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Volume 4, Issue 4 — April 30, 2013 |
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Green Business and Sustainability All Grown Up
This month, I am going to throw some numbers, facts and statistics at you. I’m not going to give you all the answers as to how this information can be of benefit, but I want to provide the inspiration for you to think about how it impacts your business and how crucial sustainability is to your business success.
Mostly, I’d like to emphasize this: Just because sustainability and “green” aren’t the mainstream media and marketing darlings they once were, there is no escaping that this is a business practice that cannot be ignored. Green business has matured, and yet it seems that only a handful of the AV industry has figured out where our best opportunities lie. So, take in some of these numbers, synthesize the information and take a good hard look at where you may need some improvement. Think of this as your Q1 checkup…
Green Buildings – Growing or Static?
Think the popularity of green buildings has faded? Think again. LEED certified properties topped the 2 billion mark in 2012, and another 2 million square feet are certified every day.
Just because we don’t hear about sustainable buildings on the daily news like we once did, there is no denying that it’s a major industry force. Of special note? In the Asia Pacific region, building stock is expected to grow at an average of over 2 billion square meters per year.
28 billion square feet – 40 percent of country’s commercial inventory – uses ENERGY STAR to monitor and report energy performance.
Several cities (and more to come) now require the use of Portfolio Manager, EPA’s online energy management tool. These include Austin, Tex., Minneapolis, Minn., New York, Philadelphia, San Francisco, Seattle and Washington, DC.
The major consensus is that transparency is the order of the day — there will not only be more mandatory reporting, but also as competition heats up for Class A property, landlords will use all tactics to be more appealing to potential tenants and provide voluntary reporting on energy management.
What are the opportunities here? Think about how AV systems can support there reporting needs. Are you familiar with the Portfolio Manager? Or what needs these landlords and builders have for this type of reporting? How can we contribute to their needs, and you have found an opportunity.
Sustainability for Corporations
Ernst & Young customers report a 66 percent increase of inquiries over the past 12 months from shareholders and investors about sustainability-related issues.
The world’s 3000 largest companies face over $2 trillion in liabilities created by their environmental impacts. The growing awareness of this accounting change has begun to influence equity investment analysis.
If this doesn’t smell like opportunity, I don’t know what does. If you service large corporations, you better believe they are going to be looking for continuing ways to improve their supply chains and reduce these environmental liabilities. If you have a prospect who generates environmental reports, now is the time to start the dialogue of how you can help (this applies to both the integrated and event side of the business).
Midori Connolly is the founder of AVGirl Productions in California. She wrote the first-ever set of Sustainable Staging best practices after discovering none existed. She was the co-chair of the AV committee for the ASTM Standard for Environmentally Sustainable Meetings and is a speaker, writer and consultant for green practices in live events and meeting planning. Reach her at midori@avgirlproductions.com
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One Touch of Nature Makes the Whole World Kind – Part II
By Raymond Kent
Managing Principal, Sustainable Technologies
In my last installment, I scratched the surface of sustainability in the arts working to define what we mean when we discuss the topic. In addition, I discussed working within a built environment providing strategies and opportunities to start the conversation. In this article I will be discussing the other side of the coin — touring and temporary arts. Some of the previously discussed strategies can be rolled over to reducing the impact of the traveling arts however many additional concerns pop up regarding transportation, storage, and other logistics inherent in the nature of the beast. Similar to the last article, I hope to provoke conversation, provide some insight to what is happening in the industry currently and talk about how we as technology designers can contribute, as well as some thoughts on moving forward. Although what I am providing is in no way complete or entirely comprehensive, the entire conversation is really starting to gain some legs and I invite you to contribute your time, effort and talents to shaping the dialogue. Many of the constructs below have been thoroughly studied by Julie’s Bicycle based on touring in the UK (Moving Arts: Managing the Carbon Impacts of Our Touring) and have been studied to some degree in the U.S. by Theatre Communications Group, Broadway Green Alliance and others. I highly recommend you seek out this information if you want to get into the weeds.
So to begin with, what are we really talking about? What do we mean when we say touring or temporary arts? In my opinion, we are speaking of that which is not permanent or has no permanent place it resides. This can include music festivals, rock shows, Broadway tours, educational outreach, temporary exhibits or the like. I am sure I have unintentionally left some things off the list but you get the idea. Inherently these have the potential to have a larger footprint then their more permanent counterparts mainly due to the environmental implications of travel. This can be related to the number of stops on a tour, location of venues and the sequencing of a tour, size, availability of equipment and transportation and many other logistics.
In general, participants in these events related to sustainability lag behind their counterparts with permanent homes and often do not systematically include environmental strategies into touring or temporary practices. This does not mean they are not willing or able, but may need guidance or commitments from others outside their control. We also have to keep in mind that quite often these productions stem from a permanent venue where, after the initial run (or sometimes concurrent), the producing organization seeks to reach out to other geographic regions or alternative audiences that might not have been able to attend the production at their “home base.” Lastly, we should include events that may be local but are temporary in nature. These could include festivals, live events or performance art each having an impact on the environment.
When looking at the challenges of sustainability in the traveling or temporary arts, three different areas are of concern — the producing team, the actual production and the venues or locale in which they are to tour or be produced. Each area has specific responsibilities in evaluating and committing to sustainability goals for a particular event. The commitment has to start early and usually with the producing team. By making the decision to travel an event or show, the producing team is often striving to reach new audiences that can generate significant revenue and potentially enrich the experience by presenting in non-traditional spaces or coalesce an audience that otherwise might not have convened. Financial contributors to these events can and should play a pivotal role, just as funding sources in the built environment have, in many cases, mandated environmental considerations in projects. A key element to this is a potential for a larger payback to investors/producers’ triple bottom line of touring shows by reducing operational costs associated with these events while increasing their perceived environmental social standing. In addition, a good partnership between the producers, directors and artistic team whom are all in agreement on environmental considerations is crucial to successfully lowering the impact of a production.
The main way to do this is to agree to have a plan for sustainability within the tour along with the artistic and financial outlines. This can and should include things like scenic elements, lighting, audiovisual, costumes, show power, travel logistics and cast/crew amenities among many others. Having a conversation with the people in charge of the technical requirements at this stage will go a long way towards defining necessary goals. This is where technology designers can have the greatest impact.
Evaluation of potential tour stops or temporary event locations is most likely the major consideration on environmental impact. This can include distance traveled from where the show elements may be constructed or assembled, between venues, as well as access to public transportation to the venue for audiences and are good examples of targets one needs to take into account – especially since the event organizers may not have influence or control over these crucial elements. Having a plan will help evaluate the risks and rewards of taking environmental action. Identifying a “sustainability captain” (similar to a LEED AP within a construction project) whose function is to be involved with the planning and the execution is always a great idea.
