Volume 15, Issue 18.1 — September 20, 2017
|AVIXA and the Dawning of the AV “X” Men (and Women, Of Course)|
By Mark Coxon
Well if you’re in commercial AV and you haven’t heard the news about InfoComm International’s name change to AVIXA yet, please stop reading this and go back under your rock. The association is now AVIXA, while the trade show is still InfoComm. The news is on every trade publication website and all over LinkedIn, Twitter and Facebook as well. From what I can tell, the news has been very well received. I would venture that the positive comments on social media outnumber the negative ones nearly 30 to 1 based on what I’ve seen to date.
There was quite a bit of mystery leading up to the announcement, and from what I could tell from the surprised reaction, the newly named AVIXA team did a great job at keeping this close to their chest. They also did a good job of producing video content and doing some proactive SEO to make sure that AVIXA the association climbed the page ranks over a few other Avixa business entities that exist out there already.
Although the announcement itself of the Association’s name change from InfoComm International to AVIXA was a surprise, the reasoning behind it really shouldn’t be surprising at all.
Dave Labuskes launched the “Exceptional Experiences” campaign in the organization early on, nearly four years ago. The APEx program for integrators that replaced the old CAVSP program added a customer rating component to assure that APEx firms were delivering excellent experiences to their clients. The InfoComm 2017 Show featured a special TIDE conference focused on Technology, Innovation, Design and… Experience. Anything stand out? Oh yeah… experiences!
The former InfoComm also had some dynamic marketing professionals hanging out at the show a couple years ago that I happened to meet at the #AVTweetUp. I wrote a piece about Repackaging InfoComm in 2016 after the show based on that chance meeting. “Experience” was a common theme in that piece as well. I don’t know if that firm actually guided the new name, but the point is, the association was on the move, not only to change their image, but also to develop a new strategic plan to make sure the change meant something besides new letterhead.
All the signs have pointed to AVIXA.
The challenge now for AVIXA and the industry as a whole is to embrace it.
Many smart AV companies have seen the value of focusing on experiences already. Many AV integrators are focusing on service experiences, user experiences and designing and installing place based experiences with amazing results. Some AV manufacturers have started thinking of their product categories and development efforts, not in terms of hardware and technology, but in terms of the types of the “X” or experiences those products will provide to their end users.
We are starting to see the “X” accompanying the “AV” more and more.
Voice control, connected devices and virtual/augmented/mixed reality technologies are only going to drive that further along
I playfully said on Twitter that InfoComm has needed to go a little more SXSW and a little less CES for some time. I wholeheartedly believe that.
If AVIXA can get digital marketing companies like George P. Johnson, Juxt Interactive, Obscura Digital, Deloitte Digital and Sapient Nitro to join the association, it would be a real testament to the plan. It will also be interesting to see if they can attract the SIGGRAPH crowd to AVIXA as well to round out graphic design-centric hardware and software for content creation.
I would love to see the waves of TIDE extend beyond the private audience of the paying few to the main stage at the InfoComm Show.
AVIXA may just be the dawning of the new AV “X” Men.
Professor “X”’s new school for the AV gifted.
An improvisational AV Wolverine rigging AV gear up on Adamantium mounting skeletons while the AV Cyclops shoots light off of oscillating mirrors to illuminate the space with his laser phosphor powers.
An AV Storm wielding the power of the IoT to control the climate as a pyrotechnic AV Phoenix rises above the audience.
The AV Nightcrawler teleports audiences into a virtual reality while the AV Banshee shatters time and space with immersive sound.
Which hero will you be?
The AudioVisual and Integrated EXPERIENCE Association?
Yeah… I could get used to that!Leave a Comment
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|I’m Sorry, Dave. I’m Afraid I Can’t Do That.|
By Dr. Frederick Ampel
President & Principal, Technology Visions Analytics
Read a related piece from Dr. Ampel about electronics and aircrafts with a warning for the audio industry, here.
The conflict that often occurs between human sentience and machine intelligence is an ancient story oft told. It is also massively important for our industry as we now face ever more automation and AI based controllers in the systems we produce, install and design.
There is a long and fascinating parallel timeline between machine intelligence, automation, smart systems in audio and the development of those same ideas in the aircraft industry.
But to set the stage, let’s look a few memorable clashes between man and machine.
