Volume 1, Issue 4 — August 20, 2015

Save a few PowerPoint slides on the back-end stuff and general system topology, there was very little talk of hardware. A few years back, the first thing I looked at in a spec sheet was a back-plane photo; today’s world of streaming, USB video and various forms of software-based manipulation make the standard “picture of the back” less interesting and, ultimately, less informative. What they did talk about was software.

This isn’t surprising; years ago, Polycom started to rebrand itself as a software company. (Side note: The other giant in the hardware VTC segment, Cisco, also considers itself a software company. Yes, most of what it sells are physical boxes in switches, routers and the like, but the magic — what makes Cisco what it is — is in its OS and implementation of various tools and protocols. In the end, everything is software — even things that look like hardware. End of side note). Overall, they discussed three broad pillars in what they see as the “workplace of the future”: workspace, workflow and experience (the latter involving both technical staff and end-users — this is an important shift in focus which we all need to make). Years ago, simply being able to share video content was something noteworthy and special. In today’s world, many users have — at least broadly speaking — video sharing and communication tools literally in their pockets. Enterprise-grade tools need to be as easy and intuitive to use as their consumer counterparts.

The handful of live demonstrations scheduled for the event all focused on software-based tricks and implementations. Small gadget-type items included the following:

• A face-recognition tool for their cameras which will pan and zoom to include only those parts of the room containing human faces. If someone wanders out, it will zoom in a bit to only cover those remaining. Additionally, it can count faces to provide analytics for meeting attendance.
• An “audio-fence” algorithm which will mute audio from a talker as they move away from a predetermined location. The example they showed was at the reception desk in the very experience center at which the event was held. If the receptionist moves back from her desk to, for example, sign for a deliver her audio will mute. This is a neat way to reduce unwanted side-chatter. I’ll note that it didn’t seem perfectly seamless — her voice did cut in briefly in the “away” position — but it is a neat idea.
• Smart muting to shut down remote microphones if human speech isn’t detected. For this demo, the talker at the far-end was eating a bag of chips. When he stopped talking, his mic muted even though there was still (so far as any of us could tell) noise in the room from the chips bag. I, for one, appreciate Polycom’s employees taking the personal risk of increased cholesterol in service of a product demo.

None of these are quite major enough to force a decision of one system over another, but they’re all nice add-ons and the kind of thing which can possibly tilt a close decision one way or another, depending on a client’s personal preferences and priorities.

Another demo, and the one in which they drew a direct comparison to competitors, was integration with Microsoft Lync. Lync has been an increasingly major player in the professional AV space for several years now, and integration with room systems and infrastructure has become increasingly smooth and seamless. Overall, I find direct comparisons to competing platforms slightly off-putting; the cynic in me is certain that anyone can find the one thing their system does better than the competition and highlight that. What made it interesting is that the aspect discussed was not a standalone special ability but tighter integration with the Microsoft environment. This says something about where the current state of the industry is; not many years ago it would be unthinkable for a manufacturer of room systems to focus on integration with desktop infrastructures. Now, it’s a centerpiece. As an AV designer, it also serves as a reminder that a client’s larger ecosystem is more important than ever. Does your client use Lync? This would be a great option. Do they use Google Apps? You’re best off looking elsewhere, as Google’s choice of a competing vendor’s platform to handle the “Hangouts” video chat feature leaves Polycom unable to offer the same tight integration.

The presentation and most of what we spoke about focused on the above kind of factor. Interoperability. Scalability. Even mention of various pricing plans which can simplify and increase the focus on operational expenditures as opposed to capital expenditure. In an increasingly IT-based world, this is more the direction in which we will have to look. They spoke of simplifying what has traditionally been a bit of a confusing and opaque price structure, about scalability, about interoperability.

It is telling that the very last demo — really an afterthought after the event had “officially” ended — was a demonstration of an immersive telepresence room. It is, no doubt, pretty. And it’s impressive. Sadly, it doesn’t fit into today’s world as well as it once did. It’s gone from flagship product to a very niche item, albeit a fun one on which to end a visit.

Before legions of display manufacturers and early adopters start Googling for my address, I’d like to explain that — as many already know — 4K displays offer great opportunities in visual clarity, but place equal challenges on the ecosystem surrounding them — from content production, through playback/rendering, to actually getting the 4K signal to displays.

History

4K, the “little brother” of NHK’s (Japan National Television Network) “Super Hi-Vision” or “8K UHD,” was presented to the public in 2004. In its TV form it offers four times the pixels of 1080p, higher frame rates (up to 120p), and the possibility of improved color spectrum (as suggested by ITU).