Once a plan is developed, the financial side can then calculate the potential impact on the environment including life cycle, carbon footprint and Green House Gas emissions (GHG) of the tour or event. By being able to know this information the plan can then be evaluated and tweaked to reduce the impact to the greatest extent possible and remain financially viable. It also works into a production’s favor when understanding if there is potential for carbon offsets and other financial incentives that can boost revenues. In addition, there is the impact of the “social responsibility” or feel good side of the equation that quite often is tied to funding sources such as public grants. Having ready answers to potential GHG emissions and carbon footprint may help in securing funding from additional sources (or even traditional ones) simply because of the social implications of the actions of the plan. There currently are some tools available through Julie’s Bicycle, Broadway Green Alliance, the Department of Energy, the Center for Sustainable Practice in the Arts and others that are available to help in these decisions.
So now you have a plan. What next? The main thing is to have that solid commitment from all long-term and short-term staff, including the creative and production staff as well as talent. Work with that staff to understand the common goal and get their buy-in. In this area there is much overlap with brick and mortar productions that have a consistent home. However it mostly deviates in a few areas such as travel, technical equipment requirements, show power and production/talent accommodations that would be for the most part excluded or reduced for an organization with a permanent structure. For instance, learn about the pros and cons of different audio, projection and lighting packages to be able to maximize a more minimal show power scheme. That could potentially increase the opportunities for venues that otherwise might not have been able to accommodate the production without additional generator power. The technical designers here are a fantastic source for this information and should be utilized as such. Also, are there things that can be locally sourced in an efficient manner rather than freighting the equipment or other production pieces? Research is the key to success here and the Internet is your friend! Conducting meetings with potential venue operators via web conferencing or other electronic means to minimize advance site visits also will work to your favor.
Technology in today’s shows is abundant and rampant. Have a good understanding of new technologies such as LED lighting technology or more energy efficient power amplifiers and rack mountable intelligent power distribution. Having an all-digital distribution using simple fiber optic or category cable can dramatically reduce what you need to pack as well as setup/strike time. There are low- or no-cost strategies too such as really giving thought to how the truck is packed to minimize loose space while being able to efficiently unload a truck with the least number of crew members. Less crew means less GHG emissions for their travel, accommodations, etc. Seek out trucking companies such as Clark Trucking in the U.S. that are proficient in moving these types of events and manage their fleets in a sustainable way by buying carbon offsets and using advanced routing methods. The tighter your pack is, the less equipment you need to pack, and the easier it is to load and unload, the more sustainable you already are by reducing GHG emissions from the vehicles driving down the road. In addition, use a green tech rider and sustainable procurement policy sourcing goods and services from vendors that are able to provide you with credible environmental credentials. Many such vendors are now providing these credentials and lists are available at the previously mentioned resources. Reuse, recycle and up-cycle production equipment and creative pieces where possible after the event or tour by locating ahead of time where to take these items when you are done with them. Have a good understanding of what your host venue has for equipment and have some flexibility in using what is already installed or available at the venue.
An often-forgotten area is what to do with staff and talent on the road. Seek out hotels and restaurants for your stay that have environmentally sound policies. Minimize truck/tour bus idling or use solar power generation if available. Depending on the area and circumstances, look for a vacation rental home. This can often be more efficient than a hotel and can potentially be more comfortable. Getting audiences to and from the presentation is another overlooked area to consider. Work with the venue and host city to determine what public transportation is available and can discounts on travel can be given. The list of production elements that can and need to be considered is vast. Most of these strategies have very little cost associated with them while others require some up front capital with a potential payback over the run of the tour.
Lastly the actual venues or locations the event or tour may use should be considered. Strategies for reducing the impact are a two way street. Asking a venue for its sustainability plan and only presenting at those locations that have one in place is one way to pursue this. Another way to look at it would be to provide a green rider to the venue. This not only would include the production equipment needed, but could also address issues such as concessions, public transportation, and other venue provided considerations. What is the public transportation like around the venue? Can you offer discounts for ride sharing or use of public transportation? Many things discussed in the last article could be discussed with your host venue. Venue managers should want to communicate readily their environmental considerations to incoming productions including what equipment may be available on-site or locally. The communication to the venue manager from the production on what steps are being taken to reduce their footprint is also critical so they can be partners in achieving the best outcome. Work to measure the GHG and carbon footprint of your tour and promote it! This helps the industry improve and can be excellent PR for both the venue and the production. Venue manager should not be afraid to access a carbon emissions charge to productions that create high levels of GHG or have a higher than desired carbon footprint. This revenue can be used to purchase carbon offsets and fund other reductions within the community or the venue itself. Through further dialogue more strategies are available and some have yet to be discovered.
Now all of this said, and based on some feedback I received from the last article, it is important to recognize that there are indeed some perceptions about how feasible sustainability in the arts really is. There are certainly concerns related to the stifling of artistic vision, that budget constraints will preclude environmental concerns, or that there may be quality issues when using locally sourced materials and equipment. My question is how you cannot afford to do this? The reality is with a strong commitment, clear direction and consistent specific goals, it is not only achievable, but also affordable and profitable to produce sustainable art. There are thousands of articles from the business world of nay-sayers who said that they would go bankrupt by actually doing what was right and that they were powerless to make a difference or that their customer’s needs are inconsistent with sustainability desires. Time and time again this has been socially, environmentally, and most importantly, economically proven false. Hopefully these two articles will continue to generate more stimulating conversation and ultimately move us forward!
Raymond Kent is the Managing Principal of Sustainable Technologies Group, LLC specializing in technology systems for the performing and cultural arts, healthcare, Government, higher education, and corporate markets. He is a co-author of the STEP rating system and serves as the chair of the Technology Task Force for the STEP Foundation. Raymond received the 2012 InfoComm Sustainable Technology Award and is involved with developing sustainable practices in the arts. Reach him at rkent@sustaintech-llc.com
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Deep Impact: AV and IT Equality
By Don Palmer
rAVe Columnist
Required disclaimer: This represents the opinion and experience of me personally and does not represent any specific policy, law or official guidance. Concerns over the federal government sequestration and AV funding versus IT funding raise an interesting equality discussion.
Working, commuting and living in the Washington, DC area, a person can find it difficult to escape the topic of sequestration. I’ve debated with myself whether to spend time talking about it here, and my conclusion is to avoid the details and specifics of sequestration cuts since this ultimately ends up being a political debate, which is not the purpose of this article. I do think there’s value in focusing on technology budgets and concern over funding priorities as the industry still continues to converge AV and IT groups into one organizational unit.
Tighter budgets mean more scrutiny in reviewing and assessing needs and wants. This is a fairly simple process when you consider AV and IT being separate and funding them each separately. However, now with AV and IT being bundled into one organizational unit, how are organizations defining what is an AV priority or an IT priority?
There doesn’t seem to be a simple answer, which in my opinion is core issue for our industry. How will the demands on AV such as video teleconferencing and digital signage stand up to IT projects such as unified communications or cloud computing? Granted, cost models exist for all these type topics, but I don’t believe these models can survive under the new budget climate that the government is in. Is there AV and IT equality within the converged industry?