To do that, it’s time once again to break out the WAAAAAYYYYY-BACK machine and travel a half-century into the past. For anyone who has seen “2001: A Space Odyssey,” you know about the omnipresent HAL9000 (ship controller – in essence a super-charged autopilot), a supposedly ‘sentient’ or self-aware Heuristically programmed ALgorithmic computer, which in the film’s story “is considered infallible, any error one has ever made being human caused.” The fight for survival between the crew and HAL produced the famous quote, “I’m sorry, Dave. I’m afraid I can’t do that.” (To hear the infamous HAL speak that indelible phrase, voiced by Douglas Rain, click here.)
Then there was that famous original Start Trek episode, “The Changeling” from 1967 with the space Probe NOMAD.
The Nomad idea was later recycled in “Star Trek: The Motion Picture,” when an earth-launched probe, Voyager 6, was captured by another sentient race and then returned as a massive entity, V’GER — Voyager 6 (now sentient, sort of).
Half-a-decade later, there was Skynet, another sentient machine gone amok — only this time it almost wiped out the entire human race (“The Terminator”). It kept trying though four more films — “Terminator 2: Judgment Day” (1991), “Terminator 3: Rise of the Machines” (2003), “Terminator Salvation” (2009) and “Terminator Genisys” (2015) — not to mention a short lived TV series and the probable Terminator 6 rumored to be in development.
Thankfully, there has not been an AI controlled audio system that has gone bonkers (yet!) and tried to kill people, but it always pays to recall the legendary quote from Don Davis, now the title of his latest book: “If Bad Sound Were Fatal, Audio Would be the Leading Cause of Death,” so the possibility remains that at some point bad code could prove fatal in audio, as it has in commercial aircraft.
The Parallel Timelines
1920s to 1930s
AIRCRAFT: Early 1930s Servo-electrically operated control surfaces were first tested in the 1930s on the Soviet Tupolev ANT-20. Long runs of mechanical and hydraulic connections were replaced with wires and electric servos.
AUDIO: In the late 1920s to early 1930s, the AGC (Automatic Gain Control) circuit was introduced for AM radios. Without AGC, an AM radio receiver would have had a linear relationship between the signal amplitude and the sound waveform amplitude (loudness). However, the strength of the signal received varied widely, depending on the power of and distance from the transmitter, and signal path attenuation (not to mention widely variable receiver electronics performance and stability and atmospheric conditions causing fade and signal loss) were not yet widely understood at that time.
The AGC circuit kept the receiver’s output level from fluctuating too much by detecting the overall strength of the signal and automatically adjusting the gain of the receiver to maintain the output level within an acceptable range. In essence, an AGC amounts to a throttle servo for loudness.
Late 1940s to 1950s
AIRCRAFT: In the late ’50s, a number of experimental and military aircraft were tested with various mixes of analog servo based control systems, replacing mechanical linkages and cables with electrically operated servo motors and valves.
AUDIO: As the development of analog tape recording technology advanced and the early experiments with video tape recording progressed, through the same time frame, advanced versions of both mechanical and electrical servo-control (for motors, video tape head-wheels and similar sub-systems) adapted from other industrial applications including aircraft systems, were introduced along with electro-optical AGC and early experimental solid state based gain control stages to maximize signal to noise ratios and improve fidelity and later B&W picture quality for video tape.
1960s to 1980s
AIRCRAFT: Jumping into the 1960s, the Concorde was designed from the outset (beginning in the mid-late 1960s) to be a fly-by-wire aircraft. It was felt that at speeds above Mach 1, it would be more efficient and faster to use electrically operated and servo-regulated early combination analog/digital control systems, which also provided significant weight savings over conventional cables, hydraulic piping and so forth. Certain critical sub-systems reportedly had fail-safe analog options, but it is not certain how many planes were actually built that way. (As an interesting aside, the Soviet Union, which had pioneered early servo control systems but did not have access to the advanced western electronics technologies, was still using vacuum tubes in fighter jets as late as 1976, proven when a defecting pilot landed his MIG 25 in Japan. When the plane was analyzed, western experts were stunned to find crude analog tube electronics in places where western jets had long gone solid state, especially in radar and similar systems. There were upsides to the vacuum tube approach, however.)
AUDIO: Solid state circuit come to full prominence and the early beginnings of surface mounted, miniaturized component style circuit-board designs appear (again weight/space saving for large consoles) and allowing higher channel density counts for many different types of mixing consoles. Early hybrid digital audio products start to appear and experimental recording systems also make their first appearances. (Both the surface mount electronics and the digital recorders directly translated into aircraft system for cockpit electronics and displays, and most importantly led to the development of digitally based flight data recording systems for aircraft replacing the unreliable, fragile, often severely damaged magnetic tape based systems).
As a vivid visual comparison of the two sides Soviet and Western of the aircraft cockpit see the two photos below.
THE 1980s to 2000s
AIRCRAFT: In 1981, Airbus Industries announced and previewed what would become the world’s first totally fly-by-wire commercial aircraft the A-320. The plane entered service in 1987. It has since accumulated a number of incidents reportedly caused by faulty programming or software in the automation systems. More later on.
AUDIO: The 1980’s saw a veritable explosion of digital signal processing, control and automation software for consoles, and almost everything else (including concert lighting systems for example). The huge differential is that despite the heavily documented poor performance of many of these early systems, lives were not on the line, yet.
2000s to the Present Day
AIRCRAFT: A veritable tsunami of high-advanced controllers in a box, automated flight control systems and developments in composite materials, lightweight construction, massive engine performance improvements and new satellite-based, highly-complex flight management/aerodynamics systems including auto-land, auto-route and similar options produced three major changes. First, crew sized dropped from the average of three or four to just two. Second, much longer range capability (8,000+ miles) became almost a de-facto standard (14-16+ hour flight times — or as crews call them, four-movie, six-meal trips). And finally, those ultra-long-range flights were now being made with two-engine, wide-body aircraft (Boeing 767, 777, 787 and Airbus A330, A350). Although both the 747 (four engines) and the Airbus A340/380 remained or entered service, the gigantic cost savings produced by the two-engine, long range, two-crew configuration became the dominant factor driving the industry. (For a list of the 20 longest currently operating flights and the aircraft used, go here.)
AUDIO: Into the box we go. All digital systems, fiber optic networks and snakes, Pro-Tools and its numerous DAW competitors, 19″ rackmount outboard gear become software plug-ins with astonishing accuracy. Extremely accurate modeling techniques making the software virtually indistinguishable from the original hardware. Sophisticated, smart algorithm-based auto-mix and auto-sub mix capabilities make corporate events a one-man gig. Both live sound and recording see channel counts rise dramatically in console systems because of software controlled routing and configuration options (100+ channels is now a standard configuration in a console only 68 inches wide).
An example of this configuration is shown below:
Digitally beam-steered loudspeaker systems arrive, mirroring the arrival of satellite-based automated steering and navigation in aviation. Super compact, high-power line-arrays and column arrays with on-board digital amplification and complex software make sound reinforcement possible in spaces once deemed a lost cause — just as super long range aircraft made trips like Dallas to Abu Dhabi, United Arab Emirates, feasible (14+ hours, 8,000+ miles).
As we enter the second decade of the 21st century, we have come a long way from the simple tube radios and mechanical servos of nearly a century ago. But what hasn’t and shouldn’t change is the need for human controls and skill in operating these evermore sophisticated systems. Whether it be aircraft that can operate autonomously from take-off to landing over 14+ hours and 8,000+ miles, or massive, fully-networked multi-kilowatt stadium audio systems, the need for a human in the loop has never been more important.
No matter how many lines of code may be written, or how much modeling may be done for audio systems, reality will always produce the unexpected. It is for that reason that the absolute ability of a live person to take control of any system remains essential!
PS: Just when all the pundits had once again predicated the total demise of analog audio, it is fascinating to note that Sony is now installing four brand new VINYL cutting lathes in Tokyo to make 12 “LPs again, and the return of many of the most cherished analog signal processors is in full swing. Humans and analog are still important — and always will be.Leave a Comment
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|NEC Launches New P Series Projectors Aimed at EducationNEC Display Solutions Europe has today launched three new projectors — P554U, P554W and P603X — in its P Series range to further enhance corporate meeting rooms and learning environments. These projectors deliver brightness levels of up to 6,000 ANSI lumen and brilliantly vivid colors thanks to its LCD technology ensuring presentations are clear and visible, with high contrast levels.
Education institutions and companies have high expectations for projectors to offer vast performance and reliability. Not only does the audience need to be presented with incredible image quality, but organizations also expect their equipment to have long life and low maintenance.
With the patented LCD panel dust protection and long lamp life the new P Series is designed to address these needs. A wide zoom and horizontal / vertical lens shift make it easy to adjust the projection to existing screen, while the latest interface technology makes it the ideal solution for customers looking for flexible, future proof connectivity.
Here are details on the P554U and P554W and the P603X.Leave a Comment
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|Extron Ships VoiceLift Pro Wireless Classroom Microphone System|
Extron has announced the immediate availability of the new VoiceLift Pro Microphone, an update to the company’s classroom sound field solutions. Using RF wireless technology. VoiceLift Pro utilizes digital transmission and pairing in a dedicated spectrum to provide superior performance over traditional systems. Benefits include higher sound quality, increased reliability, and greater range, with reduced interference. VoiceLift Pro integrates seamlessly with any PlenumVault, WallVault or PoleVault installation, providing a complete classroom AV and voice amplification solution.
The VoiceLift Pro Microphone is based on an industry standard radio frequency technology operating in a spectrum reserved exclusively for voice communications. This RF technology is not susceptible to environmental factors, such as windows, sunlight and fluorescent lighting, which can create problems for infrared systems. It also does not suffer from the licensing restrictions and proximity issues of traditional RF microphones. The VLM 3001 system includes a pendant microphone, receiver and charging station, as well as cables necessary for connecting to an Extron Classroom AV System. The VLM 3002 adds a second pendant microphone while the VLM 3002H adds a handheld microphone.
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|Electro-Voice Intros EVID-S Commercial Loudspeakers for Indoor and Outdoor UseThe EVID-S series, from Electro-Voice, is the latest member of the EVID (EV Innovative Design) family of commercial loudspeakers for installed applications. Every aspect of the EVID-S series has been designed from the ground up, they say, to ensure efficient installation for the contractor. The series includes 4-inch, 5.25-inch and 8-inch 2-way models with matching dual-10-inch and single 12-inch subwoofers, making it easy to select a suitable model a specific space – a new go-to solution for distributed sound systems.
All EVID-S models offer Electro-Voice-engineered components for sound quality, low-profile looks and reliability for a wide range of indoor and outdoor applications. These include retail environments, hospitality settings such as bars, lounges, patios, pool areas and restaurants, conference and meeting rooms, fitness clubs, performing arts and sports venues and houses of worship. The series offers true weatherproof construction for outdoor spaces, confirmed by extensive and rigorous testing above and beyond industry norms. All models are paintable and IP54 certified for weather resistance. An IP65 weatherproof version is available for the 5.25-inch loudspeaker cabinet and the 10-inch subwoofer models.
The new wall-mount system makes installation quicker and easier than ever before: Attach the wall-mount (a built-in bubble level saves time) and terminate the cables inside, apply the paint cover to protect the wall-mount until construction is completed (when the cover can be removed), and then simply slide the pre-wired speaker with adjustable arm onto the wall-mount and lock into place.
The products include:
- EVID-S4.2 (4” two-way cabinet)
- EVID-S5.2 (5” two-way cabinet)
- EVID-S8.2 (8” two-way cabinet)
- EVID-S10.2 (dual 10” subwoofer)
- EVID-S12.2 (single 12” subwoofer
- B, W – black, white color
- T – output transformer
- X – waterproof IP65 rating (5.25-inch versions only)
All the specs are here.Leave a Comment
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|Dynacord Debuts PROMATRIX 6000 Public Address and Voice Evacuation SystemThe PROMATRIX 6000 Public Address and Voice Evacuation System from Dynacord now offers users new hardware and software features for enhanced functionality and use in larger applications. Using IP technology, PROMATRIX 6000 provides a highly flexible, reliable and secure system solution with superior audio quality and low latency. As installers can use existing networks in the building infrastructure, relying on IP technology also results in faster installations and lower implementation costs. Furthermore, PROMATRIX 6000 can be interconnected with other devices such as PCs or laptops over IP protocol, allowing for efficient remote control, diagnostics and maintenance via the Internet.
The PROMATRIX 6000 Public Address and Voice Evacuation System IP functionality and connectivity is achieved via the newly released Dante network interface module (OM-1). It is now possible to create a 16-channel Dante audio network between the individual controllers. This not only improves the size; the IP networking architecture allows users to create multi-controller network topologies for larger areas via up to four decentralized controllers. This also means less cabling – a big cost-saving factor in some applications. The PROMATRIX 6000 system from Dynacord can now address, at maximum configuration level, up to 984 zones with a total of 164,000 watts of amplifying power in one system, making the system suitable for bigger installations in which a large number of zones and loudspeakers are needed. It also caters to existing installations whenever the infrastructure of a building changes and additional rooms have to be addressed. In addition, the network configuration provides redundant channels for safety purposes – in case of an emergency these channels will always work for evacuation signals, even if a controller loses network communication.
The Dynacord PROMATRIX 6000 is a unique, high-quality Public Address and EN 54-certified Voice Evacuation System. The certification allows architects, planners and specifiers to fulfill mandatory requirements specified in many tenders. In addition to professional audio quality, PROMATRIX 6000’s highly adaptable system architecture makes it ideal for small- to mid-sized offices, regional airports, mid-sized hotels, factories, schools and department stores. PROMATRIX 6000 now also includes loudspeaker zone monitoring and 30 minutes of flash memory for recordings of evacuation-related communication.
Here are all the detailed specs.Leave a Comment
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|Genelec Unveils Flagship 7380 Smart Active Subwoofer|
Genelec just introduced the 7380 Smart Active Subwoofer, which delivers both high SPL and an extended low-distortion LF response in an impressively compact enclosure.
The new flagship of the Smart Active Monitoring subwoofer range, the 7380 can be simply and seamlessly integrated into any monitoring system – from stereo to multi-channel, as well as part of a large-scale 3D Immersive setup. Equipped with a Class-D amplifier section plus all the benefits of Smart Active Monitoring technology, the 7380 partners with Genelec’s “The Ones” series of coaxial three-way monitors, particularly in the creation of Immersive systems for those working with Dolby Atmos, Auro-3D and DTS:X formats.
Standing 26.97″ (685mm) in height with a width of 28.27″ (718mm) and depth of 19.37″ (492mm), the 7380 features an 800W Class-D amplifier driving a custom 15-inch long-throw woofer that, combined with Genelec’s acclaimed LSE spiral enclosure, produces a maximum SPL of 119 dB (123 dB peak) plus precise low-frequency response down to 16 Hz.
The incorporation of Genelec’s acclaimed Smart Active Monitoring technology puts the 7380 at the heart of a larger family of smart monitors and subwoofers from across the Genelec range. With GLM software for PC or Mac, up to 40 Smart Active Monitors and subwoofers can be networked with instantly recallable system configurations and advanced auto-calibration features including level, time-of-flight and phase adjustments. GLM users benefit from extensive room compensation features including an adjustable crossover frequency and 20 parametric notch filters, ensuring that the 7380 can be optimized to achieve the best possible performance even in challenging acoustic environments. Crucially, GLM also supports both centralized and distributed bass management modes, depending on the type of monitors being used.
However, the 7380 is just as effective in a non-Smart Active Monitoring environment. A full complement of DIP switches can be easily accessed on the front panel, facilitating a full-featured standalone mode, including advanced calibration for hybrid systems in which traditional main monitors are used. In standalone mode, the crossover frequency is fixed at 85Hz. Finally, for those working with multi-channel audio, the 7380 offers 7.1 channel XLR analog inputs and outputs, while an AES/EBU digital connection can be used either for stereo operation or for full 7.1 digital with the addition of Genelec’s optional 9301 Digital Interface.
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|Polycom Announces Totally Awesome New Conference PhoneTwenty-five years ago, Polycom introduced its iconic three-legged conference phone and changed the rules of how the world communicates at work. The Polycom phone, with its unique shape and breakthrough audio quality, quickly became the de facto conference phone for a lot of the Fortune 1000 companies. And, now they’ve redesigned it.|
The Polycom Trio 8500 is instantly recognizable as a sharp new interpretation of the well-known three-legged shape and is the perfect communication tool for mid-sized conference rooms. The 8500 is a so-called, future-proof solution that delivers all the latest Polycom innovations today, including HD voice audio quality, Polycom NoiseBlock and hybrid registration and will be expandable to include video and content sharing in the future. The 8500 also includes a modern full color touch screen interface and Microsoft Exchange calendar integration, which makes joining a meeting as easy as one touch.
Polycom says that video and content sharing support for the Polycom Trio 8500 is expected to be added later in the year and provide business-quality video conferencing and content sharing for huddle spaces and mid-sized rooms.
Polycom also offer new features to the Polycom Trio 8800, the company’s fastest selling conference phone. The 8800 8800 now allows participants to connect using your Apple AirPlay or Miracast certified devices for wireless flexibility and later this year will also support enterprise-class motorized pan-tilt-zoom (MPTZ) cameras that offer a broader degree of visibility for high-definition collaboration experience in larger conference rooms.
Both Trio solutions will support hybrid registration, allowing businesses to easily migrate between open SIP environments, Skype for Business environments, or both and work with other cloud-based audio and video platforms, including Zoom, BlueJeans, Cisco, Avaya, WebEx and others.
Finally, Polycom is also introducing a new audio solution for team and personal spaces, such as huddle rooms, with the new Polycom VoxBox an ultra-compact speaker phone that allows customers to experience Polycom’s HD Voice technology anywhere, anytime and with any device. The Polycom VoxBox will be available in select areas starting in October.
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|Prysm Builds Apps for Windows Devices and iPhones; Simplifying Collaboration for AV Integrators|
Prysm today announced two new native apps for its digital workplace platform: one for Microsoft Windows 10-based devices using the Universal Windows Platform (UWP) and the other for iPhones. The new apps can be used with Prysm’s existing room and web-access solutions to provide a single user experience tailored to how connected teams and individuals visualize and work with their preferred devices, applications and content. Using Prysm increases user engagement by allowing quick, easy access for all participants, regardless of location. By allowing all participants to interact simultaneously with content, it creates the desired collaborative experience in which every meeting participant is fully engaged from beginning to end.
Prysm Desktop features and benefits:
- Collaborate within native apps on a shared digital workplace, regardless of location—an industry first
- Flexibility to tailor access to each individual’s style or place of work
- Easy movement of content from the desktop to a Prysm project within existing Windows functionality
- Seamless transitions between individual productivity tasks and team-based project work
- Maximizes existing and mixed IT infrastructures and technology investments
Prysm for iPhone features and benefits:
- Touch ID from the iPhone offers immediate, secure access to projects
- iPhone recognizes and connects users to in-room Prysm experiences, using PIN-based display login
- All users, including mobile users, can engage in projects in order to speed decisions
- Easily add files, content found from websites, or other apps on an iPhone to a shared workspace
- Participants can view any file associated with a project directly from an iPhone, without disturbing the view for others in the workspace
Users of Prysm’s meeting room and web-access solutions can continue to expect the same experience they currently enjoy today, or switch between web and app access as needed for maximum productivity and ease of use.
At general availability, the desktop app will support Microsoft Windows 10-powered devices, including laptops, Surface devices and the Surface Hub via UWP, with plans to expand to other platforms in 2018. The Prysm desktop and Prysm for iPhone apps are expected to be available by the end of Q4 2017. Here are all the details.
The company also announced its Autumn ’17 software release, featuring integration with six key identity providers to offer enterprises more control when issuing Prysm user licenses to employees.
Also, Gary Kayye got the exclusive scoop on this announcement this morning in a rAVe RADIO broadcast with David Schweer, the director of product marketing for Prysm, and you can listen to that here.Leave a Comment
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|Comprehensive Intros New CSW-HD44014K – Pro AV/IT 18G 4K 4×4 HDMI Matrix Switcher|Comprehensive Connectivity Company
just launched itself into the AV-over-IP market with its new CSW-HD44014K – Pro AV/IT 18G 4K 4×4 HDMI Matrix Switcher. This switcher supports 18G Ultra-High-Definition (UHD) 4K@60Hz 2160p, features four HDMI inputs and four HDMI outputs and provides true matrix routing for HDMI signals allowing what Comprehensive says is flawless distribution of any four connected HDMI sources to any of four HDMI displays in any combination. Control is via the supplied IR Remote Control, RS232, TCP/IP or the selection buttons on the front panel. This device also supports all HDMI 3D and advanced audio formats.
Other features include:
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- HDMI 2.0, HDCP 2.2 / HDCP 1.4 compliant
- Supports 18G video resolutions up to 4K@60, 3D video, and up to 16-bits/channel Deep Color
- Color space conversions among RGB, YCbCr4:4:4, YCbCr4:2:2 and xvYCC video formats
- High resolution VESA mode video format up to QSXGA@60Hz
- High-definition multi-channel audio, including Dolby TrueHD and DTS-HD Master Audio
- Each video output has S/PDIF digital coaxial and 3.5 TRS analog output for connection to an external amplifier, AV receiver or powered speakers
- Smart EDID management for each source device, controllable via the front panel LCD display
- Control via RS232, remote, on-panel or TCP/IP PC application allows for PC control (via RS232 or Ethernet connection)
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|ZeeVee Shows 4K Compressed AV-Over-IP 1G Ethernet Switch with ZyPerUHDZeeVee announced the expansion of its ZyPer IP based distribution platform with the launch of the new ZyPerUHD. ZeeVee now offers both compressed and uncompressed options for delivering 4K over a standard Ethernet switch (4K @ 60Hz 4:2:0).
The new ZyperUHD encoders and decoders provide ultra-low latency (less than two frames), compressed video up to Ultra-HD/4K resolution using an off-the-shelf 1Gb Ethernet switch. This makes it possible for businesses to deploy UHD throughout their facility and even interconnect campuses while leveraging their existing IP infrastructure. ZeeVee is the first company to offer a full line of AV over IP and AV over RF solutions.
ZyPerUHD is capable of supporting HDR. It can address video walls up to 5×5 and is HDCP 2.2 compliant. It is compatible with ZeeVee’s MaestroZ Management Platform making configuration simple and rapid. The management platform allows for ZyPerUHD to network to a nearly unlimited number of sources and displays and offers an intuitive graphical user interface (GUI) which allows for switching sources, and creating video walls. The ZyPerUHD follows ZeeVee’s core belief that software applications driven over standards based Ethernet networks are the future of AV distribution, and offer far more capability and flexibility than proprietary and matrix switched hardware.
The ZyPerUHD features HDMI input with HDMI loop-out and balanced audio input/output ports for managing audio. USB connectivity is provided for integration with touch panels and KVM. Source and display control is facilitated through RS232, IR and USB ports. Using industry standard IP networking technology, ZeeVee is the most scalable and easily controlled way for sending HD, UHD or 4K video to any display, enterprise, building or stadium without using expensive, proprietary AV Matrix switchers.
With the expansion of ZeeVee’s IP offering, the ZyPer product suite can support almost every video distribution requirement – from compressed HD with ZyPerHD; compressed 4K with ZyPerUHD; and uncompressed, zero-latency UHD/4K video with ZyPer4K.
Here are all the specs.Leave a Comment
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|Matrox Ships Maevex 6150 Quad 4K Enterprise Encoder|
Matrox Graphics announced the immediate public availability of their latest product, the Matrox Maevex 6150 quad 4K enterprise encoder.
The Maevex 6150 dramatically increases the potential encoding density for a stand-alone appliance, delivering quad 4K input capture and encode, supporting a total of four concurrent 4K streams and recordings. This makes Maevex 6150 ideal for simultaneously streaming on premises, streaming to the cloud or recording for distribution later.
The 6150 quad 4K enterprise encoder appliance that claims to provide system independence and eliminates the need for additional equipment. Integrating seamlessly with standard 1 Gigabit Ethernet networks, Maevex 6150 includes a zero-latency pass-through for real-time output of audio/video content on all four 4K inputs (4K@60Hz 10-bit).
Built on the open-standard H.264 codec, Maevex 6150 is compatible with all computers, devices, and networks, including the full range of Maevex Series products as well as third-party technologies. Multi-Chroma sub-sampling delivers 4:4:4, 4:2:2, 4:2:0 and 4:0:0 options to best balance quality and bandwidth demands of different encoding environments and markets.
In terms of management, the Maevex PowerStream Plus AV-over-IP management application provides control over the entire Maevex network—including Maevex 6150 appliances and the Maevex 6100 PCIe quad 4K encoder cards, as well as Maevex 5100 Series Full HD encoders and decoders. For those looking for customized control, the PowerStream Plus API grants integrators and developers command-level access to build their own Maevex control application or to integrate Maevex functionality in third-party applications.
The Maevex 6150 quad 4K encoder appliance delivers an unlimited number of streams through third-party technologies like streaming media servers, and content delivery networks (CDNs).
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|Blackmagic Design Announces Ultimatte 12|
Blackmagic Design today announced $9,995 Ultimatte 12, a new realtime hardware compositing processor that’s designed for broadcast quality keying, adding augmented reality elements into shots, working with virtual sets and more.
The all new Ultimatte 12 is a real-time compositing processor designed for the next generation of broadcast graphics. Ultimatte 12 features entirely new algorithms and color science, incredible edge handling, greater color separation, amazing color fidelity and better spill suppression than ever before.
The advanced 12G-SDI design gives Ultimatte 12 customers the ability to work in HD today and switch to Ultra HD when they are ready. Customers get sub pixel processing for amazing image quality and textures in both HD and Ultra HD. Plus it’s compatible with virtually all SD, HD and Ultra HD equipment, so customers can use it with the cameras they already have.
Ultimatte 12 claims to create life like composites and place talent into any scene, working with both fixed cameras and static backgrounds, or automated virtual set systems. Imagine presenting the weather, sports, news and entertainment in a cinematic quality environment, all composited in real time. Ultimatte 12 is also perfect for on set pre visualization in television and film production because it lets actors and directors see the virtual sets they’re interacting with while shooting against a green screen.
Ultimatte 12 is designed to be affordable, so customers can use it on even more cameras to increase production quality. For example, when working on live shoots with multiple cameras shooting from different angles, it’s common for the green or blue screen to suffer from variations. The keyers built into live production switchers use the same keying parameters for all cameras, which complicates keying and image quality because each camera sees the green screen a little differently. Ultimatte 12 eliminates this problem with incredible new technology at an affordable price so it’s now possible to add keyers to every camera for the highest possible quality keys.
Augmented reality is becoming more and more popular. On air talent now interacts with glass like computer generated charts, graphs, displays and other objects with colored translucency on virtually every broadcast television show. Adding tinted translucent objects is virtually impossible with a traditional keyer and the results customers see on television don’t look realistic. That’s because when blue or green is subtracted out of a semi-transparent tinted object, it changes the object’s original color. Now, with Ultimatte 12, customers get a revolutionary new “realistic” layer compositing mode that can add tinted objects on top of the foreground image and key them correctly. This means that the object properly transmits the colors seen through it. Talent can even walk behind it and the tinted colors are accurately preserved, making the shot look completely realistic.
Ultimatte 12 also features one touch keying technology that analyzes a scene and automatically sets over a 100 parameters so pulling great keys is easy without having to do a lot of extra work. Of course, customers still have to ensure the scene is well lit and the cameras are properly white balanced. One touch keying is dramatically faster and helps accurately pull a key with minimum effort, leaving operators free to focus on the program with less distractions, while Ultimatte 12 takes care of the rest.
Ultimatte 12 is controlled via Ultimatte Smart Remote 4, which is a touch screen remote that connects via Ethernet. Up to eight Ultimatte 12 units can be daisy chained together and connected to the same Smart Remote, so customers don’t have worry about adding a video router or hub. Smart Remote 4 features physical buttons for switching and controlling any attached Ultimatte 12. There are also buttons for quickly loading and saving presets, along with a touch screen that provides total control over every parameter. Customers can also create their own custom control solutions because Ultimatte 12 uses a simple, open text based protocol.
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|New Storage Solutions Ship from Chief|
Chief is now shipping new storage solutions including the PAC527 Extra-Large In-Wall Storage Box, the CSPR Component Storage Panel, and the CSPH Under-Table Component Storage Panel.
The PAC527 Extra-Large In-Wall Storage Box simplifies flat panel installation by providing an organized, recessed space for routing excess cables and AV components.
A multi-level, multi-sectioned backplane with universal mounting slots makes it easier to arrange components and maximize the space available in all three dimensions. This helps installers be more flexible with difficult port locations on AV equipment. As with Chief’s other in-wall boxes, the PAC527 features break away edges that make it compatible with both standard 3.5” studs and 2.5” studs so installers can easily accommodate any stud depth on site. Knockouts for single gang outlets and 1.25, 1 and 0.5” conduit are built in.
Bundles are available with box, flange and cover combinations. The PAC527 can be ordered with isolated ground four or six receptacle outlets featuring multi-stage filtration and surge protection to improve reliability and functionality of connected equipment.
The CSPH Under-Table Component Storage Panel provides storage while eliminating the mess of components and cables underneath conference room tables and desks. With over 350 square inches (2258 square centimeters) of secure attachment area, it’s for ensuring efficient and consistent component placement over large rollouts. Once installed, the CSPH pivots 90° to allow easier access in vertical position.
- Enclosure UL 2416 Listed
- Backplane ships in two sections and can be broken down into a total of four smaller sections
- Printable backplane template for planning purposes
- Provides a larger, easy-to-organize space to accommodate AV equipment – 22″ (559 millimeters) tall
- Pre- and post-construction installation options
Another new organization option from Chief – the CSPR Component Storage Panel – provides over 160 square inches (1032 square centimeters) of secure attachment area for AV equipment independent of display mounts. A handle provides easier access while securing equipment or installing behind the display. Technicians can remove the CSPR to service equipment without removing the display. This solution is ideal for standardizing the deployment of AV component configuration across large projects.
- 1/3 and 2/3 breakaways in case less space is required
- Brackets available separately to use extra breakaway space elsewhere
- Shipped with template to ensure accurate mounting of brackets
- Security locking screws
- Handle for ease of transport, install and maneuvering of panel
- Installs behind or along any wall mount or display
- Removable for component service without moving the display
- Security locking mechanism
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|Covid Adds Two New HDMI 2.0 Cables|
Covid has announced the addition of two new HDMI 2.0 cables. Both support HDMI High Dynamic Range (HDR) up to 18Gbps and 4K@60Hz resolution and color.
The P-HDFH-DC2 Active Optical cable is a plenum-rated, flexible cable offering a 5-millimeter bend radius. Because this cable is constructed using fiber optics, it can be offered in much longer lengths than standard copper HDMI cables. This cable also has detachable connectors — the HDMI connector heads can be quickly removed, making this cable easy to pull in tight spaces or through conduit. Connectors snap back into place once the cable is installed. These cables are available in lengths up to 328 feet.
The HDPR is Covid’s Premium Certified HDMI 2.0 cable. In addition, these cables carry the HDMI Premium Certified Anti-Counterfeit Labels and ship complete with Covid T-Grip connectors for a more secure connection. They are available in several lengths.
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