series to o� er Power over Ethernet (IEEE 802.3af) as a complement to HDBaseT.

Details: All three switchers in the series have fi ve inputs and o� er 10.2Gbps bandwidth with a web server enabling GUI control over EDID, HDCP

and audio settings. All models are equipped for auto-switching and remote control via IR, IP, and RS-232 formats. The switchers support multichannel digital audio formats up to Dolby Atmos and DTS-HD Master Audio.

The AT-UHD-SW-52ED features front panel controls for source selection and volume level and a front panel indicator for volume level. The switcher performs audio de-embedding and is equipped with rear panel outputs for S/PDIF and balanced stereo audio.

Available: Now

n Flare Audio ZeroDesigned for studios and luxury homes, Flare Zero stands at 1.8m high, mounted on delicate machined supports. It throws out 3.5kW of sound, the equivalent of a club audio installation, and features the company’s patent-pending 3D-printed spiralled Vortex exhausts and Space technologies.www.� areaudio.com

n InFocus DigiEasel

The a ordable 40in, 1080p-resolution, 10-point touch DigiEasel has two models, which both feature built-in digital whiteboarding tools and give users display and touch control of their Windows, Mac and Chromebook devices. The DigiEasel with LightCast adds InFocus’ LightCast technology for wireless casting of another device’s screen, the ability to save and email notes, and internet browsing. InFocus is also launching DigiEasel Sign Manager, which enables DigiEasel to display an organisation’s HTML5 interactive signage and stories.www.infocus.com

n QSC TouchMix Control Android AppLike its iOS predecessor, the Android app o ers users comprehensive control of the TouchMix digital mixer, e ectively

replicating the on-mixer touchscreen interface. The full complement of features is available to tablet device users on both platforms. Up to 12 external devices comprising any combination of Android or Apple iOS smartphones or tablets may be connected at once to a TouchMix mixer. In multiple wireless device operation, the TouchMix operator may allow or restrict access to functions on a per-device basis from the mixer.www.qsc.com

n NEC P502HL

The laser phosphor P502HL projector is new from NEC. Designed for large venues such as lecture halls or auditoriums, it o ers the costs savings and high uptimes of solid-state light source technology, which removes the need for lamp replacement and allows up to 20,000 hours of maintenance-free operation.www.nec-display-solutions.com

www.dbaudio.com

www.atlona.com

d&b audiotechnikVi7P, Vi10P and Vi-GSUB

AtlonaAT-UHD-SW-52ED

52 Install184 Products_Final.indd 1 22/09/2015 17:20

It’s… a new family of LED cabinets, comprising the N2 and N4 models with 2.4mm and 4mm pixel pitch respectively.

What’s di� erent? Designed with two markets in mind – high-end retail and advertising – the N Series boasts a slim design, which Absen says has the potential to save a lot of installation space for customers in commercial areas with expensive rent or property prices.

Details: The N4 pixel pitch LED display is a fully front-serviceable panel housed in a rectangular high-grade die-cast aluminium cabinet, available in three lengths: 1,152mm, 1,440mm and 864mm x 288mm. With a thickness of just 54mm, the N4 has a sleek-looking outer chassis designed for retail installations where space is both scarce and expensive. Thanks to a shallow depth, each N4 1,152mm x 288mm cabinet weighs in at just 7.5kg, ensuring that installation and

maintenance are simple. New to the N4 is the smart modular system.

This assigns every module with an ID number, order index number, production date, work time, module current, colour co-ordinates, module voltage and module temperature. Most importantly, all this information enables the Absen LED panels to be easily monitored.

Debuted at IBC, the N2 rectangular display is designed for situations where fast-moving content needs to be transmitted fl icker-free without ghosting or tearing onto camera.The N Series also features a built-in remote control device, which allows users to control the display over WiFi.

Available: Now

It’s… The world’s smallest and lightestmodel 4K installation projector, accordingto Canon research.

What’s di� erent? Featuring a high-defi nition 4,096 x 2,400 LCOS panel, content exceeding the resolution of 4K digital cinema can be projected. With Canon’s improved AISYS (Aspectual Illumination System) optical system, the projector has an increased contrast ratio, delivering deep, pure colours and true reproduction of black areas. It also boasts 5,000 lumens for constant brightness across theentire zoom range.

