Volume 14, Issue 15 — August 3, 2016
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Editorial Editorial Editorial
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Industry News Displays Unified Collaborative Conferencing Media Players, Recording & Distribution Projection Audio Control & Signal Processing Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories
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Beware: 4K Capable and 4K Native Resolution Aren’t the Same Thing
By Gary Kayye rAVe Founder
Among the plethora of deceptive (intentional or not) 4K specs being thrown into the market, there is one that should be obvious to all of you out there in AV-land, but may not be — so here you go.
There are all sorts of 4K resolution displays appearing in the marketplace, finally! After a year or so of hype, they’re shipping. However, not all 4Ks are the same. For example, 4K signals carry way, way more complex signal (and image) characteristics than just resolution (most being 3840×2160). In addition to the resolution of the signal, there are important spec considerations like chroma sampling rate (this ultimately determine the color-quality of of the displayed image), color bit depth (this ultimately determines the color resolution and detail) and frame-rate (this determines how well a display handles motion images).
For this blog, I will focus only on the important factors of resolution you need to be concerned with — over the next few months, I’ll add blogs on chroma sampling, color bit depth and and frame rate.
And, now’s a perfect time to understand this as all the 4K gear and displays start shipping this fall.
Now for a resolution lesson:
There are two resolutions standards for 4K (and, before you get upset that there isn’t just one, remember the the old-timey (currently used) standard for HD actually has four solutions — so having two for 4K is 50 percent less than what we had with HD. So insert smiley-face here!
- 3840×2160 is what 90 percent of the 4K display will be, natively. This is the resolution selected by the SMPTE.
- 4096×2160 is what the DCI (Digital Cinema Initiative) decided 4K resolution would be in movie theaters. So, displays using this resolution likely use the actual DCI chips used in movie theater projectors.
No, the human eye can’t perceive a difference in the two resolutions unless it’s side-by-side. Basically the real difference here is in aspect ratio. DCI is 1.9:1 aspect ratio and the SMPTE 4K is 16:9 (the exact same thing as all four of our existing HD resolutions). Que light bulb going off in head, here!
So, if this is a a clear-cut resolution issue — what’s the big deal?
Well, the native 4K resolution displays vs. the 4K “compatible” or “capable” (or even 4K “ready”) displays are very different and it can mean one of two things.
In the first way, a display might accept 4K content, but downscale it before displaying it. For example, Samsung has an entire line of TVs it sells at places like Best Buy that are branded 4K, but are actually converting all 4K resolution images down to HD. Yes, the image is still stunning, but it’s ultimately still 1080p. You have to look at the fine print to see that their native resolution isn’t 4K after all and that they are converting the signal down from 4K to 1080. One day, those buyers could be either pissed or disappointed.
In any case, in the ProAV market, there are already a plethora of projectors that are 2,560×1,600 resolution but are displaying 4K in a unique way (more on that in a moment). Let’s take a look at how those projectors display their resolution specs and you tell me if this is potentially confusing or even deceptive:
Note the the manufacturer shows the 4K resolution first and then in an “oh by the way” way, says the actual native resolution is just 2560×1600.
Personally, I totally get it — but I’m an industry-insider. Will clients understand that they aren’t buying a native (actual) 4K resolution projector? And do integrators know this?
The second way displays can be 4K-but-not-really is using something commonly referred to as wobulation technology.
Wobulation — sometimes also referred to as pixel shifting — works by overlapping pixels. It does so by generating multiple sub-frames of data while an optical image shifting mechanism (e.g., the crystal in an LCD) then displaces the projected image of each sub-frame by a fraction of a pixel (e.g., one-half or one-third). The sub-frames are then projected in rapid succession and appear to the human eye as if they are being projected simultaneously and superimposed.
Image Courtesy of Popular Science Magazine
So, basically, you are actually seeing a 4K image displayed, but you’re seeing it by splitting pixels on LCD crystals or DLP mirrors on the imaging device.
Can the human-eye detect the difference? It depends…
There are a plethora of factors that would determine if anyone can tell — for example, those of us in the industry may perceive 4K wobulation as a little bit softer than native 4K resolution imaging. But, on the flip-side, wobulation-based imaging tends to hide the edge of the pixels — so you don’t see the squares — when sitting close to the projected image. So, the trade-off is between perceived sharpness vs resolution.
Wobulation-based imaging is also significantly less expensive than native 4K imaging. Currently, it’s in the range of 40-60 percent cheaper. So, when the same projection systems come out with the exact same specs, but using native 4K imagers, they will be more expensive.
If you read the specs carefully, you can tell that the display is using wobulation to display the 4K content (as opposed to downscaling) because it will use marketing phrases like “4K enhancement” or even brand the technology. JVC, one of the first manufacturers to use pixel shifting to sell “4K displays” at a lower price point, calls it “e-Shift.”
Thus, both will live in the market side-by-side and be sold according to applications and customer budget.
But the take-away here is that there is a big difference between native 4K and and “other” 4K. It doesn’t matter what you choose, as long as you are making an educated decision about what you use. Leave a Comment
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A Crack in the Wall Between the Real and Virtual Worlds
By Leonard Suskin Pixel and Ink-Stained Wretch
Assuming that you’ve not been living under a rock, you’ve at least heard about the Pokémon GO! craze. For the uninitiated, Pokémon Go is an augmented reality game produced by Niantic (in partnership with Nintendo, which owns the rights to the intellectual property on which it is based) in which one needs to hunt the titular Pokémon in the real world. Pokémon, once captured, can be trained, leveled up, and used to battle for control of Pokémon gyms, which are also real-world locations. It is, at the very least, an excuse for gamers to get out and have some exercise. For those of us in the AV industry, it brings the idea of augmented reality to the forefront in a way it hasn’t been before — even by similar AR games. So what does it mean to us? Perhaps nothing. Perhaps everything. More likely something in between.