Defining moments is exactly where AV/IT convergence is headed. Is the technology in White House Situation Room AV equipment or IT equipment? Is the United States Senate Recording Studio AV equipment or IT equipment? There are a number of questions that need to be addressed and discussions with executives and budget folks, and technologists need to be energized with education on the importance of AV/IT systems as equally critical to our industries infrastructure.
While it’s still early in operating with these severe spending cuts, my experience thus far indicates that people believe AV equipment is just eye appealing “stuff” we really don’t need. Therefore, folks who understand the importance of AV need to take a leadership role in educating executives who are making these critical budget decisions.
We as professionals in the technology world have been managing projects and integrating technology in ways that make us much more valuable than simple project managers. What will you do next to enrich the AV industry to help further AV/IT equality in a new budget climate that could last for years? I believe it is up to us.
Don Palmer has 15 years in Civilian Federal service, during all of which he’s been involved with AV- and IT-related project management, including aspects of budget and procurement. Prior to joining the federal government, Don worked in telecommunications and network communications with a large outsourcing call center. Reach him at palm1004@gmail.com
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Another Step in the Coming of Age of Medical Visualization
By Arthur Berman
DisplayDaily
A small article that appeared in this week’s news caught my attention. It was a report that Örebro University in Sweden had installed three Sectra Medical Systems AB (Linköping, Sweden) “Visualization Tables.” The attention catching part was that these systems are to be used in medical education programs to replace or complement the dissection of bodies. What struck me was the realization that technologies for the creation of graphical imagery, the display of imagery and the capabilities for users to interact with imagery had all advanced to the point where a medical school could justifiably choose a hardware/software solution as the means to teach anatomy to students. The Sectra Visualization Table is a 46-inch LCD with a pixel resolution of 1920 x 1080. The system has an ambient light sensor and can produce an image up to 700 cd/m2. The system includes multi-touch capability with the ability to detects up to 32 points simultaneously with a spatial resolution of less than 2 millimeters. Since the touch system is optically-based, a light touch is sufficient and no pressure is required.
The software associated with the Visualization Table facilitates user interaction with can render 3D images of the human body. Any DICOM image can be viewed on the table. This specifically includes images generated by CAT or MRI scans as well as medical images and videos from almost any other source.
One of many online videos illustrating the Visualization Table in operation can be found here. As shown in the video, students are able to zoom in, rotate or cut into the virtual body without the use of a scalpel but in a way that, none-the-less, seems quite natural. Since the “body” is not destroyed, the same image can be used repeatedly. This not only reduces the number of bodies needed for instruction but also allows interesting or unusual conditions to be presented an unlimited number of times.
Going beyond student education, other important uses and advantages have been identified for the Visualization Table specifically and medical imaging system approaches generally. These include the following:
- Providing a surgeon the opportunity to become familiar with a patient’s anatomy before surgery thus allowing detailed planning of the operation.
- The touch interface allows a surgeon to interact with the virtual body with their hands, much they would during actual surgery. This enhances tactile memory and arguably increases the quality of the surgery. Furthermore, it can reduce operation and rehabilitation time by minimizing the occurrence of unexpected issues.
- The system effectively enhances collaboration between doctors.
- The system can be used to improve the quality of communications on medical issues between doctors and patients.
Closing with just a thought: given a single user and with the addition of head tracking, it would seem to be a straight forward matter to transition the system from rendered 3D imagery to active glasses-based stereoscopic 3D imagery. Doing so would provide an additional level of realism to the “off-line” medical applications described above.
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AVI-SPL Medical’s Mommy’s Hear Connects Mothers to Infants in the NICU
By Molly Stillman
rAVe Director of Marketing and New Business Development
AV industry professionals know AVI-SPL as the world’s largest video communications technology integrator. They specialize in providing solutions and services for professional AV installation, telepresence and videoconferencing, digital media systems, managed conferencing and content production. AV industry professionals know this.
But, what many industry professionals don’t know (and what I certainly didn’t know until recently) is the best kept secret of AVI-SPL that is AVI-SPL Medical.
AVI-SPL Medical has been around for over a decade — 13 years, to be exact. The division has pioneered designs in integrating technology into minimally invasive surgical environments, intraoperative MRI surgical suites, specialized procedure rooms, interactive medical collaboration, 3D visualization, clinical audio video networks, monitored care and a variety of TeleHealth presentation systems.
They essentially standardized the platform for the fully integrated operating room. In fact, over the past 13 years, AVI-SPL medical has integrated technology into over 3,000 operating rooms across North America.
While AVI-SPL has been branding and is now essentially manufacturing medical technology for awhile, there was one particular piece of technology that I was floored by. It’s called Mommy’s Hear, AVI-SPL’s Neonatal Intensive Care Unit monitoring system.
Mommy’s Hear provides 24-hour virtual interaction with infants undergoing treatment in the NICU. This Class 3 medical device takes video, transmits that video and allows mothers (and fathers, friends or other family members) to see the incubated infant remotely via their computer, smart phone or tablet.
They can talk to, read to, sing to and interact with the baby from anywhere. In fact, the audio inside the incubator is clearer with Mommy’s Hear than it would be if interaction were occurring in person. In person, the sound would be muffled by the incubator, but with Mommy’s Hear, the sound is crisp and clear for the infant.
The other thing that is incredible about the technology itself is the actual visibility within the incubator. Most NICUs and, specifically incubators, are very dark. The camera included in Mommy’s Hear actually reduces visual noise and provides an amazingly clear (and rather bright) image for the viewer. I was able to see a live demonstration of Mommy’s Hear in Tampa, Florida a few weeks ago and I was absolutely blown away.
Why is this technology so innovative and so important? For many reasons.
First, parents already feeling the strain, stres, and worry of having a new child in the NICU can now be fully connected with their baby when they aren’t even there. Many pre-term babies are required to stay in the NICU from anywhere from a week all the way up to sometimes six or seven months. Being able to see and connect with a child in the NICU is vital to the parents.
Second, allowing parents and family members to connect with their baby via Mommy’s Hear actually frees up space within the NICU. In most hospitals, the NICU isn’t a large department or area of the hospital and doesn’t allow for many visitors at a time. Mommy’s Hear cuts down on the need for more frequent in-person visitation and gives doctors and nurses much needed breathing room.
Third, introducing maternal sounds INTO the incubator dramatically reduces further health risks and problems. A recent study published by the Journal of Maternity-Fetal and Neonatal Medicine shows that the introduction of those maternal sounds can significantly reduce cardio-respiratory events common with premature infants and can actually aid in the child’s development by promoting accelerated weight gain when compared to children without this particular stimuli.