Details: Designed for a wide range of applications including simulation, medical imaging and engineering, the XEED 4K500ST is said to be capable of displaying fi ne, detailed images with striking defi nition, ideal for engineering applications where computer-aided design work and 3D modelling require highlevels of detail.

Thanks to a newly developed 4K wide zoom lens, the XEED 4K500ST is capable of projecting large images from a short distance; it also has a peripheral focusing function that enables the projection of images onto curved screens. The projector is the only one of its kind to feature a lens that has a constant aperture (F number) across the entire zoom range and maintains an aperture of F2.6, regardless of zoom position. As a result, the brightness at the telephoto end of the zoom range will be almost the same as at the wide end. This makes it easier to install and reposition the projector without rebalancing ambient light.

Available: H1 2016

n K-array K12The KX12 is described as “a radical interpretation of a traditional coaxial 12in speaker”. While most coaxial speakers are constricted by their wedge shape to be linked to other units at the same � xed angle, the KX12

has the � exibility to be adjusted to any desired incline as a single array element. It maintains a balanced dispersion pattern at all frequencies on the axis through a horn with an adjustable orientation. www.k-array.com

n ASRock NUC Box 3000

Now available in the UK from Display Solutions, the NUC Box 3000 fanless dual-core embedded PC for triple digital signage applications is powered by an Intel Braswell Celeron

N3000 processor and supports dual channel memory with a maximum capacity of 16GB. Equipped with two HDMI ports and a DisplayPort interface, the ASRock embedded PC allows for three independent displays to be driven simultaneously.www.displaysolutions.co.uk

n ic audio WU-SW 06-165/T Metall-EN54

The WU-SW 06-165/T Metall-EN54, designed for voice alarm applications, is a 6W ba� e speaker with adhesive corners for increased stability.

The speakers are waterproofed and in the � nal stages of the EN54-24 certi� cation process. They are equipped with thermal fuse and black plastic housing; connection is via a stable four-pin screw terminal.www.ic-audio.com

n Key Digital KD-HD2x1ProK, KD-HD4x1ProK

On show at this month’s CEDIA Expo in Dallas, the Phantom Series

KD-HD2x1ProK and KD-HD4x1ProK HDMI switchers with audio de-embedder and 4K are designed for commercial and residential applications. Both have digital switching 2/4 HDMI inputs to one HDMI output. They have the capability resolution support for SD, HD and VESA up to Ultra HD/4K. Each comes with control capability through pushbutton, IR sensor, serial IR, and RS-232 control.www.keydigital.com

www.absen.com

www.canon-europe.com

AbsenN Series

CanonXEED 4K500ST

53www.installation-international.com TECHNOLOGY: NEW PRODUCTS

53 Install184 Products_Final.indd 1 22/09/2015 17:27

54 TECHNOLOGY: DEMO OF THE MONTH October 2015

One of the most visually striking demonstrations that we saw at last month’s Midwich Technology Exposed was not a product that can be installed, but a sales and design tool

that greatly speeds and simplifi es the design and specifi cation of a videowall. Demonstrated by zone manager Jaypaul Barrow, Planar’s Clarity Matrix Video Wall Calculator enables users to visualise any model of videowall from the LCD Clarity Matrix range, and then output information to share with clients, add to tender documents or pass to installers.

The Video Wall Calculator is hosted on Planar’s website, so it can be accessed at any time on any web-enabled device.

The fi rst step is to specify the size of the wall on to which the videowall is to be mounted. Either feet or metres can be used. (If you don’t know the size, you’re not prevented from continuing.) The system also asks for the distance between the videowall and the rack, which can be up to 100ft.

Optionally, the user can also customise the look of the room within the calculator – selecting from three room environments (lobby, retail and control room) and 16 background colours.

There are then three options for confi guring the displays. The user can specify the number of displays in the wall horizontally and vertically; they can specify the overall dimensions of the videowall; or they can select ‘fi t to room’, in which case the calculator will try to fi ll the entire wall dimensions with displays.

The user can also indicate whether they

wish the displays to be mounted in landscape or portrait format, and whether they require a multitouch capability to be included (which will require additional space for a bezel).

