Volume 7, Issue 3 — March 23, 2018
|Laser Projection in Churches|
By Anthony Coppedge
House of Worship Technology Consultant
Every single time I get asked about laser projection, I think of the Austin Powers movie franchise villain, Dr. Evil, and his obsession with putting lasers on sharks. While the audiovisual industry has yet to rise to that dubious challenge, the addition of lasers in projectors is an important innovation. I further submit that it’s important for the house of worship market even if it doesn’t further the aims of movie henchmen. It’s time for laser projection in churches.
When churches ask me about laser projection, they are generally excited for one main reason: no more expensive lamps to replace. Though this is a strong benefit in the marketing pitch of laser projection manufacturers, it’s important to help educate this market on the differences between lamp-based, LED-based and laser-based projection.
Let There Be (Projected) Light
The radical increase in resolution was the last major innovation curve for projection. Today, the light source is the next breakthrough in providing projection options. However, not all light is the same. By starting with an overview of luminance technologies, we can help churches understand and narrow down their research to projectors that meet their expectations and budget.
There’s no doubt that lamp-based projectors continue to be the de-facto standard. The enormity of lamp-based projection devices is sure to see them sell well into the future even with the cost of replacement lamps. In days past, the focus was on the dichotomy of making them brighter while simultaneously making them cheaper to produce. This saw the introduction of dual-lamp and even quad-lamp projectors vying for a combination of built-in redundancy and ever-increasing brightness options. However, the cost of replacements meant that in order to color match, it was necessary to replace more than one lamp at a time, adding to the maintenance and ownership costs of these devices.
With the advent of lampless projectors, the cost has shifted, but not gone away entirely as the total expected life expectancy of LED and laser-based projectors ranges between 20,000 and 30,000 hours. This is a different total cost of ownership of lamp-based projectors which, with ongoing cleaning and maintenance, can last substantially longer by replacing the lamps and filters. It’s an apples-to-Volkswagen comparison, wherein the differences must be presented so prospects and existing clients are educated to make the best purchase decision for their venues.
The table below demonstrates just how much innovation has been focused on projection light sources.
|Traditional lamp-based projectors
||While the lamp types are still varied (UHP varieties and metal Halide varieties), the cost per lamp has dropped dramatically from thousands of dollars to hundreds of dollars each. Lamp life, too, has also increased over the years, with 2,000-hour lamps now common.
||LED as a light source in projectors are still low-brightness and are found in the ultra-portable (as in pocket-sized) line of tiny projectors. No heat, low energy and very small but with usually only a few hundred lumens possible.
|LED with at least one laser
||Often a single laser with an added color wheel to help expand beyond the Red, Green, and Blue to include Yellow, Magenta, and Cyan. These are some of the least expensive “laser-based” projectors.
|LCD with at least one laser
||Similar to traditional lamp-based LCD projectors, these use a single laser instead of a lamp and LCD panels with dichroic mirrors to create the full-color spectrum. Also on the lower-end range of projectors.
|Laser with Phosphor Wheel
||This hybrid approach typically uses only blue lasers but adds phosphor on a rapidly spinning wheel similar to the single-chip DLP projectors to achieve the Red, Green, and Blue color mixing.
|Three laser projection
||This is the pure end of laser projection utilizing a direct fire laser system without any phosphor wheels. These are the brightest, highest resolution, highest contrast ratio projectors on the high-end of the spectrum.
Establishing this baseline for educating prospects and existing clients alike is a helpful step in providing expert advice and specific recommendations to match budgets, venues and client expectations.
Wholesale Projector Fleet Replacement?
There’s a significant opportunity for the AV industry to market the opportunity to drastically reduce operating costs of not only their installed base of projectors but also to reduce energy costs with these far more efficient laser projectors that can even affect the HVAC cooling costs in venues where the heat projectors impacts the room temperature in smaller venues.
Consider the church that has two or three projectors in their main auditorium, ten to twenty projectors in classroom and meeting rooms, not to mention other venues like a hall, youth area and visitor welcome centers. A wholesale change-out isn’t inexpensive up-front cost, but it’s simple to calculate the cost savings over five to 10 years in lamp costs alone. It’s a compelling argument that would have more than a few churches writing new purchase orders in a strategic shift for more efficient stewardship of donated funds.