Mommy’s Hear has already been integrated in NICUs at Texas Health, but is rapidly becoming a must-have product for hospitals across the world. It is a complete solution with software and hardware. But at the end of the day, everything hinges on money. When will hospitals have room for this technology in their budgets? The sooner that happens, the sooner families and babies will be able to connect during a vital time.
For more information about Mommy’s Hear, contact AVI-SPL Medical.
Molly Stillman is the director of marketing and new business development for rAVe [Publications]. Reach her at molly@ravepubs.com
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China’s Energy Saving Program Pushes LCD TV Market to Larger Sizes
By Bing Zhang
DisplaySearch
Recent rumors suggest the current subsidy program for energy saving appliances, which is scheduled to end in May 2013, will be replaced by a second generation program soon after expiration, with a higher EEI (Energy Efficiency Index), new size group splits, and new subsidy standards by size group. Indications are that the new program will last for another four years from June 1, 2013, a much longer term than the current program has run.
The first generation energy saving index assigns subsidies to different screen size groups as follows:
China Energy Saving Subsidy (Unit: RMB)
The industry is buzzing about the new EEI criteria, which seems to favor larger sizes like 46” and above. The information shows that the EEI criteria for the new program could be as follows:
Our industry checks show that the 6 billion CNY budget of the current energy saving subsidy program was increased to 10 billion CNY by the end of 2012, after the Chinese government decided to raise the budget allocated to FPD TVs. This indicates that there is flexibility under the total budget of 26.5 billion CNY for all 5 home appliance categories. The increased budget allocation for FPD TVs helps TV sales, especially for local brands and panel makers. In the first round, 32” and 42” benefitted most from the structure of the program, and gained the most share of the three size groupings (19″-31″, 32″-41″ and 42” and larger).
It will be very interesting to see the higher EEI requirement against higher cost new products like UHD and D-LED, and whether the new subsidy program will encourage LCD TV makers to move towards larger sizes, especially for 46” and 36.5/37”, while 32” and 42” will have less support.
There is still a risk that the Chinese government will not allocate increased budget towards FPD TV due to excessive expense in the 1st program, but the EEI request will be a mandatory policy applied to all FPD TVs.
It is understandable that the government is looking to help out the TV industry, which has undergone a slowdown in recent quarters. There have been concerns about the impact on the market from the expiration of the current program without a replacement program in place. In the case of Japan, once the subsidies ended, demand fell dramatically, though it is not likely that the impact would have been as severe in the case of China. The impact from the most recent rounds of the latest subsidy program have seemed to be having less effect on demand stimulation and resulted primarily in more push from the supply side.
This column is reprinted with permission from DisplaySearch and originally appeared here.
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AVFoundry’s New HDMI Test Pattern Generator Ships
The VideoForge is a portable test pattern generator that can be used independently or incorporated with Spectracal’s CalMAN Software. It provides an HDMI output with video signals you need for testing, calibrating and servicing video displays, including 3D displays. The VideoForge’s features three distinct control interfaces. First the VideoForge utilizes a modern XML-RPC control interface for automated control. Second, the VideoForge features an Adobe Flash-based control panel for interactive control. Finally, the VideoForge can be controlled with a programmable infrared remote for standalone operation.
The VideoForge’s features full 3D support — every pattern can be displayed in a 3D video format. The standard patterns will show the same image in both left and right eye frames. True stereo patterns are available from JPG and PNG files on the SD card. The VideoForge allows on/off gating for left and right eye images independently — allowing for testing and measurement of stereo separation or left/right crosstalk.
Here are all the specs:
http://www.avproalliance.com/pages/product-catalog-detail/AVFoundry_VideoForge
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Atlas Sound Ships Racks with Printed Vertical Rack Rails
Atlas Sound is now shipping all its equipment racks with printed rack rails. The company says this makes it easier for integrators to plan a rack elevation and reduce product install time at the job site. |
The rack rails are printed with each 1RU section having a designated number and defined area. This easily identifies how many 1RU sections are in the rack and makes it easy to see where each product should be placed when installed.
Atlas Sound has been producing equipment racks since the 1960s. The company’s current line of racks, all of which are made in the USA at the company’s Ennis, Tex. production facility, includes multiple series that each offer a unique set of features and benefits. Each rack series is available in various heights and depths.
For more information, go to
http://www.atlassound.com
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Extron Introduces New Eight-Input Scaling Presentation Switchers with DTP Extension
Extron’s new IN1608 is an eight-input, HDCP-compliant scaling presentation switcher with four HDMI inputs, two universal analog video inputs and dual HDMI outputs. It also features two Extron DTP 230 twisted pair inputs and a DTP 230 output for extending HDMI, audio and bidirectional control signals to DTP 230 transmitters and receivers, each over a single CATx cable up to 230 feet (70 meters). The IN1608 provides the convenience of supporting local and remote displays with fast and reliable switching, and a high performance scaling engine that converts all HDMI and analog sources to the optimal resolution. Selectable output resolutions are available up to 1920×1200, including 1080p and 2K. The IN1608 also includes a host of audio switching and processing features. It is available as a standard model with two stereo audio outputs, the IN1608 SA, which adds a stereo 4/8 ohm power amplifier and the IN1608 MA with a mono 70 volt amplifier.
The two DTP 230 twisted pair inputs can receive signals from remote DTP 230 transmitters in areas such as a conference table, lectern or wall for connecting a guest laptop. The DTP 230 twisted pair output can be used to transmit from an IN1608 in a rack to a DTP 230 receiver behind a flat-panel display on a wall, above a ceiling-mounted projector, or any other remote location. To simplify installation, bidirectional RS-232 and IR signals can be inserted from a control system and transmitted over the single CATx cable together with the video and audio, enabling control of a source or display. The IN1608 can also remotely power each of the DTP 230 transmitters and receiver over the same CATx cable, streamlining system design and installation.
In addition to video switching and processing, the IN1608 can serve as the central component for audio system integration. It includes eight-input audio switching, two mic/line inputs, HDMI audio embedding and de-embedding, and several audio processing features for mixing, ducking, tone adjustments and more. Audio configuration features and options can easily be accessed through the internal Web pages, with an intuitive GUI that provides access to all available adjustments and settings. Two IN1608 models feature integrated power amplifiers. The IN1608 SA delivers stereo power amplification with 50 watts rms per channel into 4 ohms and 25 watts rms per channel into 8 ohms, while the IN1608 MA provides mono 70 volt amplification with 100 watts rms output.
The IN1608 features an advanced scaling engine that can scale HDMI, RGB, component, and standard definition video signals to a common high resolution output. It provides high performance 1080i deinterlacing and Deep Color processing to deliver optimal image quality. To simplify integration of HDMI sources and displays, and to help ensure optimal system performance and dependability, the IN1608 features three Extron-exclusive technologies: EDID Minder, Key Minder and SpeedSwitch. EDID Minder and Key Minder automatically manage EDID communication and HDCP key negotiation between input and output devices to ensure reliable operation. With SpeedSwitch Technology, the IN1608 delivers virtually instantaneous switching speeds for HDCP-encrypted content.