The user must then select which model from the Clarity Matrix series they wish to use – there are currently fi ve 46in models, four 55in and one 60in. There are links to product information pages to help inform the choice of model. The calculator enables two display models to be compared side by side – which is particularly useful for working out which size of display to choose, or which orientation is preferable.

Popular featureAccording to Barrow, the ‘fi t to room’ capability is the calculator’s most popular feature with end-users. “They love that feature because they can say, I know how much space I need to fi ll, but I don’t know whether I need a 3x3, a 4x3, portrait, landscape, 55in displays, 46in displays… and they can quickly select from the dropdown list and it automatically updates with what will fi t,” he explained.

By default, the calculator will centre the position of the videowall on the wall, but the user can adjust its position left, right, up or down as desired.

As well as the room customisation options mentioned earlier, the calculator enables personalisation of the chosen solution by enabling the user to upload their own content – either a still image or a video – to be displayed within the system that is being confi gured. Alternatively, preloaded options can be selected.

Drawing on wallsPaddy Baker is shown a simple yet powerful online tool for visualisingand specifying videowalls

Jaypaul Barrow demonstrating Planar’s Clarity Matrix Video Wall Calculator at Technology Exposed last month

Once the user is happy with their choice, you might think that the calculator’s work was done – but that is far from being the case. A wealth of technical information and documentation relating to the chosen confi guration can be displayed and output. For instance, the calculator produces a detailed technical drawing of the videowall system, with recommended clearances, cable access zones and drill hole patterns; diagrams of the video and power cable routings; details of additional equipment required, such as power supplies, processors and cables, and the rack space required; technical data, including the overall dimensions of the system, weight (with or without ERO bonded touchscreen glass), resolution in pixels per inch, and energy consumption and heat load at low, medium and high levels of usage.

This information can all be saved and/or exported in a number of formats – image fi les, technical drawings, Excel data, or everythingin a single PDF summary.

TimesaverFor most integrators, Barrow explained, “the biggest timesaver is that all the data is in the export and save. The PDF contains all the information you could need in a single document. It’s a one-fi le cheat-sheet, essentially, for the whole videowall solution.”

For integrators and consultants, the “single coolest feature”, he continued, is the ‘enter image or video URL’ function. This allows the videowall being modelled within the calculator to display a web page, logo or video that is hosted online. “It’s superfast for them tomake a custom-tailored solution for their particular client.”

Once the user is happy with their selection, they can request a quote via an online form within the calculator. This sends a request to their local Planar sales contact – “from there we can provide you with a detailed outline quote because we have all the information about exactly what you’re after.”

Additionally, through use of a login, customers can save a list of predefi ned projects – “so if you know you’re going to be doing a lot of 3x3 videowalls, you can save a 3x3 and just upload a new photo for each one.”

As well as the Clarity Matrix Video Wall Calculator, Planar has a similarly functioned online calculator for its DirectLight LED videowall range, and an online design tool for its Mosaic tiled displays.

www.planar.comhttp://matrixcalculator.planar.comhttp://mosaic.planar.comhttp://directlightcalculator.planar.com

54 Install184 Demo_Final.indd 1 22/09/2015 17:36

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56 TECHNOLOGY: SHOWCASE October 2015

Bosch’s new digital conference system combines versatility with audio quality to increase meeting productivity in small to medium-sized spaces.

The CCS 1000 D Digital Discussion System has plug-and-play functionality and has built-in recording to internal or removable media. The CCS 1000 D controller is able to record and playback more than 4,000 hours of discussion with one 128GB USB stick and up to eight hours via the internal memory.

The compact solution also includes modern digital language processing, has Digital Acoustic Feedback Suppression (DAFS) directly integrated and can connect to 80 discussion devices. DAFS enables simultaneous microphone and loudspeaker activity in each discussion device without acoustic feedback.

Advanced digital audio processing as well as leading microphone and loudspeaker

performance contribute to strongspeech intelligibility.

In addition, the integrated web browser includes microphone control for thechairperson, as well as recording and playback.

Evoko’s Minto audio conferencing solution is a portable unit that can connect to laptops and smart devices and is compatible with Microsoft Lync and Skype using Bluetooth, USB or 3.5mm audio jack. Minto covers rooms of up to 20 people and captures sound within a 10m range.