At that time, the only way to display the content captured by those cameras was by seaming (welding) together LCD panels, giving birth to the 4K display… Super Hi Vision is still promoted as the future of TV broadcast, with 4K considered an intermediate step.

In addition to the higher resolution, the ITU (International Communication Union) recommended using higher frame rates (up to 120p) and an improved 10-bit color spectrum (billions of colors).

In recent years, display manufacturers have been promoting and selling 4K capable displays to consumers. These technologies are now beginning to propagate into other platforms including commercial/digital signage displays. As a result, 4K-capable players and 4K capabilities are being requested from customers, digital signage providers and owners.

Current Situation

Today, retailers, corporations, educational/health institutions, and transportation hub operators looking to deploy a signage network are all interested in the 4K opportunity but as many know (or find out), there is more to “4K” than pixel counts on a display. One needs to generate and distribute 4K content — preferably at 60 frames/second and high color depth, through compatible signal distribution & cabling to (of course) a display that is optimized for or at least supports the format. Getting THAT to happen can sometimes be more complicated than it appears…

Connectivity

Display manufacturers already offer 4K displays but most still rely on HDMI 1.4 to receive 4K at 30 frames per second (“2160p/30” or “4K/30”). This taxes motion, especially in larger displays and videowalls showing fast moving content.

Distribution and extension of 4K/60fps is still in its infancy

Commercially viable signal distribution is finally catching up and is in many ways still limited to 30Hz and 4:2:0 color encoding, further challenging early adopters. For example: to display 4K/60p on a video wall located away from the players, you either need DisplayPort, HDMI 2.0, four HDMI 1.4 (each transmitting a quarter of the image), or an expensive routing and distribution system. Recent and upcoming IP and point-to-point offerings are finally catching up but rely on modern network and cabling infrastructure.

Content

• Perhaps the greatest challenge which causes many 4K installations to never see 4K content, is worth elaborating on:


• HD broadcasting systems are limited to 1080i (half the row count of 1080p). As a result, even though 4K, 6K (and soon 8K) cameras become available the production tools, editing software, and hardware don’t support 4K or at best support 4K/30. Additionally, most set top boxes in viewers’ homes can only support 1080i or 1080p and replacing those can be a costly endeavor.


• Uncompressed 4K occupies roughly four times the storage. A suitable end-to-end 4K production pipeline requires greater resources and might produce content more slowly, thus increasing costs.


• New codecs optimized for 4K are CPU intensive and thus may not be compatible with older playback hardware.

At this point some readers might be thinking, “If this is so difficult, why bother? Are there any benefits to using 4K in digital signage?” Yes, if one looks at the enhancements 4K technology offers, there are benefits to taking the 4K path:

• Enhanced resolution — with displays reaching 110, 1080p can no longer be relied upon for up close viewing but 4K makes it easy to display and examine fine content on these large displays, making reviewing documents, drawings and other “fine print” in collaborative or teaching environments a reality.


• Smaller A/V “footprint” — as signal distribution and extension options become available, a single cable can replace what previously required four cables. This can significantly reduce cabling and signal distribution costs for large video walls, “clean up” equipment racks and speed up installation. Couple that with reduction in the number of “appliance” type players needed to drive videowalls (one player can drive a 2x2x1080p display array), the resulting smaller racks and lower power consumption and voila! — Things start looking up for those deploying high-resolution videowalls. (Caveat emptor: As of today getting more than three or four 4K outputs from a single player still challenges most players’ processing power.)


• Lower bandwidth requirement – codecs optimized for 4K can reduce file sizes by 60 percent (compared with 4x1080p encoded in H.264), which in turn reduces the bandwidth needed to distribute those files — a major benefit for digital signage networks with multiple high-resolution videowalls.

For the past 15 years, Eran Sharon, Vice President, Product Management, YCD Multimedia has worked in technical and executive capacities both in the US and Israel bringing extensive and diverse experience designing, implementing and supervising the execution of audiovisual and media technology systems for various markets including experiential/luxury retail, luxury hospitality, museum, and broadcast. Eran comes to YCD after six years at Audio Video & Controls (AV&C), a New York City based boutique AV design firm where Eran’s work was characterized by successful application of emerging technologies in conjunction with AV best practices to deliver complex projects in these markets.

This was originally posted on FSR’s education website, fsr.education, here.