This is just the beginning salvo of changes that are coming precisely because of the innovation brought about by laser projection. With over 300,000 churches — and millions of church venues that use lamp-based projection — the opportunity for manufacturers and systems integrators and box retailers alike is immense. Will your firm take the lead in laser projection with the house of worship market?
What say you? Share your views and links in the comments below.Leave a Comment
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|Asking the Right Questions|
By Anthony Coppedge
House of Worship Technology Consultant
I’m an extrovert. Most people assume this means I love to talk all the time, I’m energized by social situations, I like to solve problems by discussing them, I’m extremely friendly and imminently approachable and I am easy to get to know. Those are all generally true, but being married to an introvert has enlightened me in my approach to conversing with other people. Instead of simply talking a lot, I now focus on asking the right questions to stoke helpful conversation.
This may seem an odd thing to share at the offset of my latest article here on rAVe about the future trends I see for the house of worship market as it pertains to the audiovisual industry, but if you’ll trust that the rabbit I’m chasing is worth it, this article could radically influence your sales and marketing approach to the church market.
Communicating At Versus Communicating With
My experience in sales and marketing has benefited immensely from learning the art of asking truly great questions because it has allowed me to learn key aspects of others quickly and apply those insights for building rapport. I submit that the future of selling products and services, which will undoubtedly be further cluttered with communication tools, will make it more important than ever for all of us to learn the art of asking fantastic questions that lead to helpful insights.
Candidly, I thought I was a top-notch communicator because of my extroverted personality, my quick wit and a generous gifting of being glib. I don’t say that with a narcissistic bent, but rather from the humble pie that I ate when I sat down at a table with my wife and group of acquaintances and watched as she held a master class in the art of communication. At the heart of her deft skills is her insatiable curiosity to ask questions that lead to deeper levels of sharing, connection and insight.
When it came to communicating, the difference between the two of us was striking. It turns out that I generally communicated at people while she communicated with people. This distinction is one I’ve learned to apply in my writing, my presentations, my social media accounts, my marketing copy and my sales conversations.
Listen Well to Ask Great Questions
My first lesson in building rapport was to observe how well she listened. She maintains eye contact and pauses before she responds or asks a new question so that the other person has a chance to be fully heard and share without fearing — but instead, feeling comfortable with — a momentary silence between them. Far too often, conversations are less about listening to hear the other person and more about waiting for our turn to speak. To ask great questions, we have to learn to be patient and listen to hear what they’re saying without interrupting or short-changing their side of the conversation.
In marketing and sales, we fall victim to talking at our prospects and clients, just as I used to communicate at people rather than with them.
A great question is based on what you are hearing from the other person. You may have tremendous experience, helpful expertise and are loaded with lots of qualifying questions. But the best questions are those that organically come from first listening well to the other party.
Ask With Empathy
A master communicator wants to make the other person comfortable and builds flow into conversations by asking questions that get people talking about what they think and believe. People often have strong opinions about a topic they’ve researched, so it’s helpful to hear them out and discern what they are taking away from others and how that plays into your conversation with them. For my wife, this meant honing in when another person brought up a topic that elicited a strong response. In her disarming way, with an even and friendly tone that kept the conversation flowing, she asks questions that probe for the experience that formed their strong opinion. People, it turns out, are all human and have biases that are based on a single positive or negative experience. Far from the scientific method of building a baseline of similar experiences, people often formulate their thoughts and opinions based on on the extreme ends of experiences. My wife leveraged this by asking for the backstory of what informed their viewpoint. By not making the person defensive, she invited further exploration to hear them. This skill is called empathy and it is the single most powerful part in the art of conversation.
When people feel that you’re asking to understand — and not judge them — they more rapidly back down from an inadvertent defensive posture. When we learn to ask with empathy, we invite people to share without fear of judgment, which often builds rapport and trust to further deepen the conversation to understand their core fears, objections and desires. From a marketing and sales perspective, this is how we learn about how to qualify the person over time and provide feedback and recommendations that are far more likely to resonate with their belief and bias systems.