What Is It?
This is not Niantic’s first game. In fact, Pokémon Go! Is based on the game engine originally developed for the science-fiction AR game Ingress in 2012, when Niantic was still part of Google. Those who’ve played Ingress recognize familiar elements. Important real-world locations (post offices, public art, libraries, etc.) become in-game locations — “gyms” over which you battle against opposing Pokémon and “Pokéstops” at which one can replenish in-game supplies. As with Ingress, the game is entirely dependent on your phone’s GPS and data connection.
Each game is built around a secret-history fantasy narrative in which the game world is presented as an aspect of the real world which is hidden from most ordinary people. For Pokémon players it is the existence of magical beasts; for Ingress it is the incursion of extradimensional entities called “shapers” into our world. In neither case is the story all that important; it takes a back seat to gameplay.
The new gameplay element in Pokémon Go is a visual augmented reality element to add to the location-based augmented reality. The first augmentation to our reality — that the water tower is really a Pokéstop in which one can replenish supplies — is familiar to Ingress players. The second comes when one faces an actual Pokémon and can see the creature on ones phone screen, superimposed on the real-world image from your camera. In some environments, the game engine appears smart enough to set the Pokémon on the ground or other solid surface; in others it seems to randomly float about, not terribly well integrated at all with its environment. While the cartoonish-looking Pokémon lacking the detail or realism for their appearance to be truly immersive, their visual presence in the real world is another step towards connecting game world with real world. Seeing a Pokéball bounce on the sidewalk at someone’s feet is a striking experience and represents a crack in the wall between the real and virtual worlds.
Monetization?
It can also be used to drive behavior. AV blogger and podcaster Corey Moss (@cbmoss, July 15, 2016) noted the following on Twitter: “I saw how an AV integrator has become a #Pokestop – is this the new way to find customers? #AVTweeps”
I don’t know how much the average AV integrator relies on walk-bys (I’d guess somewhere between “none” and “absolutely none”), but Moss does have a point. Remember I said that post offices, libraries and other noteworthy public buildings are Ingress portals? I missed a category: Every Duane-Reade store is also a portal. I am certain this was a deal with Duane-Reade to increase foot-traffic to their stores. Of course, foot traffic does more for a pharmacy/convenience store than it will for an AV integrator — though I can see an intriguing idea in sending people to an AV contractor’s more striking public projects if one could also call attention to them and highlight who it was that installed them.
The interesting thing here is that you have dual potential avenues to make money — one more insidious than the next. Think about this: It is possible, given the correct digital incentives, to influence where people go in the real world. It isn’t mass mind-control, but it’s something similar.
The Bigger Picture?
The question AV professionals are now asking each other is whether or not there is a bigger picture — if the broad adoption of this toy is a sign that AR or VR might be moving close enough to mainstream adoption to have an effect on what we do. I’ll say yes and no; yes in that AR and VR are each becoming prevalent enough and low enough cost that we need at least ask the question. The story twenty years ago was of advanced technology from the boardroom making its way to the living room. Over the past decade, the new story has been residential technology filtering up towards the corporate world. We now may be moving past residential and towards personal mobile technology. For thirty dollars you can put a cardboard box around your phone and turn it into a VR headet. For free you can download toys like Ingress or Pokémon Go.
Gary Kayye came closest to explaining the paradigm shift in saying that we each hold a “personal information device” which, in some ways, replaces a large-scale display. Another way of framing it is that a video display, a camera, a microphone and a loudspeaker are dispatched to everyone’s physical location at nearly any time.
One can send content to a display and a loudspeaker in nearly any location. And receive content from a camera and a microphone (and other sensors).
We talk often about unified communication, and unified communication strategies. VR and AR may not be complete solutions, but they can become part of a unified content distribution strategy.
Again — What Is It?
To understand the viral phenomenon of Pokémon Go and its sudden reach is a study in marketing and public relations. That’s important, but not everything; what’s important to us is to see what this tells us about technology, what has actually been built and what that means. Can something else be built upon it? Is it proof of concept to build something different entirely? Is it a metaphor?
So what is Pokémon Go? It is:
- The Game Engine. A software tool which first formed the basis if Ingress and is now being turned to a different genre. The system for taking location and identity and turning it into interaction with objected overlaid onto the real world.
- Hardware. It is facilitated by ubiquitous hardware. You have a camera. You have a microphone. You have a display, you have a loudspeaker. And sensors to know where they are. Always.
- Infrastructure. GPS Satellites and wireless data, available in broad areas of the country. To make it work.
- Culture. A growing willingness to view part of life through our devices, a lack of inhibition about sharing our data — now including physical location in the real world.
Finally, Pokémon Go is the story Niantic and Nintendo built atop the software and hardware, facilitated by the existence of culture.
The hardware is there for everyone, as is the infrastructure and a new culture. It’s now up to us to find ways to use it. Leave a Comment
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The Right Tool For the Job
By Hope Roth They say that a poor craftsman blames their tools, but anyone who has ever tried to crimp a cable with a dull punch-down tool knows that you can only do so much with what you are given. It won’t fit on a coffee mug, but a less pithy way of putting it is “a fine craftsman knows the limitations of their tools and plans accordingly.”