The microphone system adjusts to di� erent voice volumes, varying distances of participants to the unit, and removes unwantedbackground noises.

CONFERENCING EQUIPMENTTo improve meeting and conference productivity, manufacturers have introduced features including browser-based control, feedback suppression and IP bridging on the latest scalable systems, writes Duncan Proctor

Bosch increases productivity with versatile system

Audio-Technica provides infrared security

Gonsin ensures stability through frequency switching

Evoko’s portable unit has smart connectivity

The ATCS-60 uses infrared (IR) wireless technology to provide security in a variety of conferencing environments with no compromise in audio quality. The IRtechnology ensures the signal does not leave the conference space and there is no information leakage.

The extensive feature set includes four multi-language translation channels, automatic voice detection and camera control. Due tothe upgradeable system structure, installers can specify a system that can be expandedin the future.

‘Conference Manager’ software allows for modifi cations to the microphone and camera settings a� ording more control to the user. There is also microphone placement fl exibility to suit small to large meeting spaces, while the IR technology provides the user with system confi guration options.

The DCS-3021 wireless conference system from Gonsin utilises the company’s FS-FHSS 2.4GHz

frequency-hopping communication

technology. This allows the system to detect and select

available frequency bands and avoid channel interference to ensure communication stability.

The system can process up to 500 devices and operate for up to 20

hours in speak mode. It also requires no additional set-

up: a host, transceiver and microphones are all that are required to

hold a meeting.

www.boschsecurity.com

www.evoko.se

www.gonsin.com

www.eu.audio-technica.com

voice volumes, varying distances of participants to the unit, and removes unwantedbackground noises.

56-57 Install184 Showcase_Final.indd 1 22/09/2015 17:03

The HCS-8338 Multimedia Conference Terminal has features including video on demand with 10 HD video sources accessible to users, and an on-board camera to capture video of the speaker and link to videoconferencing systems.

Additionally, a microphone and built-in speaker improve audio intelligibility and a touchscreen interface allows document and video sharing. An added function is the ability to force content for display on all units to keep attendees focused.

Integrators can encode HDMI, SDI and VGA

signals to maintain video resolution on the terminal display. The all-in-one design of the unit also means there is less chance of system failures, which saves time and money on installations.

Televic Conference’s Interpreter Desk has been designed with a focus on usability and accessibilty – with tactile feedback and braille indicators for visually impaired interpreters.

The unit also has a greater video emphasis, with a HDMI connection to link an external screen to the desk. The external screen usesthe Plixus network architecture to displaylip-synced HD video of the speaker with single frame delay. This helps interpreters pick upnon-verbal cues and nuance to translate messages more accurately.

57www.installation-international.com TECHNOLOGY: SHOWCASE

Taiden’s all-in-one terminal with content sharing

beyerdynamic brings a fl exible set-up

Browser-based control from Biamp

Revolabs o� ers VoIP and USB bridging

Televic boosts accuracy with visual upgrades

beyerdynamic’s Quinta is a plug-and-play system with the advantage of wireless mic units that give added fl exibility in setting up or removing devices. Three frequency bands are provided to ensure safe wireless transmission during operation. Quinta also uses algorithms and protocols for greater reliability and to work with WLAN.

The Quinta handheld transmitter can be connected for conference use, but can also be used for other applications such as panel discussions and interpreting.

Revoluto technology on the microphone units o� ers a large voice range while maintaining high sound quality and an unrestricted view of the dialogue partners.

Oreno from Biamp can control any Tesira-equipped conference room via mobile devices through a web browser with no additional software. The solution is comprised of three core components: Oreno Creator, Oreno Manager and the user interface.

It is designed for a variety of conferencing environments and combines ease of usefor the end user, minimal programming forthe integrator and simple deployment forthe installer.

Oreno Creator is a core productivity tool allowing integrators to create and commission Tesira control interfaces through the use of templates and create the system control using

the WYSIWYG interface.The Oreno Manager has two components: an

application that communicates with the Tesira system and delivers the user interface, and the Oreno Management Console accessed viaweb browser.