Be Known for Asking Great Questions
At a birthday party gathering with fellow friends and a number of new acquaintances of the friend being honored on her birthday, my wife built instant rapport with the people nearest her by asking questions, listening well, asking follow up questions with empathy and inviting others to share their thoughts and experiences. One of these people said to my wife: “That’s one of the things about you I admire the most: You ask fantastic questions!” This overt compliment generated an entire new line of questions, now asked by other attendees at her end of the table as they put into immediate practice the example set by my wife. The result was people laughing, learning and enjoying themselves so much that others farther away at the banquet table wanted to know why her end of the table was so much fun!
When we learn to ask great questions, we become trusted advisors and our credibility soars — and all without us having to drop an ounce of knowledge to prove our expertise. People organically trust those who make them feel comfortable. On dozens of occasions since I have applied these lessons from my wife, I’ve been told by business acquaintances, new friends and complete strangers: “I don’t know why I’m telling you all of this, but it’s easy to talk to you.” Personally, I’ve become more attuned with people and have learned to empathize and build rapport faster than most other people. Professionally, it affords me the privilege of asking harder questions, digging deeper into issue and positions me to be a trusted advisor to my clients and peers.
Those of us representing a brand (which means every single person, not just the marketers and salespeople) would do well to be like my wife and focus on communicating with others, asking questions with empathy, and becoming known for asking great questions. By doing so, this translates directly into more opportunities to become the preferred vendor and solution provider.
What say you about the art of asking the right questions to build rapport and trust as a preferred vendor?Leave a Comment
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|RE-ENFORCEMENT — What is the Goal?|
By Dr. Frederick Ampel
President & Principal, Technology Visions Analytics
(Author’s Note: The topic for this article was originally suggested by a comment from Barry McKinnon of MC Squared Design Group, North Vancouver, BC., Canada.)
OK, ladies and gentlemen, it’s time for some serious military grade explosive driven myth busting!
MYTH #1: Sounds reinforcement is a 20th century development.
We have a tendency to think of sound re-enforcement as an exclusively 20th-century technology/capability. Well — I hate to disabuse you of your comfortable established beliefs, but for all intents and purposes, the goal was achieved slightly over 2,500 years ago!
The truth behind that statement is complex and delves deep into the history of human endeavor.
Ever since the very first public orator (probably a politician, tribal chief or military leader) tried to reach out to more than a few folks in their immediate vicinity, humans have been searching for ways to enhance the distance over which people can hear and understand or enjoy words, music or any number of the other numerous forms of audible communication we use daily.
In the multi-thousands of years spanning the recorded historical records of the human species, this has always been a goal. However, it has rarely been achieved successfully, at least as far as the documentable chronology records would indicate.
That is until sometime around two and a half millennia ago (roughly 400 BC) in ancient Greece, where we find the first documented and verifiable records of a solution to the problem of spoken (sung) word ‘re-enforcement’ being achieved — physically anyway.
The place where that momentous achievement manifested itself is now known as The Great Theater at Epidaurus in Greece. That theater, shown in the photo below, has been accurately and reliably dated to the 4th century B.C. It was built using an arrangement of 55 semi-circular rows and remains the great masterwork of its “architect” Polykleitos the Younger.
Audiences of up to an estimated 14,000 would have been able to hear actors and musicians — unamplified — from even the back row of this unique ancient architectural masterpiece. In fact, they can still do that today as the theater is in regular use and open to visitors and tourists.
What Magic Had Polykleitos Wrought?
Without any modern science or advanced mathematics* let alone the several centuries of ‘acoustics’ research and exploration we have at our disposal, the ancient Greek builders managed to achieve the goal through the material used for and placement of the seats. (*Remember Integral Calculus had not yet been invented and wouldn’t be for nearly another 2+millena. Officially it is recognized to have been created in the 17th century by Isaac Newton and Gottfried Wilhelm Leibniz.)
The hard, scientific proof of their success came when a research team from the Georgia Institute of Technology discovered (in a 2007 study) that the limestone material of the seats provided a filtering effect, suppressing the lower frequencies of voices, thus minimizing background crowd noise (murmur). Further, the rows of limestone seats reflect higher frequencies back into the audience space, effectively amplifying the crucial intelligibility bandwidth and thus enhancing the effect. So, some 2,500 years AFTER it was built we understand what the Greek builders managed instinctively — reducing the perceived Effective Acoustic Distance (more on that topic below).
After Epidaurus’ success, a pattern developed in which such theatres usually consisted of a flat, circular dancing space known as the ensemble area (translated from the ancient Greek) at the foot of a hill, which would be associated with a small temple of Dionysus. The hill then would provide a natural seating area for the spectators (in ancient Greek and later Roman Empire Latin was known as a theatron).
It should be noted that the contemporary term architect was not in use or in the language of the era, at the time of the building of this space, but the term does apply. Throughout ancient and medieval history, most architectural design and construction was carried out by artisans, usually stonemasons and carpenters, who could ascend to the role of master builder. Until quite recently (historically speaking), there was no clear distinction between architect and engineer. In many parts of the world, especially Europe and the Arabic kingdoms of earlier times, the titles architect and engineer were primarily geographical variations that referred to the same person, often used interchangeably. Plans and drawing for buildings were not easily created with the limited physical materials available throughout the middle ages and into the Renaissance, and even as late as the 18th century, most structures continued to be designed and set out by craftsmen, except for some extremely prominent (castles/palaces for example) projects.
Two Millennia of Trying to Recreate the Magic
The Greeks must have known that they had done something very right because they made many attempts to duplicate Epidaurus’ design, but never with the same success. In fact, not only the Greeks, but the Romans and other erudite cultures kept trying for a long, long time.
Well on into the middle ages — Elizabethan England — and most certainly records show as late as the early 20th century, attempts to duplicate what Polykleitos has created continued incessantly, most with at best incomplete success.
MYTH #2: Sound systems create sound.
In one word — wrong.
Any electronic amplification system for use by actual people, properly known as a SOUND RE-Enforcement System, does not and should not create any sound of its own. It has but one singular and very specifically defined purpose.
In fact, it has precisely the same precise and exact purpose that Polykleitos defined for use so long ago — to make the sound of the spoken word and similar sources audible to the entire listening audience, over the whole area occupied by that audience.
The Concept of Equivalent Acoustic Distance
Although the ancient Greeks and all of their many studious adherents did not have a term for what they were doing, it is something modern acoustical science has accurately and quite specifically quantified and defined. It is the concept of Equivalent Acoustic Distance or from here onwards referred to by its acronym of EAD.
Defining Equivalent Acoustic Distance
As defined by John Eargle and Chris Foreman in their book “Audio Engineering for Sound Reinforcement,” Hal Leonard Corporation, 2002 — available here, Equivalent Acoustic Distance (EAD) is:
“Another way to judge the absolute level requirement (for a sound reinforcement system)* is by using the concept of EAD. Consider a string quartet playing in a quiet park for a lunchtime concert. A listener seated 10 feet from the string quartet would hear clearly and enjoy the concert. However, if the string quartet were playing to a large audience, some listeners might be seated 50 feet away. These listeners might find it difficult to clearly hear and enjoy the music.
Now add a sound system. The goal is (should be), to make it possible for the listeners seated at 50 feet to hear as well as the unaided listeners seated at 10 feet. The ten-foot distance then becomes the EAD for the system. Based on this ten-foot EAD, the absolute level goal for the listener at 50 feet becomes the level which the unaided listener hears at 10 feet.”
A secondary question must be “…is the signal to noise ratio adequate? In general, the sound level must be far enough above the ambient noise to be intelligible (for speech) or pleasing (for music).”
Although opinions vary on the specific ratio required, it is generally accepted that an absolute minimum S/N** ratio of 10dB or higher is necessary for a quality result indoors, with at least 15dB being a recommended ratio outdoors. The bigger the ratio the better.
*Italicized content added by author
**S/N is the shorthand used to represent the term Signal to Noise ratio in established symbology for audio systems.
Design, construct and install a system that provides enough support to the program material to create the above defined recognized standard of Equivalent Acoustic Distance (EAD).
Thus, any sound reinforcement system for a HOW space should be subtle enough to just bring everyone within the target EAD of 8-10’ from the pulpit. This is the nominal acoustical equivalent of sitting in the first row of putting you about that distance from the worship leader.
It is also equally important to remember that no re-enforcement systems can help those who are for whatever reason are not capable of speaking in front of a group. They’re intended to make worship leaders and other speakers audible to an entire congregation and not to correct for public speaking deficiencies. In fact, a good system may actually make such issues worse, because congregants will come to expect the first-row equivalent sonics and if the person speaking cannot properly deliver their message to the system to promulgate it will only be more apparent than it was without one.
In the end, we still want to do what that stunning theater in ancient Greece accomplished- enhance the distance over which people can hear, understand and enjoy a program. Yes, we’ve added some science and a lot of complex mathematics to the process and given it a name (EAD), but the goal of sound reinforcement hasn’t changed since Polykleitos the Younger designed the Great Theater at Epidaurus.
If the people can hear the message and understand the Word, then you have achieved your goal!Leave a Comment
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|Ever Wondered If Anyone Would Provide a Simple Solution to Fix Bad Mic Levels on DSLR Cameras?|
Sescom just launched two DSLR attenuating line (with 43dB Pad) to mic level cables that provide properly matched mic level signals.
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Sescom SES-43DB cables, featuring two conductor shielded cable, reduce professional two-volt line level audio signals from sources such as mixers, tape recorders and CD players by 43dB to an unbalanced DSLR microphone level input. Available in two models, with RCA male plugs or with XLR female plugs, both models are also terminated with a 3.5-millimeter stereo plug. The cable features Canare two-conductor shielded cable assembled with a slim profile Switchcraft TRS 3.5-mm stereo plug and two Rean RCA male plugs. Inside the Sescom SES-43DB-MZ2P is where the magic happens as Sescom’s exclusive circuitry on both audio channels reduces professional two-volt line level audio signals by 43dB to match the “sweet spot” of an unbalanced microphone level input. Its sleek low profile design avoids clunky XLR type attenuators that can produce heavy strain on the cameras mic input connector.These are worth $39.
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|TASCAM Intros New Rackmount Analog MixersTASCAM has introduced the new MZ-223 and MZ-372, which are both rackmount analog mixers offering flexible inputs, mixing and routing. TASCAM says they are well suited for installs in small to mid-size venues such as restaurants, hotels, ballrooms, meeting rooms and schools, as well as residences.
The compact, 2U rack-mount TASCAM MZ-223 offers five audio channels, each with a dedicated Gain potentiometer and two stereo sets of RCA line-level inputs (ten RCA inputs, total), that can be mixed, segregated and routed to three independent zones or destinations. Channels 1 and 2 can also accommodate phono-level signals for use with a turntable, making the MZ-223 suitable for DJ and residential applications. Two convenient front-panel, balanced XLR inputs handle microphone signals.
Each of the MZ-223’s three stereo output zones present balanced XLR and unbalanced RCA line-level outputs, enabling long cable runs or connection to residential power amplifiers or powered speakers. A slider switches the RCA outputs between 0.75V and 1.5V. The MZ-223 also provides stereo unbalanced RCA master Record outputs, switchable for use with or without microphones, that enable recording the main mix to an external recording device for capturing events. With the MZ-223’s flexible design, for example, you could route music to Zone 1, ambient noise or natural sounds to Zone 2, and a separate music track or a voice announcement to Zone 3. The front panel also includes a ¼-inch stereo headphone output with level control.
An assortment of front-panel volume sliders, routing switches and buttons, EQ knobs and mute buttons enable simple, fast setup and operation. A Talkover function automatically lowers other source levels when microphones are in use.
The 3U rack-mount MZ-372 enables audio signals to be mixed, muted and routed to 2 redundant outputs or destinations. Each of its 6 audio channels has an independent volume control and features 2 stereo sets of unbalanced RCA line-level inputs (12 RCA inputs, total) and 6 balanced XLR mic/line (switchable) inputs on the rear panel, plus a mic-level XLR input on the front panel. Channels 1, 2, and 3 can be switched to accommodate phono-level signals for use with a turntable. A pair of unbalanced RCA Booth outputs provide an additional feed with independent control for monitoring and can be switched between stereo and mono operation.
Each of the MZ-372’s dual outputs offer balanced XLR and unbalanced RCA jacks, enabling long cable runs or connection to a main mixer and monitor mixer, professional power amplifier or residential power amplifier or powered speaker. A Talkover function automatically lowers other source levels when microphones are in use. A separate pair of unbalanced, line-level RCA recording outputs make it simple to capture events.
Like the MZ-223, the MZ-372 employs front-panel volume sliders, routing switches and buttons, EQ knobs, and mute buttons for simple, fast setup and operation. The front panel also includes a ¼-inch stereo headphone output with level control.
The TASCAM MZ-223 and MZ-372 are available immediately at TASCAM dealers at MAP/street prices of: MZ-223 $399.99 and MZ-372 $499.99. More information is here.Leave a Comment
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|Delvcam 12G-SDI Monitor Supports 4K Single Link and Features a Four Screen Multiviewer|
Delvcam introduces a new rack-mountable LCD monitor with 12G-SDI interfaces that supports 4K single link connections. The Delvcam DELV-12GSDI-15 6RU rack mountable broadcast monitor features a 15.6-inch IPS LCD screen with split, quad and full screen viewing options, as well as a picture-in-picture function and a high contrast display. With multiple 12G-SDI, 3G-SDI, and HDMI interfaces, this monitor is ideal for ENG news crews, TV stations, production studios and directors, in live and post-production applications.
The 3840×2160 resolution supports 4K UHD signals with a 16:9 IPS LCD display and 176° wide viewing angles for consistent images from any perspective. The monitor is mounted in a removable reinforced case with a hinged, lockable door for access to the back of the monitor and fits into a standard 19″ 6RU equipment rack without the case.
Here are the details.Leave a Comment
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|Fulcrum Acoustic Unveils Subcardioid Coaxial Loudspeaker Product Line|
Fulcrum Acoustic has launched the CCX12, a 12-Inch Subcardioid Coaxial Loudspeakers. Joining the CCX1295 (90° x 45°) announced last summer, the line now features a full range of horn patterns allowing coverage to be tailored for a wide range of applications. New models include the CCX1265 (60° x 45°), CCX1277 (75° x 75°), CCX1200 (100° x 100°) and CCX1226 (120° x 60°).
The CCX12 product family marks the first application of Fulcrum’s Passive Cardioid Technology in their extensive TQ Install line of versatile installation loudspeakers. CCX12 loudspeakers provide 9 dB of low frequency attenuation in the rear hemisphere without requiring additional cancellation drivers, amplifiers or signal processing channels.
Fulcrum Acoustic says the CCX12 subcardioid coaxial loudspeakers are effective for high-fidelity, foreground distributed systems, as well as for systems requiring targeted pattern control. Their unique trapezoidal shaped enclosures allow for mounting very close to ceilings with minimal effect on sight lines, which facilitates acceptance by interior designers and architects.
Details on the CCX12 loudspeakers are here.Leave a Comment
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|Marshall Electronics Releases New AR-DM61-BT Multi-Channel Digital Audio Monitor|
Marshall Electronics announces the release of a new multi-channel digital audio monitor, the Marshall AR-DM61-BT. Packed into a 1 RU design, the Marshall AR-DM61-BT allows users to monitor up to 64 channels of audio vertically, or two detailed audio channels horizontally and also includes a live video confidence monitor. It also is equipped with two powerful stereo speakers that feature a max volume of 100 dB.
The AR-DM61-BT has two dedicated 3GSDI inputs with loop through (MADI compatible), and one additional HDMI input. It has four stereo AES inputs and outputs, supports eight channels on “D” input and output (-10 dB or +4 dB switchable), and has speakers powerful enough to be heard even in a noisy control room environment. The 10-inch LCD intuitive touchscreen panel uses Loudness, K-weighted, relative to full scale (LKFS) bars and peak indicators and is the first-of-its-kind to include a live video confidence monitor.
The AR-DM61-BT is fully compatible with the latest Dolby and Dante formats, and has a built-in Web server for software updates, storing and retrieving presets, making the AR-DM61-BT a “future proof” solution. It is AES67 compliant and accepts inputs from multiple signal types with format conversion and matrix routing.
The Marshall AR-DM61-BT is here.Leave a Comment
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|advoli Launches Two HDBaseT-Certified Graphics Cardsadvoli Limited (advoli) just announced two additional HDBaseT-certified PCIe 16x graphics cards. The graphics cards are powered by AMD Embedded Radeon E8860 Series GPU and deliver six HDBaseT channels with independent 1080p resolution videos for up to 150 meters over CAT cables.
The already released TA6, has been renamed “TA6 Performance,” delivering six independent channels of 4K UHD content for up to 100 meters, powered by the AMD Embedded Radeon E9550 series GPU. The newly announced graphics cards are named “TB6 Standard” and “TA6 Distance.”
The TA6 Distance utilizes the same HDBaseT technology as the TA6 Performance graphics card, but with a GPU processor that allows lower power consumption at reduced cost, but with the computational capability necessary for most digital signage, control rooms and information displays. The TA6 Distance enables up to 150 meters at 1080p across six independent HDBaseT channels, ensuring extra reach across multiple rooms.
The TB6 Standard is designed for distances of less than 70 meters and can power six independent 1080p displays. The graphics card is suitable for installations that require shorter reach such as menu boards, in-room displays and projectors.
All three graphics cards, the TB6 Standard, TA6 Distance and TA6 Performance, include diagnostic tools to determine cable tampering, cable distance and signal integrity, for easy troubleshooting of installations. In addition, emulated controls for IR, RS232 and CEC allow for remote management and compatibility with virtually any industry display or projector. EDID information can be passed through or emulated, meaning hot swapping of displays and projectors can be done without affecting the display order.
All the HDBaseT cards are here.Leave a Comment
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|Hitachi Debuts New 4K Production CU‑HD1300F-S1 Camera Control Unit|
Hitachi Kokusai Electric America today announced the CU-HD1300F-S1 HDTV camera control unit with 4K, 12G-SDI output. The company also announced an optional firmware upgrade for its SK-UHD4000 4K Ultra HD camera system to enhance simultaneous HDR and Standard Dynamic Range (SDR) acquisition. New optional 12Gbps SDI output capabilities for the accompanying CU-HD4000 CCU have also been added to its existing quad-link SDI interface.
The new CU-HD1300F-S1 builds on the rich feature set of the original CU-HD1300F, combining SMPTE fiber transport and multi-format HDTV support with intercom, teleprompter return, and additional signal connectivity in a space-efficient 2RU unit. The CU-HD1300F-S1 can output natively-acquired 1080p video as 4K/UHD over single-link 12Gbps SDI or quad-link 3G-SDI connectivity.
The 4K output functionality of the CU-HD1300F-S1 is compatible with all fiber-equipped, 1080p HITACHI Z-series and SK-series cameras, and supports High Dynamic Range when used with HDR-enabled camera models including the award-winning Z-HD5500 and the SK-HD1300. The new CCU can also be used with interlaced HITACHI camera models for HDTV output.
A second, new CCU, the dual-cable CU-HD1300FT-S1 fiber/triax model, offers similar 4K output capabilities when used with fiber-connected cameras. The CU-HD1300FT-S1 offers all of the capabilities of its fiber-only sibling, plus Hitachi Kokusai’s fourth generation digital triax system for long-distance triax transport of HDTVsignals.
Like the transition from HD to 4K, the path from SDR to HDR has its own challenges for content producers, requiring them create separate outputs for optimal viewing across different generations of displays. The new firmware option for the SK-UHD4000 camera system allows separate video shading adjustments for HDR and SDR outputs, enabling users to select from multiple HDR profiles alongside SDR simultaneously with the same camera.
Here are the details.Leave a Comment
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|VITEC Intros the MGW Diamond Encoder, Expanding Its HEVC Ecosystem|
VITEC has expanded its ecosystem of HEVC video distribution solutions with the new MGW Diamond Encoder and the VITEC Playout Server, a point-to-point HEVC distribution solution, which is being announced at NAB. The MGW Diamond Encoder adds quad-channel HEVC encoding in what VITEC says is a compact and portable form factor to the VITEC HEVC family. The all-new VITEC Playout Server provides an efficient platform to manage, capture, preview and distribute IPTV streams, complementing VITEC’s point-to-point HEVC contribution ecosystem.
VITEC’s point-to-point/point-to-multipoint HEVC streaming offering, featuring the MGW Ace hardware-based HEVC encode/decode solution. VITEC’s MGW Diamond is a compact HEVC and H.264 HD/SD encode designed for any multichannel broadcast application. The MGW Diamond delivers HEVC encoding in a fraction of the footprint of comparable encoders, with the ability to capture up to four 3G/HD/SD-SDI or composite inputs and live stream up to eight channels.
Complementing the VITEC HEVC ecosystem, the new VITEC Playout Server provides an efficient platform to manage, capture, and preview IPTV-protected streams transmitted by VITEC encoders from any location and distribute them within a target network, whether for rebroadcast, video-on-demand or any other application. The server is the perfect solution to enable high-quality, low-bandwidth, reliable contribution over the internet while avoiding the use of expensive and less flexible fiber or satellite transmission infrastructure, leading to a dramatic reduction of operating expenses (OPEX).
Here are all the specs.Leave a Comment
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|Laird Ships 12G-SDI Single Link BNC Camera Cables, Now Pre-Loaded on Reels|
Laird Digital Cinema is now shipping its 12G-SDI Single Link BNC Camera Cables pre-loaded on reels, available in six models and a variety of lengths.
Reel-loaded Laird single-channel, 12G-SDI camera cables save time and maximize broadcast signal integrity featuring a military grade reel with a spool brake and a 4K/8K chassis mount BNC connector. SMPTE compliant Belden and Canare low-loss coax cables terminate with high quality BNC connectors and deliver 12G-SDI signal transmission up to 328 feet, depending on model, as well as 3G up to 686 feet.
Designed for high bandwidth, 12G-SDI critical equipment connectivity between cameras, switchers and other 4K video apparatus, these sturdy cable assemblies ensure secure equipment connections for broadcast use for OB trucks, ENG, live events and studios.
Available models: LCR-4855-B-B, LCR-4505-B-B, LCR-4694-B-B, LCR-4794-B-B, LCR-RT4855, LCR-12G-B-B. Specs are here.Leave a Comment
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|Pliant Technologies CrewCom Wireless Intercom System Is Now Shipping|
Pliant Technologies is now shipping its professional wireless intercom system, CrewCom. CrewCom features the industry’s smallest fully-featured professional full-duplex wireless radio packs, multiple simultaneous frequency bands, as well as a host of user features. With CrewCom, production crews of all sizes can easily and quickly deploy communications solutions to connect more people in more places than ever before.
CrewCom offers 1,024 Conferences that provide the flexibility of a matrix/party-line without the cost or limitations of either system. Unlike a matrix-based architecture, CrewCom is based on a decentralized platform that puts system resources where they are needed. This entirely innovative approach to professional wireless intercoms enables CrewCom to handle almost any application-from out-of-the-box solutions to large-scale designs-for a range of installation projects for live sound, broadcast, industrial, and more.
CrewCom wireless products are available in 2.4GHz and 900MHz models (900MHz are limited to where this band is legal). Any combination of these frequency bands may be simultaneously used on the same CrewCom system, giving the ability to easily put global-friendly, dependable RF coverage where needed, all while employing a consistent user interface throughout the system. This enables the system to easily adapt to the RF challenges facing production and entertainment professionals.
All the specs are here.Leave a Comment
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|Zoom’s New H1n Handy Recorder Debuts|
Zoom NA just launched the H1n, dubbed a Handy Recorder, as a portable audio recorder the can be used to capturing audio for film, music, podcasts and other applications.
The H1n’s design features a protective mic enclosure, an LCD screen, an analog-style gain control, built-in X/Y microphones and a stereo 1/8-inch mini phone jack mic/line input. An onboard limiter enables distortion-free recording up to 120 dB SPL and a new low-cut filter features selectable cut-off points and helps eliminate pops, wind noise, and other unwanted low-frequency rumble. Functions like Playback Speed Control and A-B Repeat provide flexibility during playback and an Overdubbing feature allows the user to layer audio. Auto-Record and Pre-Record settings mean audio is always captured at 24-bit/96 kHz while a Voice Emphasize filter is designed specifically for dictation. For filmmakers using DSLRs, the H1n is equipped with a Test Tone and Slate Tone generators to calibrate levels and mark audio start and stop points for easily syncing audio to video.
And, the whole system runs on two AAA batteries providing up to 10 hours of recording time.
The Zoom H1n Handy Recorder lists for $119.99. Here are all the specs.Leave a Comment
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