Go here to learn more:
http://www.extron.com/product/product.aspx?id=in1608&search=IN1608
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Vaddio Launches the ZoomSHOT HD Camera
At NAB, Vaddio announced the launch of its ZoomSHOT — a high definition, point-of-view camera with HDMI and analog component outputs. Based on Vaddio’s ClearVIEW HD-19 PTZ camera technology, the ZoomSHOT provides a 19x optical zoom, auto focus, auto iris, advanced image control and high definition video resolutions up to 1080p60/50. Manual pan and tilt positioning allows for simple, yet precise control.
Vaddio’s complementary QuickSET mounting system offers simple installation by just positioning the camera to a required shot and locking it in place. Optional wall and ceiling mounts are available in addition to the standard set-top mount.
Power, video and control all run over Cat5 cabling. Full image color control is available from a built-in internal On-Screen Display. In addition, to Vaddio’s existing Quick-Connect solutions, a new Quick-Connect USB option outputs USB and analog component (YPbPr) and HDMI.
Here are all the specs:
http://www.vaddio.com/product/zoomshot_camera
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MultiDyne SilverBACK-4K is a Camera-Mounted Fiber Transport Solution
At NAB, MultiDyne announced something called the SilverBACK-4K, a new camera-mounted fiber transport solution that supports 4K (Ultra HD) digital television. Utilizing SilverBACK-4K, users can seamlessly transmit any camera signal — including Ultra HD video, HD-SDI video, audio, intercom, control data, GPIOs, tally and power — over a single hybrid copper and fiber cable.
The SilverBACK-4K is available in two versions: a model with a video option for viewfinder or monitor viewing in the field and a low-cost model without the viewfinder/monitor viewing option. Ultra HD support can be added to any existing SilverBACK system through a simple upgrade, enabling MultiDyne customers to deliver a state-of-the-art 4K television experience cost-effectively.
MultiDyne’s SilverBACK transport system features a compact case — measuring just over 1 inch thick — with an intuitive user interface. Ideal for digital cinema, sports, ENG, D-SNG and multi-camera studio applications, SilverBACK can transport SDI video up to 4K uncompressed with embedded or separate program audio. Users can achieve camera control/RCP paint functions through one of the three available data channels, and an additional back channel is available for camera sync or genlock. Several options are available for optical connectivity including STs, Neutrik opticalCon, Fibreco Mini 2 expanded beam, and Lemo 304M. A JUICE power supply can be added to support camera distances of up to 300 meters.
The SilverBACK-4K supports up to four channels of AES or analog program audio as well as a full-featured, single-channel intercom with talk and listen gain adjustments. Additionally, an adjustable PGM inject allows the camera operator to hear program audio mixed with intercom. To enable audio, a mic input with pre-amp is included for talent or camera-mounted audio needs, along with a talent IFB. The receiver features a standard four-wire intercom output configuration with an optional two-wire conversion. PGM audio is available for the talent or stage manager via a convenient headphone jack.
More information is at:
http://www.multidyne.com
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Extron Introduces New Scalers for 3G-SDI and HDMI Cross Conversion
Extron’s new DSC 3G-HD A and the DSC HD-3G A scalers are 3G-SDI and HDMI cross converters. The DSC 3G-HD A converts 3G-SDI, HD-SDI, and SDI video signals to HDMI, while the DSC HD-3G A converts HDMI to 3G-SDI/HD-SDI/SDI. Both products feature Extron video signal processing with 1080i deinterlacing, Deep Color processing, aspect ratio control and additional processing features for optimal format conversion and image quality. Selectable output rates are available from standard definition to HDTV 1080p/60 and 2K, plus 1920×1200 for the DSC 3G-HD A. For both products, audio from the analog stereo input or the digital video input may be embedded onto the video output. The DSC 3G-HD A and DSC HD-3G A are built for professional AV integration with many convenience features, including a user-friendly front panel interface, internal test patterns, memory presets and control via RS-232, USB or on-screen menus.
The DSC 3G-HD A and DSC HD-3G A offer several features that enhance and simplify AV system integration. Both scalers feature input equalization which conditions incoming 3G-SDI or HDMI signals to compensate for signal loss over long input cables. The DSC 3G-HD A includes an SDI input loop-through with reclocking to eliminate high frequency jitter. The DSC HD-3G A features a genlock input with loop-through and two simultaneous 3G-SDI/HD-SDI/SDI outputs.
Enhanced audio capabilities for both products include audio embedding, input gain and attenuation controls, and input audio muting. For the DSC 3G-HD A, analog stereo audio, or up to four pairs of AES3 audio channels from the SDI input can be embedded onto the HDMI output. With the DSC HD-3G A, analog stereo audio or HDMI multi-channel PCM audio can be embedded onto the SDI outputs.
All the specs are here:
http://www.extron.com/company/article.aspx?id=dsc3ghdaad
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JVC Intros HD Indoor/Outdoor Network PTZ Dome Cameras
JVC Professional Products Company, a division of JVC Americas Corp., has announced its first Full HD network outdoor PTZ dome camera, the VN-H657WPU, and an indoor version, the VN-H657U. They offer a 2 megapixel CMOS image sensor and JVC’s Super LoLux HD technology, which JVC says provides “superior low light sensitivity.”
Both security cameras include an 18x optical zoom (and 10x digital zoom) with 360-degree endless PTZ. Super LoLux HD provides 0.35 lux sensitivity in color and 0.15 lux in black-and-white. Other features include 3D noise reduction, Electric Wide-D (wide dynamic range) for backlight compensation and IR cut filter for automatic switching between day and night settings.
JVC says a newly developed Direct Drive motor for pan/tilt operation produces less operation noise, but is more precise and durable than conventional belt-type mechanisms. The Direct Drive motor delivers accuracy of 0.03 degrees, so it precisely maintains preset camera positions, even after frequent panning and tilting. It also supports very fast (400 degrees per second) and very slow (0.04 degrees per second) movement, so operators can quickly move either camera to catch a crucial scene or carefully examine a scene even at the highest zoom magnification.
The VN-H657U and VN-H657WPU output progressive HD images in either 1920×1080 or 1280×720 resolution at 30 fps. (Lower bandwidth images are also available.) The cameras offer multi-codec support, including M-JPEG, H.264 Baseline Profile, and H.264 High Profile, and can stream H.264 and M-JPEG images simultaneously at full frame rate.
A “one-touch lock” mechanism simplifies installation and maintenance, and built-in PoE Plus (power over Ethernet) powers each camera through a LAN cable connection, which saves on installation costs. While both UL listed cameras have the same specifications, the VN-H657WPU adds an IP66-rated housing and wall mount, as well as a built-in heater for performance in extreme temperatures.
The new VN-H657U has a suggested list price of $3,000, and the VN-H657WPU has a suggested list price of $3,500. Both models are available now.