The FLX UC 1500 is an inclusive solution made up of an IP and USB conference phone with extension microphones for larger conference rooms – the two extension microphones creating a wider pickup range. The model includes a high-performance speaker, and the ability to bridge VoIP and USB-based calls.

The device allows any caller in a PC or VoIP environment to collaborate with up to 18 participants within meeting spaces. The solution also removes the need for separate conferencing units for IP communications and USB requirements, saving a business money and space.

In addition to interoperability and convenience, the FLX UC also ensures call clarity, having been tested against acoustically challenging elements present in modern conference rooms. It is equipped with premium tweeter and mid-woofer elements, four embedded microphones and two extension microphones, and integrated echo cancellation. Wide band frequency response delivers audio quality to conference calls, desktop audio or PC communication tools, on site or cloud-based.

Designed to integrate easily with third-party applications, the device also features a dialler with a 3.5in colour display and USB support. This allows users to connect to a PC, Mac, or Chromebook for use with applications such as Skype and Microsoft Lync.

www.televic-conference.com

www.taiden.com

www.beyerdynamic.com www.revolabs.com

www.biamp.com

The HCS-8338 Multimedia Conference Terminal The HCS-8338 Multimedia Conference Terminal has features including video on demand with 10 has features including video on demand with 10 HD vidHD vidon-board camera to capture video of the speaker and link to videoconferencing systems.

messages more accurately.

Taiden’s all-in-one terminal with content sharing

allowing integrators to create and commission Tesira control interfaces through the use of templates and create the system control using

www.televic-conference.com

56-57 Install184 Showcase_Final.indd 2 22/09/2015 17:03

MONTH AHEADPLASA London 2015

The London edition of PLASA returns to ExCeL for three days in October. Running from 4-6 October, the new-look event features fi ve product and networking hubs for audio, lighting, broadcast, AV

and staging. Around 300 companies will be showcasing the

latest products from across the industry, while over 150 speakers will take part in the three

seminar streams covering Pro Audio;AV, Broadcast and Stage; and Lighting,Industry Initiatives.www.plasashow.com

PLANYOUROur pick of what to see, read and discover in the weeks ahead includes the new-look PLASA London, CEDIA in Dallas and the return of PSNPresents

PICK OF THE MONTH

CEDIA Expo14-17 OctoberTaking place at the Kay Baily Hutchison Convention Center in Dallas, this global showcase of the future home experience features cutting-edge technologies in the � elds of audio, networking control, lighting, security and more, along with the option to complete CEDIA and manufacturer training sessions.

PSNPresents 4 NovemberReturning for its second outing this year, PSNPresents is an evening of insights and anecdotes from leading lights of the pro-audio world. The 4 November gig will kick o� with a journey into the world of recording, mixing and studios, followed by lively debate and opinion from a panel of outspoken live sound engineers.

Light: The Visible Spectrum and BeyondBy Kimberly Arcand, Megan WatzkeOrganised along the order of the electromagnetic spectrum, each chapter focuses on a di� erent type of light and highlights the ways in which light impacts us. An introductory chapter describes what light is and how it behaves.

ATTE

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58 Install184 PlanYourMonth_Final.indd 1 22/09/2015 17:39


Keylines do not print

INK: 4/c

STOCK: magazine

PRODUCTION NOTESUnit:

Live:

Trim:

Bleed:

Gutter:

Elania Nanopoulos

510 486.1166 x115

Contact:

Phone:

Installation Magazine Oct 2015 Issue 09/17/15Creative: Testimonial - Andrew

PUBLISTING Close Date Revision #

Meyer Sound Laboratories Inc. • 2832 San Pablo Ave. • Berkeley, CA 94702 • 510 486.1166

FP4C

200 x 270mm

220 x 290mm

226 x 296mm

n/a

B T

B

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BT

B

T

B T

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ANDREW DUBOWSKI /SAN FRANCISCO SYMPHONY

Read the full interview at

meyersound.com/sfsymphony

LEOPARD AND 900-LFCTHE NEWEST MEMBERS OF THE LEO FAMILY

“The more natural the sound, the more perfect the

amplification. LEOPARD’s sound is so natural, it fools

me into thinking the sound is not really amplified, even

though I know it is. That feels like magic.”

Andrew Dubowski, Director of Operations


Documents

Installation October 2015 Digital Edition