Makerspaces are defined areas populated with technology, textiles, hand tools and resources to encourage hands on activities like designing, building, collaborating and communicating. Think of it as a hybrid tech lab and mechanic’s work bench. Very often, in addition to computers, new technology such as 3D printers are being utilized in these expanded labs. They can also include audiovisual equipment, programming and control devices depending upon the proposed use, design and budget for the space (think scanners, Raspberry Pi, drones etc.) They can be designed specifically for subject matter like robotics, material engineering, prototyping or building or can be configured for more general purpose DIY “making” covering a variety of subjects and specialties. These labs are used to support increased comprehension and retention of theory through practical and real-life applications and community interaction. While makerspaces (also called hackerspaces or hackspaces) can be created almost anywhere on campus like converted classrooms or a corner of a classroom, a dedicated area in a public building (i.e. student union), or as a mobile makerspace on a cart that can move from room to room, it seems like libraries have been the “go-to” for these spaces more than any other.

As libraries continue to re-define their roles and embrace the personality of a community center, it’s no wonder makerspaces have become a popular addition to the once quiet buildings that, not so long ago, were suited more for seclusion than collaboration. Proponents of makerspaces see this DIY trend as a way to bring manufacturing back to the US, to promote entrepreneurship and invention, to initiate a technology incubator, to complement active, blended and flipped learning curriculum and to increase STEM related assessments in schools across the country. Some schools are even offering to help students and faculty with patent submissions for products and processes that are developed in their makerspace. Side note: I wonder if we will see an increase of patent applications as a result of the makerspace trend.

Library, AV and IT services have to be ready to understand the design and requirements of the technology in a makerspace and will also have to support the technology including equipment, hardware, software and media. As with classroom design, you should be part of the team that discusses and determines the primary purpose of the makerspace. Understanding purpose enables you to work within an understood structure while working with the design team. There are quite a few interesting articles that offer advice and guidelines for general designing of and uses for makerspaces. Here is a research paper supporting successful implementation of makerspaces and what it means for educational communities.

Regardless of the location, a truly successful makerspace will encourage innovation, interaction and excitement. What will yours look like? Do you have a makerspace (or a few) on campus or in your library? What type of technology do you offer in it? What have been the challenges of supporting the makerspace? I’d love to hear all about it…contact me or leave a comment below!

Wolf Cinema’s PRO line is spec’d to start at 4,000 ANSI lumens and extend up to 12,000 ANSI lumens, using both DLP and LCD imaging technologies. Many solutions offer multiple primary lens options, with precise lens shift and ample H/V keystone correction. Also carried over from Wolf Cinema’s home theater assortment, the company’s ProScaler MK III is available as an optional rack-mounted video processor — a useful complement when firing onto 2.35:1 CinemaScope screens, using our popular E-VariScope imaging technology.

Wolf Cinema’s PRO business and commercial projection line-up includes:

• PRO-85 – DLP Projector, 4,000 ANSI, Ultra Short Throw 2D/3D projector [0.25:1 optical throw]
• PRO-115 – DLP Projector, 4,200 ANSI, 2D/3D projector, Ultra Short [0.5:1 TD] and Extended Throw [1.39 – 2.09:1 TD] Lens Options
• PRO-415 – DLP Projector, 5,000 ANSI, 2D/3D, Five Lens Options [0.77:1 to 5.0:1 optical throw]
• PRO-715 – 3LCD Projector, 5,000 ANSI, Five Lens Options [0.8:1 to 8.3:1 optical throw]
• PRO-915 – DLP Dual Lamp Projector, 7,500 ANSI, 2D/3D, Seven Lens Options [0.77:1 to 8.25:1 optical throw]
• PRO-1215 – DLP Laser-Phosphor Illumination System, 5,000 ANSI, Four Lens Options [0.95:1 to 5.45:1 optical throw]
• PRO-1515 – DLP Dual Lamp Projector, 12,000 ANSI, Five Lens Options [0.85:1 to 4.0:1 optical throw]

The new PRO product line of projectors is available starting in August 2015 and will be priced between $2,995 and $34,995. All the detailed specs are here.

BenQ’s BL2711U joins the existing BL Series as the first 27-inch 4K monitor specifically created for design and engineering applications. Combining 100 percent sRGB with BenQ’s IPS panel technology, users gain an incredibly precise 10-bit display that renders over one billion hues — ensuring that images are displayed with rich, life-like color integrity. Certified by SolidWorks, the BL2711U also covers the Rec. 709 color space while the unit’s 3840×2160 resolution offers over 300 percent more work space when compared to traditional full HD displays.

Featuring a CAD/CAM mode, the BL2711U allows engineers and designers to bring out detailed object wireframes in software packages such as Pro/E, SolidWorks, AutoCad and CATIA. By automatically altering viewable color and contrast settings, the monitor lets users access highly detailed graphical information in order to increase accuracy in complex designs. For professional animators, the screen’s Animation Mode provides ten levels of display brightness to reveal details in darkened areas without overexposing brighter zones.

Equipped with both picture-in-picture (PIP) and picture-by-picture (PBP), the BL2711U allows users to simultaneously compare images from a separate set of sources while 178/178-degree ultra-wide viewing angles further increase collaboration across teams. Using BenQ’s Display Pilot software, designers are also able to customize their display easily — enabling features such as desktop partitioning, application tuning or auto pivoting.

BenQ’s BL2711U lists for $679 and all the specs are here.

AERO.10 is an audio processor supporting up to ten channels of PCM audio via AES, SDI or stereo analog I/O. The AERO.10 comes equipped with a processing engine identical to those in the established AERO.100/1000/2000 products. Tools such as AEROMAX loudness and dynamics control, UPMAX II automatic upmixing and downmixing algorithms, along with ITU and EBU compliant loudness metering and logging.

Downloadable 7.5 day rolling and event-based logs include multiple ITU-R BS.1770-3 loudness measurements as well as True Peak values. The included TCP/IP remote application provides control and display of all AERO.10 system settings and processing parameters plus extensive metering of loudness from a PC located anywhere with a network connection. The remote also delivers up to 5.1 channels of audio, enabling users to audition signal quality anywhere link bandwidth permits. An HTTP server is included for simple get/set control of all parameters and retrieval of status and logging information. The AERO.10 has a simple LCD front panel GUI for local control, and a powerful headphone output is included for checking audio and adjusting processing. New with AERO.10 are +4dBu balanced stereo analog inputs and outputs, useful for analog plants or bridging between analog and digital paths. The lightweight and rugged AERO.10 fits in 1RU.

Here are all the details.

Connectivity includes HDMI, VGA, USB, LAN and RS232 as well as an optional slot-in PC and it’s integrated ViewBoard software.

The CDE7060T lists for $7,299 and here are the specs.

The Ocean Matrix HDMI COAX Extender already shipping and you can get details here.

Some great design features include the column has grommets both on the top and bottom for passing cables inside the unit, The base is built of steel rather than aluminum so that the center-of-gravity is low to the floor, the monitor bracket that attaches to the column cane be moved to accommodate varying heights for different applications and it has the same accessible base design (that many of the AVFI products have) to allow access to the monitor without tripping over support legs. And, this product was specifically designed to accommodate the SMART kapp84 capture board (model SYZ84-K) as well as 40″ – 65″ displays including SMART kapp IQ 55″ and 65″ capture board (model SYZ84-S) and 70″ – 80″ displays (model SYZ84-XL).

This SYZ84 is available in white or black metal in two configurations, SYZ84-K (white only) and SYZ84-S/XL (white or black). The entire stand is 68” high, 22” deep and 44” wide. More information is here.

AAP power modules are available to provide USB and/or AC power for mobile devices and laptops. The optional CableCover is available to minimize cable tangles and accidental disconnects, and the Extron ZipClip Series is available to mount products, such as the PS Series Desktop Power Supply, directly to the enclosure. The AVEdge 100 is available in a black powder coat finish.

All the specs on the AVEdge 100 are here.

Features include:

• Uses Sharp’s original capacitive touch technology
• A new touch-operated onscreen user interface
• Supports installation of a Web camera in any one of seven positions
• Touch Display Link 2.0 (TDL)
• Multi-board mode: Up to three PN-L803C display units can be connected and used to display sequential pages that can be navigated by swiping side to side
• Touch-operated on-screen display
• Front-facing USB port

Here are all the detailed specs [PDF].

BenQ’s XR3501 monitor has over 20 options for color vibrance, the VA panel, according to BenQ, provides higher color reproduction with better viewing angles. Users can also adjust color levels directly via OSD or DisplayPilot for complete color control. Using Black eQualizer, the panel brightens darker scenes within games without over-exposing white levels.

With a focus on “Eye-Care” and visual comfort, the XR3501 is equipped with BenQ’s RevolutionEyes technology. Featuring their ZeroFlicker guarantee, the monitor eliminates flickering at all brightness levels, reducing visual strain to provide a more comfortable viewing experience. When combined with built-in Low Blue Light modes, the monitor also filters the exposure of emitted blue spectrum light.

BenQ’s curved XR3501 monitor is already shipping and lists for $999 and all the specs are here.

Yamaha developed the DXS Series to complement its speaker lineup and add a more prominent, well-defined bottom end to their sound. The DXS18 is integrated with an improved cabinet construction, DSP processing, protection functions and crossover control. The new model adds flexible features and higher power output suitable for larger or more professional applications.