For more information, click here:
http://pro.jvc.com/prof/security/sindex.jsp
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Philips Creates the World’s Most Energy-Efficient Warm White LED Lamp
Royal Philips Electronics announced a new innovation in LED lighting, creating the world’s most energy-efficient LED lamp suitable for general lighting applications, according to the company. Philips researchers developed a tube lighting (TL) replacement TLED prototype that produces a record 200 lumens per watt of high-quality white light (compared with 100lm/W for fluorescent lighting and just 15lm/W for traditional light bulbs). This prototype TLED lamp is twice as efficient as predecessor lamps, basically halving the energy used. This is a big deal as this could be the future of projection lamps.
With lighting accounting for more than 19 percent of the world’s total electricity consumption, this innovation promises to drive massive energy and cost savings across the globe. The 200lm/W TLED lamp is expected to hit the market in 2015 for office and industry applications before ultimately being used in the home.
Significant energy and cost savings
The TLED lamps are intended to replace fluorescent tube lighting used in office and industry, which currently account for more than half of the world’s total lighting. Conversion to the twice-as-efficient 200lm/W TLED lamps will generate significant energy and cost savings.
In the U.S. alone, for example, fluorescent lights consume around 200 terawatts of electricity annually. If these lights were all replaced with 200lm/W TLEDs, the U.S. would use around 100 terawatts less energy (equivalent to 50 medium sized power plants) saving more than US$12 billion and preventing around 60 million metric tons of CO2 from being released into the atmosphere.
This new LED innovation from Philips underlines the value and power of its lighting business, bringing together its expertise in LED technology, lamps, applications and systems. Market leading innovations from Philips Lumileds, as in phosphor technology and blue LEDs, together contribute to the high quality of light and advances in efficiency.
Go here for more info:
http://www.usa.lighting.philips.com/
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InFocus Upgrades MondoPads
The next iteration of the InFocus Mondopad maintains all of the original features that made its predecessor a hit in business and education markets, with a few upgrades including a smaller bezel, a five-point touchscreen, they doubled the amount of optical touch sensors in the new Mondopad from two to four, and it now comes standard with a solid-state drive.
Like the original Mondopad, the new one is, at its core, a digital interactive whiteboard, document annotation, video conferencing and 55″ LCD — all-in-one. It allows users to share, view and control applications for tablets and smartphones, and comes with a full version of Microsoft Office 2010 Suite.
The Mondopad also features the company’s recently released version 1.6 software, which allows for annotation in more places and gives users the ability to seamlessly switch between the Mondopad software and third-party applications. The software also allows for the customization of whiteboard backgrounds and gives administrators the option to require domain logins for increased security. The Mondopad 1.6 software update is available for download now for current Mondopad users from the InFocus website.
The next iteration Mondopad is available now for $6,999 and here are the details:
http://www.infocus.com/
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Lab.gruppen Intros New IPD Series Amps
Swedish amplifier manufacturer Lab.gruppen introduced its new range of IPD (Intelligent Power Drive networked and DSP-enabled power amplifiers). Available in two power configurations, the IPD 1200 and IPD 2400 have power outputs at 4 ohms of 2x600W and 2x1200W, respectively. They both incorporate integrated DSP, networked monitoring and control via computer or iPad, a four-channel input matrix, fully configurable front panel controls with graphic display, analog and AES3 inputs (with redundant failover), definitive Lab.gruppen limiters and Lab.gruppen build quality. And, both amps are in 1U rack-mounted enclosures.
At the heart of the IPD Series platform is a DSP engine equipped with a total of 40 real-time, multi-slope parametric EQs along with adjustable gain, input delay, output delay, plus high-pass and low-pass filters adjustable to any frequency. A Software Configurable Voltage Peak Limiter (SCVPL) tailors outputs to load conditions, maintaining sound quality, while a 4-channel input mixer provides flexible input routing. Parameters may be stored in up to 100 user-defined presets.
All processing power is harnessed through a touch-based GUI of IntelliDrive Controller. Available for PC, Mac or as a dedicated iPad app, this software interface enables remote system tuning over Ethernet or wirelessly via a suitable Wi-Fi router. Rear-panel connections include paired XLR analogue inputs with link outputs; XLR input and link output for AES3 digital; binding post and speakON output connectors with both channels available via one speakON; Ethernet networking connection and locking IEC power connector.
They weigh in at just 4.6 kilograms (10.1 pounds) for IPD 1200 and 6.2 kilograms (13.7 pounds) for IPD 2400. The IPD Series details are here:
http://labgruppen.com/products/ipd_series_touring/
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Extron UTS 100 Series Under Table Shelf System Now Shipping
Extron is now shipping its UTS 100 Series Under Table Shelf System – a self-supporting, half rack width shelf that is specifically designed for use in environments where a traditional equipment rack or cabinet cannot be located beneath a table top or other furniture surface. The compact, 1U modular shelf system mounts directly to the under-surface of the table top, without rack rails, and supports any combination of half, quarter and eighth rack products.
The UTS 100 Series Under Table Shelf System is consistent with the current standardization efforts jointly sponsored with Extron and Middle Atlantic. Extron manufactures a wide range of half, quarter, and eighth rack professional AV integration products that are ideally suited for use in products that meet the proposed half rack width system standard.
For more information on the Extron UTS 100 Series go to:
http://www.extron.com/undertableshelf
For more information on the Half Rack Shelf System, go here:
http://www.extron.com/halfracksystem
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Hospitality Meets Technology at InfoComm 2013
InfoComm 2013, being held in June in Orlando, will showcase emerging AV products and best practices including designing conference rooms to lighting and staging for the hospitality industry. With more than 925 exhibitors, innovative educational seminars and hands-on training, InfoComm 2013 presents the most impactful solutions for today’s competitive market.
“Top-quality, reliable audiovisual systems are a must-have for the hospitality manager,” said David Labuskes, CTS, RCDD, executive director and CEO, InfoComm International, “and InfoComm 2013 is the place to see the latest gear and get the necessary training to satisfy demanding clients.”
Two specialized Tech Pavilions, located on the show floor will highlight topics geared toward hospitality attendees: Digital Signage and the Lighting & Staging Pavilion.
Digital Signage Pavilion: Digital Signage featured products and services include displays and media players, software, content management systems, network infrastructure products and more. Attendees will be able to connect with the best practices in content creation techniques and the most effective communication tools for audience engagement.
Lighting & Staging Pavilion: The Lighting & Staging Pavilion, located on the show floor, is the hotspot for equipment demonstration and testing, presentations and interactive trainings geared toward live events professionals. The Production Camera Showcase, featuring the latest video cameras, will allow attendees to participate in a post-production experience with feeds from the showcase stage, and the Rigging and Staging Demo will find IATSE professionals demonstrating safe rigging practices using truss, motors, hardware, lights, line arrays, LEDs and safety harnesses.