What does that mean? It means knowing what you’re going to need onsite and planning accordingly. It also means keeping your work bag and vehicle stocked with things that you *might* need. It means keeping your equipment in good working order. In my case, it also means making sure that you have snack on hand (more on that later).
First things first, my work bag. I go to job sites using planes, trains, and automobiles, so all of the essentials have to fit in one bag. I also want to be able to walk without pain, so I can’t overload myself too much. This is what I carry:
- My laptop and power supply. That power supply is mission critical, so I have a spare that I use in my home office. That way, I never forget to grab it when I’m on my way out the door.
- A big-ass iPad. I use this as a mobile hot-spot, for filling out job paperwork, and as a second monitor when I’m stuck writing code while sitting on an over-turned paint bucket. I use a $10 app called Duet that lets me extend my screen onto my iPad. It was the best $10 I ever spent (big-ass iPad not included)
- Phone charging cable, charging brick, and a little batter pack that doubles as small Wi-Fi router. Nothing kills a phone battery like keeping it inside an electrical closet. I need to be able to charge my phone six ways from Sunday. I like gear that can pull double duty, so I got a battery pack that I can use for some temporary Wi-Fi if I need it.
- Extra-long USB cable and about eleventy-billion adapter cables for it. All of the different USB cables I needed were weighing me down, so I got one long one and then bought a box of adapters for it.
- Assorted proprietary cables, remotes, etc. This is all going to vary depending on what your job duties are.
- I’m a programmer, so I have the joy of carrying around an RS232 to USB adapter. I also do a lot of commercial lighting, so I carry Crestron remotes for setting up occupancy sensors and power packs.
- An extra-long Ethernet cable, as well as a coupler for attaching it to another cable.
Tweaker, multi-tool (if the TSA hasn’t found it and taken it away from me), lipstick (I am a girl, after all).
The goal in loading up my bag is to never get to a job site and say “oh shit, I can’t do anything else until I find [random cable]. Everything that goes into my bag lives there, unless I’m getting on a plane and it’s pointy.
In my car, I keep a box of spare equipment (mostly older remotes, proprietary batteries, and occasionally a spare processor). I also have all the PPE I might need if I have to work on a construction site (hard hat, high viz vest, boots, safety glasses). I also keep a spare company polo in case of wardrobe malfunctions or last-minute service calls.
My car is also where I keep all of the bigger/sharper/heavier tools that I’m not likely to need on a basic job, but which might come in handy in a pinch. This is where I store my multi-meter, punch-down tools, wire-strippers, etc.
And, most importantly, I have a box with snacks, non-perishable lunch packs and juice boxes. The juice boxes are technically for my young daughter, but they have worked in a pinch when I stuck in the middle of nowhere and getting increasingly thirsty/hungry and needed that little bit of sugar water.
Why do I consider snacks to be an essential job tool? Well, you wouldn’t like me if I’m hangry. My job often takes me to places where lunch isn’t readily available. I need to be able to keep my blood sugar at a decent level, or I’m never going to get any work done.
Everything in my car (theoretically) lives in a couple of crates that can be pulled out and stored if we’re going on a family trip and I need the cargo space. Although, if you ask my husband, it tends to take over the entire trunk of my car.
So, there you have it, my essential tools list. Is there anything you think I’ve missed? What’s in your tool bag? Leave a Comment
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New Systems Rating Index from AQAV Gives Technology Managers the Ability to Gauge Longevity of AV SystemsThe Association for Quality in Audio Visual Technology, Inc. (AQAV) announced today its new Systems Rating Index (SRI) for Longevity is now available as a free download from its website, aqav.org. The SRI provides technology managers with a reliable reference baseline for gauging longevity of audio-visual system designs, and offers changes that can be made to extend it. This is a very cool idea and one we here at rAVe will wholeheartedly support!
“Before technology managers ‘freeze a design,’ they should consider all the latest technologies at their disposal and the expected longevity of the system,” said Mario Maltese, executive director of AQAV. “Will it still be current in two, three, or five years? What is the potential harm to the customer or their personal reputation as a system designer if they fail to do so?”
AQAV’s SRI for Longevity rating sheds light on this matter in a simple index form that’s easy to apply. System infrastructure is broken into five categories. Each category has five criteria. Meeting all the criteria in every category earns a rating of 100, but weighted for price and other considerations.
“One simple design change can have a major impact on longevity and may not even affect cost. The SRI rating is currently the only way to know,” adds Maltese. ”Customers can refer to the SRI rating to make sure they’re getting a system that will last as long as they’re expecting. Integrators can use it to demonstrate to customers the strength of their designs.”
The SRI for Longevity rating has been incorporated into the latest (2016) edition of AQAV’s AV9000 Standard in the Design Review Checklist and other sections of the Standard to further assist AV systems designers in their quest for excellence.
For more information and a free download of the Systems Rating Index for Longevity, see the AQAV website here. Leave a Comment
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VIZIO Sold to Chinese-Based LeEcoA Chinese company called LeEco (sort of a Netflix of China), just agreed to buy VIZIO for a little over $2 Billion. This is HUGE news as VIZIO is currently the second largest TV manufacturer in the world, behind Samsung, and they are one of the only profitable TV manufacturers in the world. The combined company will be $4 Billion.
Citing the purchase, LeEco CEO Jia Yueting said, “We hope that we can use the ecosystem model and create a great integration between Vizio and LeEco and create new values for U.S. users.”
CEDIA CEO Vin Bruno said, “We are pleased to welcome LeEco to the industry and look forward to getting to know them better and understanding their ongoing goals in the channel.”
You can expect that this will help LeEco get their streaming video service in to the USA to compete with Netflix and you may even see Netflix disappear from VIZIO TVs.
VIZIO is a 13-year old company started by William Wang in his house.
Here’s the official release:
LeEco and VIZIO, Inc. announced today a definitive agreement under which LeEco would acquire VIZIO, Inc. for $2 billion USD. The VIZIO hardware and software businesses will be owned and operated as a wholly owned subsidiary of LeEco, while the VIZIO data business, Inscape, will spin out and operate as a separate, privately owned company.
Recently named one of Fast Company’s 2016 “Most Innovative Companies,” LeEco is a leading global company that provides breakthrough experiences through an open, integrated ecosystem enabled by its Internet and cloud platform. LeEco develops intelligent hardware that serves as the interface to connect individuals, interact with them and to enrich their lives through premium content and applications.
“LeEco believes in breakthrough technologies, a complete ecosystem and disruptive pricing. Acquiring VIZIO is an important step in our globalization strategy and building our North American presence,” said YT Jia, Founder, Chairman and Chief Executive Officer, LeEco. “From its inception, VIZIO introduced a disruptive business model that changed the industry and aligns with our vision of breaking boundaries to deliver consumer-focused products, software and services.”
Based in Irvine, CA and founded in 2002, VIZIO is a leading consumer electronics brand in North America, with #1 unit share in Smart TVs1 and #1 unit share in Sound Bars2. The company is focused on delivering the ultimate home entertainment experience through its ecosystem of hardware, software and services. The acquisition benefits both companies with VIZIO offering LeEco a steady install base of users and a brand that is both popular and successfully distributed throughout major North American retail channels. LeEco provides VIZIO immediate global scale to bring its innovations to consumers worldwide. Like LeEco, VIZIO shares a similar vision of creating premium products with the latest innovations and making them accessible for everyone – from budget-minded students to custom home theater cinephiles – without sacrificing quality or performance.
“Fourteen years ago, I mortgaged my house to start VIZIO and since then, it has grown into one of the most well-known and respected CE brands in North America. As an entrepreneur, I couldn’t be more proud of what has been accomplished,” said William Wang, Founder, Chairman and Chief Executive Officer, VIZIO. “As we enter a new chapter with LeEco, I’m humbled by the hard work and dedication of VIZIO shareholders and employees. Their unwavering faith in the brand and commitment to excellence is what made this venture possible. I’m excited to see how LeEco’s global reach and resources will elevate VIZIO as we continue to bring great technology, innovation and value to our consumers.”
The VIZIO executive management team will remain in place and will continue its operations as an independent subsidiary from its existing headquarters in Irvine, CA. The VIZIO brand and its portfolio of products will continue to be sold through its existing distribution channels and supported by the same North American-based, award-winning customer service. William Wang will transition to Chairman and Chief Executive Officer of Inscape, with focus on the continued expansion and growth of the brand’s data business.
As part of the definitive agreement, LeEco will acquire all of the VIZIO hardware and software operations, technology and intellectual property. The transaction is expected to close during the fourth quarter of 2016, and is subject to customary closing conditions. BofA Merrill Lynch acted as advisor to the special committee of the VIZIO board of directors, and Latham & Watkins LLP served as legal counsel for VIZIO on this transaction.
VIZIO is here. LeEco is here. Leave a Comment
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Futuresource Proves Accuracy of its Forecasting — Expects Projector Market Value to ClimbDespite the numerous and varied factors impacting the projector market, Futuresource continues to predict the development of volume sales with supreme accuracy.
In Q1 2014, Futuresource forecasted that the global projector market in 2015 was set to hit 7.6 million units — the actual number was 7.67 million units – a difference of just -0.9 percent ‘year-on-year.’ Regional-level predictions were also highly precise – Americas’ results were just -0.3 percent out, APAC -2.4 percent and EMEA only 0.8 percent.
Claire Kerrison, Senior Market Analyst, Professional Displays at Futuresource Consulting stated, “Despite the debate surrounding the impact of Euro 2016 in EMEA and macro-economic/political issues across several key markets, Futuresource’s CYQ1 2016 forecasts were out by just 3.8 percent as the market hit 1.73 million units – a tad greater than the 1.67 million units predicted a year earlier. The forecast accuracy can be attributed to careful consideration, on a country level, of numerous market influencers.”
In calculating its forecasts, Futuresource analyses: penetration rates, development of competing display technologies (of which Futuresource has several well-established trackers), mobile PC tenders, government spend, economic outlook and market seasonality – as well as more macro factors such as advances in projection technology.
Futuresource has forecasted global projector volumes sales to fall by around 20 percent from 2015 to 2020. However, market value is expected to move in the opposite direction and is set to experience double-digit growth over the same period. This value will be driven by greater adoption of solid state solutions (which will retain their premium over lamp-based equivalents), replacement demand of digital cinema models and erosion of the bottom-end of the market.
Given the Futuresource history of correctly predicting how the projector market will develop, the notion that value will grow as volumes decline can almost be considered a fact. Futuresource is here. Leave a Comment
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Global Sales of Solid State Projectors Soar 17 Percent Year-on-Year in CY Q2 2016 Futuresource Consulting has revealed its latest insights into the worldwide projector market which highlight that the market has declined 4.6 percent year-on-year in CY Q2 2016 to 1.76 million units, with value falling 5.6 percent to $2 billion. Despite value falling further than volume for another consecutive quarter, the disparity is far weaker than previously seen, a positive sign that average selling prices (ASPs) are in recovery.
Senior Market Analyst Claire Kerrison commented, “Whilst the market witnessed further declines this quarter, this was largely driven by macro-economic or political factors in key emerging regions, rather than just the impact of competing display technologies. The fact that the rate of market value decline has diminished is incredibly encouraging. Value was propelled by sales of solid state solutions, increasing 17% during the quarter, which now attributes to 8% of total sales.”
Futuresource expects that as solid state adoption continues to mount it will drive an increase in ASPs and consequently a rise in overall market value, despite a decrease in volume.
Kerrison added, “There are positive stories among the overall market declines. Sales of 1080p and WUXGA enjoyed a combined growth of 38 percent year-on-year. Furthermore, sales of 5-7K lumen products continue to rise, with sales up 22 percent year-on-year. It should not be forgotten that there are opportunities for projector brands out there.”
All the details are here. Leave a Comment
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InfoComm International Announces Program Lineup for 4th Annual AV Executive Conference InfoComm International has announced the program lineup for its fourth annual AV Executive Conference (AVEC), set for Nov. 9-11, 2016, at the Ritz-Carlton Key Biscayne, Miami. This year’s theme, Driving Profit Through Customer Experience, will be captured through sessions focused on how to shift a company’s revenue-building capability toward creating a memorable and distinctive experience for customers, rather than having price be the deciding factor.
AVEC brings together 200 leaders from systems integration and live events firms for three days of strategic business planning, industry insight sharing and networking. Because AVEC will tackle business challenges from both strategic and tactical perspectives, it is recommended that companies send their top executives and representatives from sales and marketing.
“Today’s technology moves at a torrid pace. We must strategically structure our businesses to meet the marketplace challenges of both today and tomorrow,” said K.C. Schwarz, CEO, USAV. “Over the last four years, InfoComm’s AV Executive Conference has challenged me and other USAV partners who have attended. Step back, elevate your thinking, plan for the future, develop strategy partnerships – these themes make AVEC both unique and powerful. This year’s AVEC is further enhanced by a focus on breaking through plateaus and moving your business to the next level.”
Led by a successful lineup of authors and businesses executives, AVEC’s sessions will concentrate on how thriving companies deliver an experience as opposed to just goods and services, the importance of having a business approach that aligns sales, marketing and the customer and exploring the process of developing a customer experience.
In the session Same Side Selling, Ian K. Altman, CEO of Grow My Revenue and author of Same Side Selling, will describe an integrity-based approach to selling that everyone can embrace, even the customer. Altman will discuss research on how executives make decisions and how to align sales, marketing and the customer experience to accelerate sales and grow business all while ensuring dramatic results for customers. The workshop will lay out a straightforward, easy-to-implement approach for quickly identifying opportunities that are worth pursuing – and those that are not. Altman’s presentation will highlight the Same Side Selling Process, tailored to the AV industry, and offer tactical skills, practical exercises and hands-on support for AVEC attendees who want to use this strategy in everyday business.
Gary Adamson, Chief Experience Officer of Starizon Studio, will host the session Developing the Customer Experience, which stems from the Experience Design Place in Keystone, Colo., where companies come to think anew about the experience they create for their customers (and often for employees and other audiences). Starizon takes “explorer teams” through a process to define future experiences they want to create, including a theme and a declaration that cements the theme in the minds of those in an organization. A full “experience map” helps define each element of the experience. Adamson’s session will provide a rapid explanation of how the process works and how to ignite the strategy behind an experience. The workshop will also provide tactical tools that can help all levels of employees provide an exceptional customer experience.
In addition, AVEC’s moderator Mark Jeffries, former Merrill Lynch stockbroker turned author and speaker, will sit down with Altman, Adamson and Joseph Pine, co-author of The Experience Economy, for an interview to discuss their ideas. Pine was a popular presenter at AVEC 2015 in Amelia Island, Fla. The Q&A session will explore the theory of experience economics and relate theory to actionable topics that each attendee will be able to utilize in their business.
“Meaningful, business-transforming experiences don’t just happen. They are not just amped-up customer service. Experiences are not made; they are not delivered. They are performed,” said Adamson. “That’s why the ability to design and choreograph an experience will separate the contenders from the pretenders in this new world of business. Our time together will take you from admiring world-class experiences to performing them.”
AVEC will also feature keynote speakers Bert Jacobs, Co-founder and Chief Executive Optimist of the Life is Good Company, and Ken Schmidt, former Director of Communications for Harley-Davidson. They will both share lessons they’ve learned from building leading brands that celebrate the customer experience. In addition, InfoComm International Executive Director and CEO David Labuskes, CTS, CAE, RCDD, will discuss the association’s strategic plan for advancing the AV industry.
To learn more about AVEC 2016 and to register, go here. Leave a Comment
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eyevis Adds 50″ to LineGerman digital display company eyevis announced it has added a 50-inch to its ProAV line of 4K/UHD LCDs today. Dubbed the EYE-LCD-5000-QHD, the 4K resolution (native 3840×2160) line-up now comprises six displays from 50 inch up to 98 inch.
Designed for 24/7/365 operation, the displays are aimed at digital signage as well as meeting rooms. The monitors are designed to allow for display of up to four individual input sources simultaneously. For interactive installations, all sizes can be ordered with a multi-touch interface that includes an anti-glare protective screen.
Here are the details. Leave a Comment
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InFocus Intros Mondopad Ultra InFocus today announced Mondopad Ultra — a new line of what InFocus is calling “premium” of high-end multi-touch collaboration displays. The Mondopad Ultra is available in 80-inch and 85-inch screen sizes.
The InFocus Mondopad offers both digital whiteboard and videoconferencing capabilities as well as it allows team members in multiple locations to see and hear each other while brainstorming on a shared whiteboard and to collaboratively edit documents and draw directly onscreen enabling real-time progress and more effective meetings. Documents can be saved to the Mondopad for future access and can be emailed to anyone directly from the device.
InFocus’ new 85-inch Mondopad Ultra joins the 80-inch Mondopad Ultra as the first in the Mondopad product line to employ 4K screen resolution (3840×2160 natively). In addition to 4K resolution, Mondopad Ultra has a standard Windows 10 Pro OS integrated on a premium computer. Offering a sixth-generation Intel Core i7-6700T processor and Q170 chipset with Intel vPro technology and 256 GB solid state hard drive, the Mondopad Ultra is seamlessly and securely integrated into existing enterprise infrastructure. Mondopad Ultra is compatible with legacy videoconferencing and display hardware and software, including Skype for Business, Office and OneNote, with cloud-based application support and advanced wireless casting, including AirPlay and Chrome. Mondopad Ultra offers the security features native to Windows 10 Pro and the robust collaboration features of SIP and H323. As conference rooms, classrooms and collaboration environments evolve and change, Mondopad offers the cross-platform, future-proof and legacy compatibility you’ll need.
The 4K 80-inch INF8022 Mondopad Ultra is available now in the US and the 85-inch INF8521 Mondopad Ultra will be available in September worldwide. Here are the details. Leave a Comment
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Matrox Monarch LCS Ships Matrox Video has announced that the Matrox Monarch LCS, a two-input lecture capture device, is now shipping.
Priced at just $2,495 US (€2,495, £1,949), the Monarch LCS accepts video from any SDI or HDMI camera and presentation content from computers over HDMI. The inputs can be encoded independently and in sync for use with the latest multi-stream video players. Alternatively, the inputs can be combined prior to encoding in a variety of production layouts, including picture-in-picture and side-by-side, for use with standard video players.
Monarch LCS is a reliable, standalone network appliance that IT administrators will find easy to set up and integrate into video management systems (VMS), such as Opencast and Kaltura, and learning management systems (LMS) such as Moodle. An intuitive web interface lets users define profiles for live streamed and recorded lectures, mixing camera and presentation material from SDI and HDMI sources. Powerful scaling, deinterlacing and noise reduction engines ensure only pristine images are sent from the encoders. For streaming purposes, the encoders use either RTMP or RTSP protocols to deliver live streams to local media servers or cloud-based CDNs. In recording applications, the encoders write MP4 or MOV files directly to network-mapped drives, eliminating the need for post-lecture file transfer, or alternatively to local USB drives or SD cards.
Monarch LCS comes with a comprehensive set of HTTP-based control APIs that let network- or cloud-based video management platform developers and A/V integrators harness the streaming and recording capabilities of Monarch LCS appliances from within their own environments to create customized user experiences. A control module for Crestron room media controllers is also available.
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New BenQ Entry-Level Projectors Aimed at Home and Small BusinessBenQ America today introduced new additions to its M5 Series – the MS527E, MX528E and MW529E projectors. All three are spec’d at 3,300 lumens, have two HDMI ports, and are also integrated with BenQ’s Colorific image technology and SmartEco technology. The MS527E is SVGA (800×600) resolution, the MX528E is XGA (1024×768) resolution and the MW529E is WXGA (1280×800) resolution.
The projectors feature BenQ’s SmartEco technology, which automatically adjusts lamp power to deliver bright, vibrant images with up to 10,000 hours of lamp life as well as energy savings of up to 70 percent without any compromise in picture quality. To further reduce power consumption, an “Eco Blank” mode allows users to blank out the screen whenever projection isn’t needed, while a “No Source Detected” mode automatically reduces power consumption to 30 percent when no source has been detected for more than three minutes. With the “Auto Power Off” function, the projectors automatically shut down when not in use for 30 minutes. When inactive, they keep power consumption to a minimum, <0.5-W standby power, for even more energy savings.
The BenQ M5 Series MS527E, MX528E and MW529E are available now at a retail price of $489, $529 and $749, respectively, and here are all the specs. Leave a Comment
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Canon Unveils New REALiS 4K501ST 4K Projector Canon today unveiled the REALiS 4K501ST LCoS (reflective LCD) 4K resolution projector that includes two HDMI 2.0 inputs with HDCP 2.2 support. Using a native 4K LCoS chip at 4096×2400, the projector si spec’d at 5,000 lumens and is capable of displaying 4K content at 60Hz via a single HDMI cable (4:2:0 chroma sampling, however)
What is interesting about this 4K projector is that it’s using the Digital Cinema Initiative (DCI) standard for 4K cinema (4096×2160), which is denser than the QFHD (3840×2160) resolution that nearly every other 4K projector use using.
The 4K501ST projector comes equipped with a specially designed Canon 4K short focus wide zoom lens and throw ratio of 1.0 – 1.3:1, allowing it to project a 10-foot wide image from an approximate distance of only 10 feet. This projection lens possesses advanced spherical focus capabilities derived from Canon’s L-Series EF camera lenses which is distinguished by a bold red ring around the outer barrel. The lens delivers superb performance due to such sophisticated Canon optical technologies as ultra-low dispersion (UD) glass, aspherical lens elements and super spectra multi lens coatings. The lens also includes a Marginal Focus feature which helps ensure content projected on the peripheral portions of domed surfaces remains in focus.
The Canon REALiS 4K501ST projector also offers six different pre-set image modes, as well as three customizable image modes, to help optimize quality based on content type and projection environment. The projector’s DICOM Simulation Mode can be ideal for displaying monochrome digital X-rays, CAT scans, and MRIs with superb grayscale gradation. This mode, which offers both clear and blue base color temperature presets, simulates the results of devices compliant with the Digital Imaging and Communications in Medicine (DICOM) Part 14 standard.
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Eiki Adds Three New DLP Projectors to Conference Series — the EK-610U, EK-611W, and EK-612XEiki introduces the EK-610U, EK-611W, and EK-612X are part of Eiki’s Conference Series Projectors – all single-chip DLP’s. The EK-610U is spec’d at 6,500 ANSI lumens and WUXGA (1920×1200) resolution, the EK-611W is a 6,500 ANSI lumens at WXGA (1280×800) resolution and the EK-612X offers 7,000 ANSI lumens with XGA (1024×768) resolution. All three models can be outfitted with five available interchangeable lenses and display both 4:3 and 16:9 aspect ratios and all three are aimed at conference rooms, lecture halls, worship facilities and large auditoriums.
Eiki says all three projectors deliver 90 percent uniformity and a 4400:1 contrast ratio with 24-bit color reproduction for 16.7 million colors. Inputs include HDBaseT, HDMI and DVI-D.
The new EK-610U, EK-611W, and EK-612X Conference Series Projectors also include a mechanical shutter, auto input selection, and support both analog and digital video input in all color standards up-to 1080p. To ensure seamless integration into a wide range of environments that utilize control automation, all three projectors include support for Crestron RoomView and AMX Device Discovery Technology. The Eiki EK-610U, EK-611W and EK-612X are priced at $5995, $4295 and $4295, respectively.
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CAD Audio Debuts StageSelect 1600 Series UHF Wireless CAD Audio has introduced the new StageSelect 1600 Series UHF high performance wireless system. The StageSelect system features frequency agile UHF operation for maximum operating range along with CAD ScanLink technology to precisely scan, select and link to the optimum channel in any RF environment.
The system also includes True Diversity operation to minimize multi-path interference along with CADLock Automatic Tone Encoded Squelch that eliminates unauthorized transmissions in the signal path. Optimized XLR and ¼” TRS outputs on the WX1600 receiver provide greater user flexibility. Audio performance has been optimized with a dynamic range greater than 110dB.
StageSelect includes the WX1600 Handheld System with the acclaimed CADLive D90 capsule and the WX1610 Bodypack System featuring the Equitek E19 Broadcast and Production miniature condenser earworn mic, Cardioid Lav and Guitar Cable.
Handheld and body pack transmitters have soft touch multi-function On-Off/Mute/Low Battery/ScanLink status switches with multi-color LED indicators. High quality alkaline double AA batteries provide more than 15 hours of transmitter battery life.
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Extron Launches SoundField XD Ceiling SpeakersExtron just introduced the new SoundField XD Series SF 3C LP and SF 3CT LP full-range ceiling speakers featuring a low profile composite back can for use in plenum rated ceiling environments. With the industry’s first UL 2043 listed composite speaker enclosure, the SF 3C LP and SF 3CT LP meet stringent UL requirements for smoke and heat release in plenum air spaces.
The redesigned 3″ (7.6 cm) full-range driver features a wider and smoother frequency range of 65 Hz to 20 kHz and is engineered with an extremely wide conical dispersion of 165°. The SF 3C LP is designed for 8 ohm direct connection to power amplifiers, and provides a simple means to wire speakers in parallel for 4 ohm amplifier operation. The SF 3CT LP allows both direct 8 ohm or 70/100 volt operation with a behind-the-grille, six position power selector switch. The 4″ (10.2 cm) low profile back can makes these speakers an ideal choice for ceiling installations with tight above-the-ceiling tile space issues, such as air handling units installed close to the ceiling.
Designed with the integrator in mind, the SF 3C LP and SF 3CT LP are constructed using a two-piece modular design with a separable back can and baffle, which simplifies installation in both single-trade and division of labor installations. These speakers include a cable/conduit access plate that can be oriented for side mount, for low clearance ceilings, or for top mount for blind-mounting into drywall ceilings. Exclusive Opti-Torque indicator rings provide a visual indication when the locking arm screws have been sufficiently tightened, preventing damage to the speaker caused by overtightening. Both models feature a thin-edged round bezel and magnetic grille for a refined appearance on the ceiling.
With a composite construction and redesigned mounting kits, the SF 3C LP and SF 3CT LP are delivered in significantly smaller and lighter weight packaging, resulting in lower overall storage and shipping costs. Here are the detailed specs. Leave a Comment
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Extron Adds SMP 352 to Series of H.264 Streaming Products Extron has introduced the SMP 352 Dual Recording H.264 Streaming Media Processor, the latest addition to Extron’s SMP 300 Series of H.264 Streaming Media Processors. The SMP 352 is a high performance streaming and recording processor for capturing and distributing AV sources and presentations as live streaming or recorded media. It can create independent recordings from two different sources, and incorporates Extron’s FlexOS, a flexible platform for automating system operation. The SMP 352 accepts HDMI, component, composite and optional 3G-SDI signals and applies two-window processing to selected sources. It can record and stream simultaneously and can stream at two different resolutions and bit rates concurrently using a range of transport protocols and session management options. With no licensing fees and comprehensive control and configuration features, the SMP 352 is a cost-effective, integration-friendly solution for delivering presentations to a larger audience.
SMP 352 processors are ideal for use in virtually any professional environment where AV sources can be streamed live or recorded for future reference, especially when combining multiple AV sources will enhance the message. Streaming and recording AV presentations allows an organization to communicate and train employees and students that cannot be present at an event. Event recording provides everyone with the opportunity to review and gain insight into the live experience. SMP 352 processors can be adapted to many applications, documenting virtually any meeting or conference. They are ideal for use in corporate, education, government, healthcare, courtroom, house of worship and rental and staging applications.
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Comprehensive Intros CHE-HDBT300U HDBaseT 2.0 4K Extender with USB Comprehensive Connectivity just debuted a 4K-capabale HDBaseT 2.0 Extender with USB convergence and Transmitter and Receiver (CHE-HDBT300U) capable of sending HDMI up to 330 feet using Cat5e/6/7 cable.
The CHE-HDBT300U allows the transmission of HDBaseT (5Play) features that include 4K2K@60Hz (YCbCr 4:2:0) video, audio, control (IR or RS232), Power over Ethernet (PoE) and an Ethernet connection. The Transmitter or Receiver can be powered by the PoE function using one power cable and the Extender set can support the connection of USB host and two USB devices that can control the source from the Sink side. The set is HDCP 2.2 compliant for protected content streaming.
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Altinex Debuts Neutron MT312-104 Control Card Altinex just launched the Neutron MT312-104 Control Card for use with the company’s MT302-201 Digital MultiTasker.
The Neutron MT312-104 Control Card provides control of both serial and IR devices and includes two relays and two sensor inputs – the relays can be used to control external equipment such as screens. The sensor inputs are used to trigger events based on voltage levels supplied by motion sensors, heat sensors, light sensors, RF sensors, etc. The sensor connector also provides two voltages — +12VDC and +24VDC — for powering external sensors.
The Neutron MT312-104 Control Card is capable of supplying information third party controllers over Ethernet port. By connecting to the MultiTasker enclosure’s IP address, you can check the status of the relays (open or closed), the input status of the sensor inputs (high or low) based on trigger level, or request RS232 data from devices connected to the RS‑232 ports.
The MT312-104 Control Card can store IR codes in its internal memory for direct control of external IR devices. Alternatively, an IR room receiver such as the Altinex AC301‑103 can be used to pass‑through IR signals from remote controls to devices connected to one or both of the controller’s IR outputs. Multiple control cards can be used within single MT302-201 enclosure to enable unlimited expandability and control of AV system with unlimited capacity.
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Extron Intros 19 New eBUS Button Panels, Including Four New Decora-Style Models Extron has launched 19 new eBUS Button Panels, including the four models for Decora wallplates — the EBP 106P D, EBP 108 D, EBP 110 D, and EBP 111 D. These Decora models are easy-to-use control panels that connect to an IPCP Pro control processor to perform a wide variety of AV system functions such as On/Off, input switching, volume control, and much more. They feature customizable, soft-touch buttons that are backlit for easy operation in low-light environments. Each model features two eBUS ports for easy system expansion. eBUS button panels are linked to the control processor and to each other using a single cable that carries both power and communication. All eBUS Decora-style eBUS button panels include black and white wallplates and mud ring.
Extron’s eBUS technology is based on a unique digital bus architecture that allows for easy control system expansion, greater design options and future upgrades. A single eBUS button panel can be used as the AV control interface for a smaller system or multiple button panels and touchpanels may be combined when a more elaborate control system is required.
eBUS button panels come in industry-standard form factors and multiple units may be linked together by a single cable that carries both power and communication. Since they have the same physical appearance as Extron’s broad range of MediaLink controllers, eBUS button panels can be used alongside them throughout a facility while preserving a consistent look and user experience. Buttons can be easily customized using the online Custom Button Builder application.
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AMETEK Electronic Systems Protection Adds Predictive Maintenance Technology to ESP/SurgeX BrandsSurgeX appears to be blowing away their competition with intelligent surge products. And, I don’t say this lightly as there are some big-brands and names in this business. But, AMTEK buying them was a major coup. AMETEK Electronic has added their intelligent diagnostics, and remote monitoring solution to almost the entire ESP/SurgeX line. Branded as Expert Manager, it provides analysis of a complex array of power-related data with the ability to translate that data instantly into reports that pinpoint problems and offer solutions to solve them.
Expert Manager is the first software tool in the industry that analyzes a wide range of conditions and issues, such as electrical parameter data, under-voltages, over-voltages, or power outages and surges. It provides various solutions to mitigate problems at the touch of a button. When combined with ESP/SurgeX cloud capabilities, Expert Manager also can send power quality alerts to users as a preventative measure.
An integrated analytics tool offers a corrective course that can be as simple as adjusting an abnormal load, or something more serious like contacting an electrician to correct excessive neutral-ground voltage. Expert Manager is designed to help keep connected equipment running smoother without disruption, against a wide variety of power issues.
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For all you REGULAR readers of rAVe ProAV Edition out there, hopefully you enjoyed another opinion-packed issue!
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Everything we publish is opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship publication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition is co-published with CEDIA, covering the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GHGav [Green, Healthcare & Government AV] in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: https://www.ravepubs.com
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