Powered by a 1020W Class-D amplifier, the DXS18 houses an 18” woofer with a 4” voice coil in a band-pass type plywood enclosure spec’d at 136 dB maximum SPL (and an extended LF response down to 32Hz). The new model features Yamaha’s DSP technology with original D-XSUB processing for additional control of the low frequency range via two selectable modes — BOOST and XTENDED LF — and a selectable crossover with three different options (80/100/120Hz) for various applications. The DXS18 also features a Cardioid Mode setting for sound systems with two or more DXS18 speakers, effectively reducing the energy directed towards the stage while increasing bass levels directed at the audience.

Built with the expectation that users will transport and use these speakers extensively, the DXS18 features advanced protection circuits in the speaker unit, amplifier unit and power supply that ensure optimum reliability and extended equipment life. The enclosure is coated with LINE-X finish, also used in disaster protection applications, giving the speaker exterior added protection from the elements. The model also comes equipped with M20 and 35-millimeter pole sockets allowing for more flexible set up, while an optional wheel kit is also available for improved portability. Yamaha also offers optional speaker covers with a functional design that provide protection from unfavorable weather conditions during outdoor performances, dusty and dirty warehouse storage and the rigors of the road.

The DXS18 lists for $1,949 and will ship in October 2015. All the specs are here.

Requiring no license fees, the SMP 351 is a flexible, cost-effective media processor for delivering dynamic presentations to larger audiences. It is ideal for any environment where AV sources can be streamed live or recorded, and where multiple AV sources are combined to enhance a presentation. Organizations use the SMP 351 to communicate with staff or students who cannot be present at an event, affording all the opportunity to review and gain insight into the live experience. It can be adapted to many applications, documenting virtually any meeting, conference, or activity that uses AV sources. The SMP 351 is ideal for use in corporate, education, government, healthcare, courtroom, house of worship, and rental and staging applications.

Here are the details.

AT2020USBi features include:

• Condenser microphone with digital output
• A/D converter with 24-bit/96 kHz sampling rate
• Mic gain control allows you to adjust input level on the mic itself
• Designed for podcasting, home studio recording, field recording and voiceover use
• Compatible with Windows 8, Windows 7, Vista, XP, 2000, Mac OS X and iOS
• Tripod desk stand with folding legs for secure and easily portable tabletop use
• Included USB and Lightning cables provide ready connectivity to computers and iOS devices

AT2020USBi specifications:

• Frequency Response: 20 – 20,000 Hz
• Power Requirements: USB (5V DC); Lightning (3.3V DC)
• Bit Depth: 24 bit
• Sample Rate: Up to 96 kHz
• Output Connector: Micro-HDMI

The AT2020USBi lists for $199.00 and all the detailed specs are here.

The TLC Pro 521M can be customized using Extron GUI Designer software. This interface design software offers ready-to-use templates for a wide variety of rooms and presentation environments. It is configured using Extron Global Configurator Plus or Global Configurator Professional software. The TLC Pro 521M also integrates with Extron’s GlobalViewer Enterprise software for complete AV resource monitoring, management, and control over a computer network.

Here are the details.

The 300-series wireless access points feature dual-band steering and run both 2.4 and 5 GHz concurrently, auto-selecting between them for seamless performance. Routers use a 4-gigabit LAN and dual gigabit WAN , feature extensive VPN support, and also have an embedded firewall for wide-ranging network security, while our 300-series switches support full PoE and PoE+, and offer 1 Gbps on all ports simultaneously. 

Each device is also cloud-managed through our OvrC platform for easy remote maintenance or troubleshooting. “This is only step one of what we’d like to accomplish,” added Ereksousi. “What we want is to change the future of networking.”  

You can learn more about Araknis Networks and the Araknis product lines at SnapAV. 

LAB.GRUPPEN has announced that the new version of its Application Browser configuration software for the LUCIA range of compact power amplifiers is available for immediate download on its website. The free download is offered for both Mac OS and Windows and are accessible in the Support/Downloads section of the site or by using this link.

With the new software, all six LUCIA amplifiers — including the two new 70V models — can access the full set of matrixing and DSP features, some of which were previously restricted to the premium M-suffix models that offer additional inputs and line level outputs. The common harmonized feature set now includes custom EQ on inputs, custom EQ or preset recall for each discrete output, reconfigurable GPI ports, and LAB.GRUPPEN’s exclusive ADLC (Automatic Dynamic Loudness Contouring). Each model also offers matrix mixing of all inputs to all available outputs as determined by the model’s available hardware I/O capability.

For current LUCIA 120/2 users, the software release enables a major upgrade of DSP capabilities at no extra cost, as the new features are unlocked by the software/firmware upgrade.

Here is where you can get it.