On Wednesday, June 12, InfoComm will be offering a Power of AV for Meeting Planners program and lunch. In addition, InfoComm University offers a variety of classes throughout the conference aimed at hospitality professionals including:
- Must-Have Technology for Your Next Event
- Analytics: How to Drive Effective Content on Digital Signs
- Digital Image in Live Event Production
- Women in Technology Symposium
For more information, or to register (use code MCTRA to register for free), click here: http://www.infocommshow.org
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Adamson Launches Three New Line Arrays and a Sub
The new Energia e12 is designed as a standalone mid-size line array but can also be used as a downfill, or side fill in a larger e15 arena system. It will be a versatile solution for large format touring companies and regional rental companies.
Inside the box is Adamson’s new 12” Kevlar driver, the ND12S with advanced cooling and larger xmax, providing uncompromised LF extension, in a 12’ line source system. By utilizing Adamson’s advanced cone architecture, the ND12S has reduced eddy currents and intermodulation distortion by utilizing shorting rings in the motor design. The 12” cone and dustcap are manufactured entirely out of Kevlar creating the most weather resistant low frequency component in the industry.
The weight of the e12 makes this box an ideal candidate for venues with point load restrictions or smaller format applications. The e12 is incredibly light weight but that doesn’t mean it lacks power as it harnesses all of the power of the e15 in its slimmer bodied design.
The new Energia e218 is designed as a companion sub for the Energia Series e15 and e12 and can be flown together with an e12 or a stand-alone array. The self-contained rigging allows for curved or flat array when it’s flown but will also travel three up on a cart. Within the manifold design are two of Adamson’s new ND18S drivers with a dual spider voice coil stabilizing design. The drivers are coated in silicone for long term suspension memory and shorting rings are used to eliminate eddy currents and reduce intermodulation distortion.
And the new A218 is all purpose sub that is front loaded with two of Adamson’s new ND18S drivers. The drivers have a dual spider that is coated in Silicone for long term suspension memory. The drivers are equipped with Kevlar cones with Adamson’s signature advanced cone architecture. Shorting rings were integrated to eliminate eddy currents and reduce intermodulation distortion. Cardioid plugs are included on the front of the cabinet to ensure easy cabling in front/back configurations.
Finally, the Point Concentric Series brings a powerful range of passive, co-axial, loudspeakers designed for both installation and rental markets to the Adamson tool box. The multipurpose cabinets are available in a double 5″ (PC5), single 6″ (PC6), single 8″ (PC8), single 10″ (PC10) and a single 12″ (PC12) version. This discreet range of cabinets, come coated with water borne acrylic paint, while all metalwork is finished with a Sandtex Powder Coating. Keeping form with the acclaimed Point Series, all cabinets can be color matched to the RAL library.
The PC5 and PC6 are the smallest cabinets in the Point Concentric Series, and provide a 70-degree conical pattern in a very compact package. Both cabinets ship with standard M10 fly points in 4 locations and additional rear Omnimount points. Threaded Pole mount hardware (for mic stand) or barrier strips can be installed, at no charge, on either cabinet by request. The PC5/PC6 cabinets are designed to produce linear, high resolution audio throughout their bandwidth. Regardless of their modest size, both cabinets produce warm mid bass and plenty of punch for their weight class. As a standalone cabinet, under balcony, or stair fill, the versatile PC5 and PC6 cabinets will fit a variety of applications.
When a little more power is required, designers and rental companies can step it up and reach for the 8″, 10″ or 12″ option in the Point Concentric Series. The larger members of the family are shipped with standard M10 and Omnimount points, but also offer optional vertical yokes for versatility. Unlike their smaller companions, the PC8/PC10 and PC12 ship with standard pole mount hardware. A unique rotatable jack plate allows for either Neutrik or Barrier Strip connections on the bottom or back of each enclosure. Simply unfasten a few screws and rotate the jack plate to change the termination position.
All of them can be found here:
http://www.adamsonsystems.com
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L-ACOUSTICS Launches LA4X Amplified Controller
The L-ACOUSTICS LA4X amplified controller is based on a four-input by four-output matrix architecture and uses a universal switch mode power supply suitable for mains from 90V to 265V. A “green” product, the power supply features something they call “Power Factor Correction”, which maximizes the amplifier efficiency and takes advantage of nearly 100 percent of the electrical power available with a very high tolerance to unstable mains. Class D amplification circuits ensure the LA4X energy-efficiency for minimal heat dissipation. LA4X delivers 4x1000W RMS power at 8 ohms (or 4 ohms) with record hold times.
The LA4X inputs are available in analog or digital format. Four cascaded 24-bit A/D converters at the front-end yield a groundbreaking encoding dynamic of 130 dB. AES/EBU digital inputs operate with sample rate converters from 44.1 kHz to 192 kHz. Fallback functions make the creation of redundant audio paths possible.
A dedicated engineering approach combining IIR and FIR filters generates perfectly linearized phase curves and significantly improved impulse responses. The pool of 8 IIR and 3 FIR filters, the Array Morphing tool and the 1000 ms of delay per channel allow the amplified controller to act as an EQ station and cover the room tuning tasks without the need for external processing. The L-DRIVE protection system carries out a dual analysis of signal level in real-time and RMS.
The design of complex systems is made possible by the integration of the L-NET Ethernet-based network. Thanks to its high-speed data transfer protocol of 100 Mbit/s, up to 253 units can be controlled and monitored in real-time by the LA NETWORK MANAGER software.
Here are all the specs:
http://www.l-acoustics.com/products-amplified-controllers-69.html
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Extron Introduces New Multi-Window HDCP-Compliant Videowall Processing System
Extron’s new WindoWall Pro System is fully HDCP compliance at all HDMI inputs and outputs. WindoWall Console software is the user interface to the system, facilitating straightforward control and configuration of videowall systems, and the creation of presentations with multiple, independent windows for displaying graphics, HDTV and video. The WindoWall Pro System is an ideal choice for applications that require highly reliable, multi-window videowall systems.
Each WindoWall Pro processor allows for the display of up to four windows and employs Extron video processing technologies to deliver a fully optimized, high quality real-time video output. Because a discrete processor is dedicated to each display unit in the videowall, WindoWall Pro is fully scalable, supporting a wide variety of display layouts from 1×2 to 2×3 and larger. The HDMI inputs, outputs and universal analog video inputs support signal rates up to 1920×1200 and HDTV 1080p/60, plus 2K on the HDMI connections. Each WindoWall Pro processor features an HDMI background input, which allows a full motion, high resolution computer-video or HDTV signal to be used as a background image to any presentation.
To enhance and simplify integration of sources and displays, WindoWall Pro features Key Minder, an Extron-exclusive technology. For HDMI signals with protected content, Key Minder authenticates and maintains continuous HDCP encryption between input and output devices to ensure quick and reliable switching.
Here are all the specs:
http://www.extron.com/product/product.aspx?id=mgp464w&s=5
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Noventri Debuts SF-200 Digital Signage Media Player
Noventri’s new Eco-Series SF-200 (replacing the SF-100e) uses only 4 watts of power in a media player for digital signage that outputs HDMI at 1920x1080p. The SF-200 is more than a replacement for the SF-100e — there is a noticeable difference with a curvy polycarbonate casing and it also adds a second USB port and a high-speed 4 GB thumb drive.
Add on features include:
- IR Remote control (for configuring and rebooting the SF-200 from a distance)
- Mounting plate that fits Vesa hole pattern standards (75 millimeter and 100 millimeter)
- RS-232 cable
- VGA adapter
- Wi-Fi adapter (coming soon)
- Power adapter available for U.S., EU and UK
Here are all the specs: http://www.noventri.com/
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Dukane Debuts Two New Projectors Aimed at ED Market
Dukane’s new 8115 and 8104WB are ultra short throw LCD projectors that include a cloning function, which enables you to copy setting data from one projector to others of the same model via USB memory — speeding up set-up of multiple projectors in a school. The 8115 is an XGA (1024×768) LCD projector that is spec’d at 3,500 ANSI lumens and a 4,000:1 contrast ratio. It also offers a lamp that can be used in either Eco-mode (4,000 hours) or standard mode (2,500 hours). The 8104WB is a WXGA (1280×800) LCD that’s spec’d at 2,500 ANSI lumens and a 4,000:1 contrast ratio. It has a 5,000/3,000 hour lamp with Eco-mode. Both can do wireless projection via network content and have VGA and HDMI inputs.
List price for the 8115 is $1,595 and the 8104WB is $1,495. All specs are here: http://www.dukane.com/av/products/LCDProjectors.asp
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Christie Debuts Two 3-Chip DLPs with 4K Resolution
Today Christie introduced two new 3-chip DLP, 4K projectors — the Christie D4K2560 and Christie D4K3560. The company says these new D4K models are the 3-chip DLP 4K projectors from Christie that also offer frame rates at 60 frames per second (fps). Both the Christie D4K2560 (25,000 center lumens) and Christie D4K3560 (35,000 center lumens) provide razor-sharp image detail – and video with smoother motion and transitions – for unsurpassed image quality and a more vibrant and appealing visual experience. The new projectors replace the Christie D4K25 and D4K35, respectively.
“Christie is the only manufacturer providing full 4K (4096×2160) resolution at 60 Hz and the reliability and image clarity of 3-chip DLP all in one package. Both projectors are a quantum leap forward in video image processing and a breakthrough in high frame rate and high resolution video projection,” said Mike Garrido, senior product manager, Business Products, Christie.
The Christie D4K2560 and Christie D4K3560 projectors are the first of Christie’s new TruLife Electronics platform. Additionally, the units come equipped with 3G SDI, Display Port and DVI/Dual Link DVI inputs, so Christie customers can update their existing sites for future projects without the constraints of SDVI inputs.
“Customers such as automotive designers and amusement park operators will love the increased dynamic range and the highest fidelity content with immaculate, deep, and vivid color transitions,” Garrido continued. “Amusement parks, for example, are open all day and well into the evening seven days a week and the combination of 4K, 60 Hz and DLP reliability can manage the heavy workload with smooth, crystal-clear video content much longer than what has been available.”
The Christie D4K2560 and Christie D4K3560 have a three-year parts and labor warranty and ship in June 2013. Tou can see all the specs of the D4K2560 here: http://www.christiedigital.com/en-us/business/products/projectors/3-chip-dlp/Pages/
Christie-D4K2560-3-chip-DLP-4K-projector.aspx and the D4K3560 here: http://www.christiedigital.com/en-us/business/products/projectors/3-chip-dlp/Pages/christie-d4k3560-3-chip-dlp-4k-projector.aspx
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Vaddio Claims Broadcast Quality Camera with New PowerView
Vaddio’s new PowerVIEW PTZ cameras bring three-chip “broadcast camera performance” to a single-chip camera, according to the company. Based on third-generation Maicovicon MOS imaging sensor technology, the HD-22 and HD-30 improve color and brightness uniformity, ensuring an improved high definition image quality.
The HD-22 comes equipped with a multi-element 22x optical glass auto-focus zoom lens that provides up to a 66-degree field-of-view for a wide range of telephoto or wide-angle shot options. An impressive 128x wide dynamic range covers both light and dark contrasted areas and a Color Capture light system produces vivid color images without color saturation or filtering. The HD-30 has a 30x optical power zoom.
The PowerVIEW HD-22 and HD-30 are the industry’s first robotic PTZ cameras to use the new MOS 1/2.8-Progressive Scan imaging sensor. By suppressing uneven brightness, the HD-22 and HD-30 provide an unmatched low-light performance of 0.4 LUX and a Super Sharp Detail technology for auto-sharpening fuzzy images.
Outputs include native 1080p/60/50 Digital HDMI and analog component video resolutions, ideal for use in the highest demanding HD camera applications requiring a 3-Chip PTZ camera.
Get all the specs at:
http://www.vaddio.com
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Panasonic Debuts 12K Lumen Projector
Panasonic today announced the PT-DZ13K series of projectors, the latest addition to its 3-chip DLP projector lineup. Unveiled at the 2013 NAB Show in Las Vegas, the PT-DZ13K series consists of four models that offer a range of resolutions and brightness between 10,600 and 12,000 lumens and from 1366×768 to 1920×1200 resolutions.
For rental and staging applications, the PT-DZ13K Series’ Dual Lamp System enables continuous operation even if one lamp fails and using the Lamp Relay mode allows for 24/7 use, as the two lamps alternate in operation. Using what Panasonic says is a long lamp life of up to 4,000 hours in Eco Mode and an Eco Filter with a replacement cycle of up to 12,000 hours, it significantly reduces the projector’s operating expenses and total cost of ownership over previous models.
The line includes various interchangeable lenses, a lens memory function that saves settings, such as zoom, focus and lens shift, built-in geometric adjustment functions and all four models will ship later this month.
You can see them all here:
http://www.panasonic.com/business/projectors/
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For all you REGULAR readers of rAVe GHGav [Green, Healthcare & Government AV] Edition out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).
Don’t like us, then go away — unsubscribe! Just use the link below.
To send me feedback, don’t reply to this newsletter. Instead, write directly to me at gary@ravepubs.com or for editorial ideas, Editor-in-Chief Sara Abrons at sara@ravepubs.com
A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in 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 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
To read more about my background, our team and what we do, go to https://www.ravepubs.com
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Copyright 2013 – rAVe [Publications] – All rights reserved – All rights reserved. For reprint policies, contact rAVe [Publications], 210 Old Barn Ln. – Chapel Hill, NC 27517 – (919) 969-7501. Email: sara@ravepubs.com
rAVe GHGav [Green, Healthcare & Government AV] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors.