Volume 11, Issue 1 — January 17, 2014
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Editorial Editorial Editorial Editorial Editorial Editorial Editorial
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Industry News TVs Projection Audio Lighting Control & Signal Processing Cables, Furniture, Mounts, Racks, Screens and Accessories
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Hey Crestron & AMX: Google Buys Nest for $3.2 Billion
By Gary Kayye rAVe Founder
The biggest news in electronics the week after the giant CES (Consumer Electronics Show) wasn’t even talked about at CES because it happened the very next day. Google puts up $3.2 Billion to buy Nest, the three year old company started by former Apple design guys Tony Fadell and Matt Rogers. Nest is best known as the manufacturer of the “Learning Thermostat” that’s connected via Wi-Fi to a network and saves the user money by “learning” how the homeowner or business keeps the HVAC temperature and automatically takes over after a few weeks of manual use.
Once Nest learns what the room temperature likes and dislikes are, the network-based thermostat actually monitors room occupancy (through motion and sound sensors) and outdoor temperature and humidity (through it’s connection to the internet and location-based connectivity) and makes the indoor temperature what you’d make it on your own. It not only saves money by auto-management of temperature, but also provides custom programming for the user via Wi-Fi, and phone apps so that it can be controlled and programmed at will. In addition, Nest automatically generates a usage report that’s emailed and available on-line to the user.
But, late last year, Nest also launched a network-connected smoke and carbon monoxide detector that also can be programmed and controlled the same way the HVAC controller can — and it can proactively notify the police and fire departments (as well as you).
Well, yesterday, Nest was given a $3.2 Billion offering from Google. Yes, $3.2 Billion.
So, who cares? Well, we all should — Google is now heading towards competing directly with AMX and Crestron.
And, that means that Apple and Microsoft are too.
Unless, of course, one of those three behemoths buys AMX or Crestron.
Short of that, be ready for some BIG-TIME competition in our market.
Nest, in three years, has done what AMX and Crestron simply haven’t been able to do in 20-some years — simplify control of something super-complex. They can say whatever they want, use any and every excuse in the book and swear by their version of simplicity, but it doesn’t come close to what Nest has done. Nest has Apple-fied the HVAC world.
And, don’t kid yourself that Google can’t aggregate control of TVs, security systems, content and rooms into a Nest-like interface. They can. And, if they want to, they will.
Like it or not, this is the way of the future.
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CES 2014 Takeaways – Image Quality Continues to Improve at Impressive Rate
By Chris Chinnock Display Central
The fact that image quality continues to improve is both expected and startling at the same time. We expect progress, but with image quality already quite good, one has to wonder how much better can it really get? The answer is a lot better and the pace of advancement may even be accelerating.
I might even go so far as to say we are on the verge of a major step change in the quality of images that are created, distributed and displayed in the home. The evidence is everywhere.
- The 24 frame movie paradigm is being challenged with higher frame rates, more and brighter pixels and ever improving 3D
- A mobile display pixel density war is underway to cram more pixels into a small screen
- Glasses-free 3D displays show improvements every year and may be getting close to acceptability for many applications
- A 4K/UHD feeding frenzy is unfolding to sell more of these TV sets
- Innovative curved displays are showing more immersive images
- Bendable displays are just starting to unleash creative juices for how these products can be used in new and innovative ways
- Body worn displays and devices are ushering in a new era of augmented realty and new ways to blend real world images with data and other information to enhance user experiences
- Advancements in compression, data transfer rates and standards are rapidly removing content sharing and distribution barriers
- Expanded color gamuts from LEDs, phosphors and lasers will come quickly
- Wider dynamic range from capture to display will create much more lifelike images in the near future
And I can go on and on.
But I want to emphasize this last point about wider dynamic range. Based on what I have seen and learned so far, this may have the biggest impact on improving image quality. In a recent Display Daily, there were more details about the Dolby Vision high dynamic range (HDR) solution along with a second article (Dolby Vision Promises Big Step Up in Image Quality) with more basic details. I saw one demonstration of this in the Vizio suite and plan to see more today and tomorrow.
Sony is demonstrating a version of this and another major player here is Technicolor. I visited with them yesterday and recorded a long video explanation of what they are doing, which will be posted next week. But the bottom line is — I was blown away by what they showed me.
They have a camera-to-display solution that is very compelling. First, they developed a method to acquire HDR content that leverages all of the 3D rigs in the market already. They simply use these rigs with one camera having a neutral density filter placed in front of it to capture images that are both under exposed and over exposed. These images are merged to extend the dynamic range of high end cameras from 12-14 stops to a full 20 stop of dynamic range.
This 16-bit data is then converted to floating point and separated into two components — a low resolution, mostly luminance image, and an 8-10 bit image that can be encoded with HEVC or AVC. These two elements, along with some metadata, can be put into a wrapper and distributed to the home. They showed a side by side comparison on their demo display with the original vs. the encoded/decoded version that showed only some minor compromises. This was done for a FHD image and was delivered at only 5 Mbps. Yes, you read that right — HDR images in FHD at 5 Mbps.
The display was equally incredible with 2,000 dynamically dimmable zones and a peak luminance of 4,000 nits. The images were simply stunning. There were night scenes with inky black and fireballs or fireworks with lots of pop. Outdoor scenes were even more impressive with the white of a sheet producing 4,000 nits that gives the image so much pop you just have to go WOW.
I am sure I will be equally impressed with the Dolby solutions. And — both the Dolby and Technicolor approaches expand the color gamut to try to meet the full BT 2020 color spec, which is well beyond rec. 709, sRGB, Adobe, etc.
This is clearly my highlight of CES so far and if these companies can bring HDR to full commercialization, it will take image quality to a much higher level. Leave a Comment
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WWE Changes Television
By Scott Tiner rAVe Columnist
One great thing about having young children is that they keep you on top of all the latest technology trends. My son, CJ (10) became a wrestling fan last year. Every Monday and Friday night he is glued to the television watching the latest episode. And the company is truly a marketing and entertainment genius. They understand demographics, history and BRAND better than almost any other company I have seen. I begrudgingly admit that on occasion I have been drawn into the shows and the characters.
On Jan. 8, 2014, WWE made what I believe will turn out to be a groundbreaking announcement: It introduced the WWE Network. Rather than a premium channel on your cable subscription, this channel will only be available via streaming. This service also differs when compared to other streaming services. As opposed to HuluPlus and Netflix, WWE will have live content on the channel. It differs from a stream service like MLB.com (which does have live content), in the sense that they will have 24/7 live streaming content. This will include reality television (with WWE legends), “pre-game” and “post-game” shows for their flagship programs RAW and SmackDown, and other original programming. Like HuluPlus and NetFlix they also plan on having a massive VOD library of all past pay per view events, along with “epic matches” from the past.
The biggest sell of the WWE Network is that it will include all the pay per view events. If you are not a WWE fan, that may not mean much to you. However, I am willing to bet that one way or another you have heard of WrestleMania, the company’s flagship pay-per-view event. It happens every March, and costs a minimum of $60. Each month has its own unique event (e.g., Summer Slam, Royal Rumble, etc.) and those pay-per-views run about $45 each. So, if you were a die hard fan and bought each pay-per-view, you would pay over $600 per year. WWE announced today that the cost of the WWE Network will be $9.95 per month. That is a total of about $120 per year. The CEO of WWE, Vince McMahon, is credited by many as being a founding father of the pay-per-view experience. For him to realize that model is not sustainable financially (it costs too much!), and it is not sustainable in how a new generation is watching “television” should be a wake up call to the rest of the industry.
I hope that readers of this blog recognize that I am not writing about how wonderful the WWE network is, or pushing wrestling as a form of entertainment. Rather, I am pointing out what I believe is truly one of the first major shifts in how we consume our entertainment. In fact, it is such a major shift, I don’t even know what to call the activity. When you watch this on your iPad, you are not “watching TV,” so what are you doing?
Whether you are an integrator, a designer or a end user, this is your future. I actually suggest that you sign up for the service for six months, if for no other reason than to experience what your customers will be asking you about in a matter of weeks.
What are your thoughts? Has WWE just shown us the future of “television?” Or, is this simply a ploy to enhance the pocketbooks of the McMahon family? If it is the future, what do we call it? I look forward to hearing from you. Leave a Comment
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User Interface Developments at CES 2014
By Phil Wright DisplayDaily
New product announcements and developments to be exhibited at this week’s Consumer Electronics Show (International CES, Las Vegas, Jan. 7-10, 2014) may point the way to novel and improved consumer product user interface designs and implementations. As CES 2014 unfolds, I will be following user interface advancements and how they interact with the emerging consumer electronics product field of wearables. After all, wearable consumer electronics products can offer an intimate form of user interface and, in the case of devices like Google’s Glass, reside literally on your face.
In analyzing the current status of wearable products like Glass, I am reminded of the lengthy incubation period of technologies from inception to widespread commercial acceptance. During my career as a technologist, I have been involved in research, development and commercialization of several technologies including semiconductor lasers (think, CD, DVD, Blu-ray optical players), optical communications devices and systems (think the Internet physical network) and portable consumer electronics (think mobile phones). A common thread in all my prior experience has been the approximately 30-year cycle that starts with the emergence of a new technology and is then followed by the years taken to develop and commercialize successful products and industries based on them.
In the user interface and wearable category, I think of the early efforts and ideas concerning near-eye, or virtual, displays as exemplified today by Google’s Glass. I began development efforts on virtual displays in 1993; just more than 20 years ago, the idea at that time was not new. In the 1990s, it could be envisioned that mobile computing products would evolve in such a way that eyeglass-form displays could be an important step toward implementing wearable consumer electronic products with high function, low weight and low power consumption.
However, unlike technologies like optical communications where glass fiber replaced copper in the network infrastructure behind the scenes, personal consumer electronic products that are wearable and on public view require consideration of fashion and social norms in addressing consumer acceptance and adoption. In 2013, as Google has shown with Glass, addressing these issues of fashion and social norms are an essential part of the lengthy cycle from technology emergence to potential commercial success of a wearable device. A recent Wired article entitled I, Glasshole: My Year with Google Glass, and the links in the article provide insightful views and opinions based on personal use and analysis of the device. As we launch into 2014, we can ask whether the coming years will see the acceptance and adoption of wearable consumer electronics products like Glass, and others like Misfit Wearables Shine.
Future wearable consumer electronics products and their user interfaces will call into question how we interact both with our technology and with each other. The latest thinking on wearables and their related commercial expression will be on display at CES 2014. The analysts of Insight Media will be at CES 2014 and will provide ongoing analysis of advancements in display, wearable and user interface technologies. Leave a Comment
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Dolby Reveals Details Behind Dolby Vision
By Chris Chinnock Display Central
As CES 2014 opened in Las Vegas, Dolby Laboratories, (San Francisco, Calif.) unveiled its new imaging technology called Dolby Vision. This camera to display solution allows for the presentation of higher brightness, wider color gamut and higher contrast images than are possible today (see related article). At CES, several demonstrations will be show with commercial products expected in 2014.
But there is a lot to this new vision of the future of television, so prior to CES we asked Roland Vlaicu, senior director, broadcast imaging, Dolby Laboratories, to answer some detailed questions. Below are his responses.
How will Dolby Vision work?
Dolby Vision is designed to augment the video fidelity of Ultra HD and HD video signals used in over-the-top online streaming, broadcast, and gaming applications by maintaining and reproducing the dynamic range and color gamut of the original signal as captured. The net result is that the viewer sees a paradigm-shifting viewing experience, richer and more natural. Dolby Vision offers more realistic, subtle distinctions in color, and brighter highlights while also delivering much more shadow details.
Are you actually transmitting more data or is it metadata encoded into the video for transmission and then decoded by the TV or media gateway?
We are using a dual-layer codec concept whereby the encoder takes in the Dolby Vision 12-bit (or more) signal and separates it into the base layer (defined as today’s 8-bit AVC for HD or 10-bit HEVC for UHD/4K) and into an enhancement layer that contains both metadata and the additional information needed to recreate the full Dolby Vision experience. This enhancement layer requires around 20 to 25 percent of incremental bandwidth on top of the base layer.
Is the Dolby Vision encode compatible with HEVC and AVC?
Dolby Vision is a “dual-codec” technology that uses the HEVC 10-bit base layer plus an 8-bit AVC enhancement layer or two 8-bit AVC encodes. With this approach, existing broadcast and encoder/decoder technology may easily adopt Dolby Vision while retaining backward compatibility. The additional two bits (10 vs. 12) make a big difference, especially if you are enhancing both color and dynamic range simultaneously as Dolby Vision does. The 2-bit difference can be observed in today’s content and display technology. As the industry adopts Dolby Vision from ground up and as display technology advances, we anticipate that the difference will be even more apparent.
What are the requirements for the decode in terms of processing power?
As we have developed Dolby Vision into chipsets with silicon vendors, we have focused on leveraging as much of the existing hardware blocks available on a chip as possible. The result is that Dolby Vision requires only a small incremental area on the chip in addition to leveraging existing components such as AVC and HEVC decoders.
Is a special chip needed or can the algorithm be implemented on GPU or CPU processors already in the TVs, or licensed into brand specific IC cores?
We are integrating Dolby Vision into the TV and STB SoCs currently under development for next generation products.
Provide more details on the color space enabled by Dolby Vision. Is it BT 2020 or something else?
Dolby Vision is supporting the BT.2020 color space in full. Alternatively, it can also be configured to support the XYZ color space if needed for certain applications.
What bit depth do you support?
Dolby Vision works with a minimum of 12 bit per pixel up to 16 bit per pixel as needed.
For the dynamic range part, what contrast levels and absolute light levels are supported?
Dolby developed an experimental display with a dynamic range from 0.005 cd/m2 (nits) to 20,000 cd/m2. We performed a series of subjective tests to determine viewer preferences using a mixture of images which included both very dark images and very bright images. The results of these tests led Dolby to conclude that the EDR Master Format should be capable of carrying content within the brightness range of 0 to 10,000 cd/m2.
For the TV makers, they will need a lot more LEDs. About how many more (%) are needed?
Actually, that’s not necessarily the case. The prototypes we are showing at CES are using existing TV designs with local dimming. While the master signal is graded to 4000 nits, we expect that initial TVs will perform in the area of 500-1000nits which is already a big improvement over conventional TVs. However, the peak brightness is not everything that defines the performance of a display or TV. Local contrast and color gamut are as important when it comes to delivering a compelling Dolby Vision experience.
Does Dolby Vision leverage the IP you bought regarding dynamic backlights?
While we believe that Dolby Vision performs best using a local-dimming display, the focus and value proposition of Dolby Vision is centered around content mastered at a higher quality along with the mechanisms to deliver it to receivers.
What is your business model — license to TV, media gateway and ecosystem partners with a per unit royalty?
Our business model for Dolby Vision is same as our business model for audio technology. Royalties are collected from system licensees.
Are you going to take this to the standards organizations?
Dolby Vision largely uses existing standards such as H.264 and HEVC for distribution. For the professional part of the ecosystem, there are elements we have developed that are currently going through standardization. Beyond that, we will continue to educate the industry around high dynamic range and extended color technology. Leave a Comment
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2014 – Let the Worldwide 4K Games Begin
By Norbert Hildebrand Display Central
During last year (Yes, it is already 2014!), high resolution (4K or UHD) TVs have become available in the market and prices have dropped faster than anyone expected. As a result, the sales volume has risen quite nicely and is running ahead of earlier expectations.
Of course it is not clear what is the cause and what the effect. Have the rising UHD TV sales caused the plummeting prices or was it the other way around? Anyway, IHS has released some early data on expected worldwide 2013 UHD TV shipments. According to their latest statement, the shipments in the third quarter of 2013 reached 1.2 million units. This number is expected to grow to 1.3 million units in the 4th quarter, bringing the total for UHD TV sets to over 3 million sets in 2013.
The January street prices of high end TVs as shown above indicates that UHD models are already closing the gap to the high end market segment in the 55″ to 65″ size range. While still more expansive than other high end and 3D models, the UHD is basically occupying the high end range of the consumer TV segment. With prices well below the $5,000 mark even for the 65″ size, pricing should not be the significant entry barrier. The same cannot be said for 55″ OLED and 84-85″ UHD TV models.
Another interesting aspect is the fact that the worldwide forecast differs quite strongly from the US forecast. As we saw with the 3D TV introduction, the U.S. market is not necessarily the driver for new TV technology anymore. When we compare the U.S. UHD TV forecast from IHS in July 2013 with these latest data we see that the U.S. market is basically not playing a significant role in the high end TV market.
This trend is also expected by NPD DisplaySearch, as can be seen in the following chart.
NPD DisplaySearch sees the UHD TV market in the first two years of its existence basically being dominated by China, with all other markets following at a slower adoption rate. This is a very interesting observation if it becomes a reality. Historically, developed markets have been the driver of new technology based on higher personal income and wider adoption of these technologies. This paradigm seems to be changing though.
Developing markets with much lower market penetration opt to buy higher end devices as a first device, rather than buying a one or two year old design at a lower price. A similar picture is being painted by an article about the TV market development in India. (Click to enlarge.)
The chart shows some key trends in the Indian market. They still see the U.S. market as the largest market, followed by China and then India. So far India was a very low cost TV market with a good market share for CRT models. It seems this is changing now. The upper and upper middle class in India have already shifted to Smart TVs, a transition that is still going on in the US market as well.
Another remarkable fact is the shift in India to worldwide brands such as LG, Sony, Samsung and Panasonic and away from local brands. This shift has already happened in Europe and the U.S. as well.
When we look at all this information we can expect that the world will act much more as a uniform market than it has been in the past. As a consequence, the market and product development can be driven from central locations rather than national hubs. If brands can lower R&D expenses and the number of SKU numbers with the release of worldwide models, technology development becomes a global rather than a national affair. This marks a significant shift in consumer electronics development, and one that will not reverse. Welcome to 2014 and the New World! Leave a Comment
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OLED and Plasma Commitments at CES for LGE, Samsung Focuses on UHD and Curved
By Paul Gagnon DisplaySearch
Along with my colleagues, I attended the LGE US press conference this morning to kick off our coverage of CES 2014. LGE has held the opening press conference at CES on Press Day for a number of years now, and the press corps was in full attendance. Other key unveilings were made by Samsung and Vizio.
While the range of products covered by LG was indeed vast as expected for such a broad-based consumer electronics company, we were focused on TV announcements. LG had a wide range of things to say on TV, notably confirming its commitment to two TV technologies that have been under a lot of scrutiny in recent years. First, LG will indeed field a line of five plasma TVs in the US for 2014, despite Panasonic exiting the category in late 2013. That’s a pretty narrow field of products, but will still be a meaningful business for 2014 according to LG. Of course, even with products announced for 2014, there is still room for a gradual ramp down in volume later in the year if demand stays on the current mid double-digit Y/Y declines in shipments.
Second, not only will LG continue to field OLED TVs in 2014, but it will expand the lineup from one to five models this year, three of which are 4K resolution. In our latest forecast, we reduced our expectation for OLED TVs in 2014 from 250,000 to 100,000 units globally, largely on the uncertainty about improvements to yield and possible delays in large scale manufacturing, both of which limit price competitiveness. In addition, we believed that lack of 4K resolution would hinder adoption as consumers were forced to choose between cheaper 4K LCD TVs and more expensive 1080p OLED TVs for high-end models. 4K OLED production seemed too challenging with acceptable yields near-term given the challenges in producing 1080p OLED.
With an expanded lineup of OLED TVs, including new sizes like 65”and 77”as well as both flat and curved form factors, none of those production concerns seem to be holding the company back from announcing products. LG even announced that the 77”curved 4K (UHD in their parlance) OLED TV would be shipping in June, though no pricing was announced. Let’s just hope the proclamations of impeding availability are not as premature as previous OLED TV announcements.
Why is LG pushing so hard on OLED now, when hyper-competitive 4K LCD pricing had caused a re-evaluation of the time frame for rollout of large-scale OLED TV manufacturing? It could be that LG has concluded that Samsung is more challenged on OLED investment, and sees an opportunity to differentiate. It could also be that LG is further along in its large-scale OLED manufacturing investment, already well underway with its 8G OLED factory. Indeed, a significant breakthrough in higher yields for even 4K models might have LG confident about competitive pricing, as some industry talk at the show suggested. Either way, it is interesting that there were no OLED TV announcements from Samsung today at its press conference.
Both Samsung and LG rolled out “world’s first” 105” curved LCD TVs with “5K” (5120 x 2160 pixels, 21:9 aspect ratio), and both unveiled demonstrations of “bendable” TVs — sets that can be changed from a flat to a curved surface by the user — Samsung with an 85” LCD and LG with a 77” OLED. Samsung was focused on expanding the intersection of 4K (they also use the term UHD, with sets from 50” through 110”) and curved TVs, rolling out curved 4K sets in 55”, 65” and 78.” Finally, Samsung asserted bragging rights for the largest UHD TV, at 110.” However, Vizio announced a 120” UHD set, part of its “Reference Series” which will also feature high dynamic range LED backlights, 10 bit color and high frame rates. Leave a Comment
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Crestron Joins AVnu Alliance AVnu Alliance, the industry consortium that certifies Audio Video Bridging (AVB) products for interoperability, added Crestron as a member this week. This is a significant addition for the Alliance.
Standing at 65 global members, AVnu Alliance is seeing accelerated momentum for AVB across a number of markets including professional A/V, automotive and residential with member companies working together to drive AVnu-certified devices. The AVnu Alliance is testing AVB-enabled networking devices at its appointed testing house, the University of New Hampshire InterOperability Laboratory (UNH-IOL) and has many products in the certification process. AVnu Certification is available to alliance member companies.
You can learn more about the AVnu Alliance here. Leave a Comment
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Draper Named America’s Healthiest WorkplaceCongratulations to Draper, which was named the healthiest workplace in the United States for 2014. Draper tops a list of 100 companies honored by Healthiest Employers LLC, a national organization dedicated to help improve the wellness of American workers.
“We are honored to receive this recognition,” says John Pidgeon, president of Draper. “We want to commend Draper’s Safety and Wellness Director, Linda Brinson, and the members of our Wellness Committee for their hard work, and all Draper employees and their family members who have supported this effort. We also want to recognize the Henry County Hospital, who staff the Draper employee health clinic and share the cost of an employee health coach with us.”
Draper Safety and Wellness Director Linda Brinson credits company management with the program’s success.
“Draper top management has given full support in all the various wellness initiatives we have offered, which is an important key for any company to have a successful wellness and safety plan,” she says. “I started at Draper as the Safety and Wellness Director seven years ago and we have gone from raising awareness to helping employees understand the stressors that drive them to unhealthy habits — and giving them tools to succeed.”
The Healthiest Workplace Award program is operated throughout the United States by Healthiest Employers LLC. Six areas of “workplace wellness” were considered by a group of independent judges: culture and leadership; foundational components; strategic planning; communication and marketing; programming and interventions; and reporting and analysis. The awards recognize employers who have comprehensively incorporated the most effective employee wellness programs and practices.
“This highly selective award recognizes employers who demonstrate exceptional leadership in using wellness as a strategy to drive workplace productivity, employee health, and community well-being,” according to Rod Reasen II, president of Healthiest Employers. “As these employers demonstrate, every organization has a path to the Healthiest 100, regardless of size, industry or geography.”
Read all about it here. Leave a Comment
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Peerless-AV Intros New 47″ Outdoor TVPeerless-AV launched a 47″ outdoor TV at CES last week dubbed the CL-47PLC68-OB. Offering native 1080p resolution, the outdoor TV can operate in severe temperatures ranging from -24 degrees Fahrenheit to 124 degrees Fahrenheit and features an IP65 rating, making it water and dust resistant.
Peerless-AV says the 47″ Outdoor TV is maintenance-free with no filters that need to be cleaned and/or replaced. It’s constructed of aluminum and uses safety glass.
The new display is LCD with 700 cd/m2 in brightness, a 1000:1 contrast ratio and both HDMI and VGA inputs. It’s scheduled to ship in mid-February.
All of Peerless-AV’s TV and display solutions are water and dust resistant and/or proof (dependent on the model), making them ideal for outdoor entertainment as well as digital signage and menu board operations, among other uses. Dependent on model, the TVs and displays range in size from 32″ to 55″.
The new HDTV isn’t on Peerless-AV’s website yet as it’s too new, but when it is, it will be here. Leave a Comment
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Wolf Cinema Launches Three New Home Theater ProjectorsWolf Cinema has just launched three new DLP based front projectors for home theater applications: the SDC-6, the SDC-20 and the SDC-25, an LED-based home theater projection system. All three new models are available immediately.
The 1920×1080 resolution SDC-6 is spec’d at 3,500 ANSI and includes the company’s ProScaler MK III outboard video processor. It’s also a short throw projector (1.5-1.8:1). The SDC-6 uses a 6,000-hour UHP lamp and offers vertical keystone correction, two HDMI inputs and 10-bit video processing.
The SDC-20 is a also native 1920×1080 projector but is spec’d at 5,000 lumens using a 3,500 hour UHP lamp. It too is packaged with an external scaler called the ProScaler MK II that adds six HDMI ports and two component video ports. Other features include an integrated 2.35:1 mode, horizontal and vertical keystone correction and a choice of three lenses from short throw to a long throw up to 2.89:1.
The company’s new SDC-25 LED-based projector is paired with Wolf’s ProScaler MK V. It includes two HDMI ports, a component video input and capability for both 3D and 2D projection. The SDC-25 is also a native 1080p projector that’s spec’d at 1,000 lumens, with a lamp life of over 20,000 hours.
All the specs are here. Leave a Comment
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Pass Labs Intros New Mono and Two-Channel X.8 Series AmplifiersPass Laboratories just launched the X.8 (aka Point.8) Amplifier Series, which consists of five Class A amplifiers and four Class AB amplifiers, four two-channel and five monoblock models. The two-channel amps include the X150.8, the X250.8, the X350.8 and the XA30.8. The mono models include the X600.8, the XA60.8, the XA100.8, the XA160.8 and the XA200.8. Their per-channel power ratings range from 30 for the two-channel XA30.8 to 600 for the single-channel X600.8.
Based on the design of the Pass Labs’ X.5 Series amplifiers from 2006, the output stages of the larger Point.8 Series have been designed to bias more deeply into the Class-A operating region. They feature large push-pull Class-A operating envelopes for low distortion and good loudspeaker control at ordinary listening levels.
Pass Labs claims it successfully increased the amplifiers’ Class-A operation by employing higher power Toshiba MOSFETs (metal-oxide semiconductor field-effect transistors) than in its earlier amps. The X250.8 and XA100.8 amplifiers each use 56, while the X350.8, X600.8, XA160.8 and XA200.8 models each use 72. The power supplies are also larger than those of earlier amplifiers. The X150.8, X250.8, XA30.8, XA60.8, XA100.8, X350.8 and X600.8 models have a third more storage capacitance as well as new CRC (capacitor-resistor-capacitor) filtering to round out the edges of the supply ripple.
The smaller Point.8 models — the X150.8, the X250.8, the XA30.8, the XA60.8 and the XA100.8 — also feature new and larger heat sinks, an upgrade that lowers distortion and dissipates the energy of the larger bias currents.
You can see the entire line here. Leave a Comment
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Peerless-AV Launches PeerSound Rack Mount Wireless Audio Transmission System with Remote Antenna Peerless-AV’s new PeerSound Wireless Audio System (ADS100-B) is a rack-mountable wireless audio transmission system with a remote antenna that can send up to eight channels of audio wirelessly to receivers/speakers up to 140+ feet away. In addition, PeerSound’s remote antenna capability allows installers to move the antenna up to 10 feet away from structures that reduce Wi-Fi performance, such as steel.
Peerless-AV says the PeerSound system is aimed at distributed audio in existing homes (vs. new builds) as the in-wall or on-wall amplifier allows for installations and hidden wires, even when cutting drywall isn’t an option. And, unlike many other solutions available, PeerSound interfaces with any audio component for source or speaker, to allow customers the freedom to use the brands and equipment they are used to. Additionally, PeerSound creates its own wireless network so it does not affect any existing wireless data network service.
The system uses a self-contained 120/240V power supply and UL 2043 plenum rated amplifier. When details are available, they will be posted here. Leave a Comment
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Meridian Intros Digital LoudspeakersMeridian’s newest line, dubbed the DSP8000 SE, DSP7200 SE and DSP5200 SE, are part of a family of three new Digital Signal Processing (DSP) digital active loudspeakers. These speakers feature a beryllium-domed tweeter, new electronics and driver clamp rings (all drive units clamped with machined rings to provide enhanced mechanical stability). The new DSP including Meridian’s unique EBA (Enhanced Bass Alignment) technology to provide what Meridian claims is fast, clean bass and an open transparent sound-stage.
These are brand new and were launched at CES this morning in Las Vegas, so few performance specifications are available. All that Meridian has about them is here. Leave a Comment
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Ocean Way Audio Introduces $48,000 Montecito Loudspeaker at CES 2014At CES 2014, Ocean Way Audio is introducing its Montecito reference loudspeaker system, marketed as the next step forward for the company’s acclaimed AS1 loudspeaker. The three-way Montecito uses a 1-inch aluminum dome tweeter with an aluminum voice coil that is encased in ferrofluid, which Ocean Way claims yields increased power handling capability and dampens resonances in the dome for smooth. The tweeter is coupled to a solid hardwood waveguide for wide dispersion and a claim of smooth tonal balance over a wider listening area, along with higher efficiency.
The Montecito uses a 10-inch Polymer coated cone cast-frame midbass driver with a 1-1/2-inch aluminum voice coil and dual 12-inch aluminum cone woofers with 2-1/2-inch aluminum voice coils that are capable of over one inch of excursion. The tweeter and midrange drivers’ voice coils are physically aligned to provide symmetrical as well as linear time alignment.
The speaker’s on- and off-axis dispersion allows listeners to move around the room and hear the same sound in any listening location. According to Ocean Way, the Montecito utilizes an extremely high-quality passive crossover with hand-matched components and is available in matched pairs that are typically within plus or minus 0.5dB of each other and provide a frequency response from 30Hz to 24kHz plus or minus 1.5dB. Two sets of speaker terminals enable bi-wiring or bi-amping if desired. The Montecito’s enclosure is constructed from laminated birch plywood and other high-density woods selected to eliminate colorations that might be caused by unwanted internal resonances. Each cabinet is finished with select mahogany and spruce with intricate inlays on the edges of the 45-degree-angled front corners. The cabinets then receive an 18-coat polyester finish.
The Ocean Way Audio Montecito is offered in a choice of real-wood finishes and lists for $48,000 per pair — yes, you read that right — 48K! So, it’s this or a M5 from BMW — you pick! Here are all the specs. Leave a Comment
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THIEL Launches TM3 Bookshelf Loudspeaker at CES THIEL Audio announced at CES this week the introduction of the TM3 two-way bookshelf loudspeaker. THIEL says the TM3 offers a reimagined industrial design that emphasizes what it labels as “modern lines.”
Priced at $2,999 per pair, the TM3 is packaged in a multi-ply wood enclosure. The two-way design utilizes a 6.5-inch cast basket woofer and 1-inch tweeter.
The specs are:
- Design: 2-Way Bass Reflex
- Bandwidth: 45Hz to 30 KHz
- Sensitivity: (2.83v At 1m) 87db
- Driver Compliment:1” (25 mm) metal dome tweeter 6.5” (16.5 cm) cast basket woofer with fiberglass cone
- Nominal Impedance: 8 ohms
- Minimum Impedance: 3.5 ohms
- H x W x D: 16” x 9.5” x 8.7” / 41cm x 24cm x 22cm
- Projected weight: 20 lbs. / 9 kgs
When these speakers are on the THIEL website, they will be here. Leave a Comment
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FX Luminaire Introduces Luxor Wireless Lighting ControlFX Luminaire has launched a new Wi-Fi based lighting system called Luxor. Controllable from a smartphone or tablet, Luxor is app-based and and can even manage zoning and dimming on-the-fly adjustments.
The Luxor Wi-Fi wireless lighting control system consists of three parts: a Wi-Fi Module that links Luxor ZD controllers to iOS and Android smartphones and tablets using the Luxor Wi-Fi App, the Light Assignment Module (LAM) which allows smartphone or tablet group assignment of every fixture attached to a Luxor ZD system, and a new indoor facepack mount that allows the Luxor ZD facepack to be remotely mounted inside a home or garage.
All three parts of the Luxor system are available starting in February. Here are all the details. Leave a Comment
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SAVANT Wi-Fi Universal Remote Control Now Shipping Savant Systems is now shipping its new Wi-Fi-based Savant Universal Remote (SUR-0500), originally unveiled at CEDIA Expo 2013. The $399 controls distributed audio, lighting, climate control and other features within a home or small commercial setting. Savant claims that the new Universal Remote is self-configuring once connected to the network. The Savant Universal Remote supports a menu of screens for controlling services throughout the home or workplace, and because it utilizes Wi-Fi connectivity, users can control devices without pointing or aiming — no direct line of sight is required.
The Savant Universal Remote features a 1.7-inch color display and back-lit buttons and features a customizable color display with hard buttons for macro-functions. The Savant Universal Remote is capable of two-way Wi-Fi communication as well as these features:
- Bright, back-lit keypad buttons for easy use in any lighting conditions
- Thirty-five assignable/programmable buttons with common navigation and transport buttons
- Intuitive layout of keypad buttons for commonly used functions
- Ergonomic design permits effortless one-handed operation
- Two-way feedback from compatible devices using Wi-Fi and Savant Solutions
- Customizable and programmable
- Extremely wide Wi-Fi transmission frequency range
- Field upgradeable firmware
- Customization is quick and efficient using RacePoint Blueprint design tool
Here are all the details. Leave a Comment
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Gefen Claims New Wireless HDMI 60 GHz Extender Delivers Uncompressed 1080pGefen’s new Wireless for HDMI 60 GHz is designed for any in-room transmission of high quality, 1080p full HD video up to 33 feet (10 meters). It claims to deliver 3D TV and all audio formats — including the new lossless High Bit Rate (HBR) 7.1 channel Dolby True-HD and DTS-HD Master Audio — uncompressed through the air (wirelessly).
This extender uses the WirelessHD specification, which is based on the 60 GHz EHF (Extremely High Frequency) radio band. This high quality method of extension eliminates the need to run cables, making it a great solution for retrofits or any environment that wants to streamline cabling. According to Gefen, due to its in-room transmission and use of the uncluttered 60 GHz frequency band, this extender can perform seamlessly alongside other wireless devices in adjacent rooms with zero interference.
Here are all the specs. Leave a Comment
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IOGear Launches GWHDMS52 Wireless 5×2 HDMI Matrix IOGear has just announced a 5×2 wireless HDMI matrix switcher that lists for $700 and which the company claims is able to send up to five different HDMI sources to up to two HDTVs (wirelessly) to two different TVs (using its HDMI wireless receiver). IOGear also says that this is all done wirelessly and uncompressed, using 5GHz WHDI technology with a delay of less than 1 ms.
Capable of handling resolutions up to 1080p (60fps), the IOGear GWHDMS52 is basically three boxes — a 5×1 input HDMI switcher that includes two integrated wireless WHDI transmitters. The wireless signal is intercepted via the two receivers that are included with the transmitter. Both receivers have a source selection button with an HDMI output and a USB port for a keyboard, in case you’re using it to remotely locate a computer or a set-top box with a keyboard. Other features include:
- HDCP 2.0 compliance
- Built-in Infrared (IR) pass-through with two IR blaster cables
- 1080p
- 3D content
- 5.1 channel digital audio
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Sanus Launches iPad Air StandSanus is debuting at CES a new mount built specifically for the iPad Air — the Sanus 4-in-1 iPad Air Stand (VTM21). This mount helps keep an iPad secure and in whatever view you need it. It can be used on flat surfaces as a stand, mounted underneath cabinets or on walls, or attached magnetically to most metal surfaces.
The “MagFit” case is specially built to fit iPad Air, while the pivoting connector allows for fluid movement and full range of motion for viewing at any angle or position. A neodymnium magnet is on the back to secure the case to the 360 degree pivoting arm of the mount, or any other metallic surfaces. Sanus says the case is made of a durable polycarbonate material that provides protection without adding a lot of weight. The mount also offers tilt and swivel features, allowing users to change the iPad from portrait to landscape, and vice versa.
Here are the specs. Leave a Comment
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Extron XTP DTP 24 Twisted Pair Cable Receives HDBaseT RecommendationExtron’s new XTP DTP 24 Shielded Twisted Pair Cable has been independently tested in an HDBaseT Alliance Recognized Testing Facility and verified to exceed performance requirements for recommendation by the Alliance. The HDBaseT Alliance’s Cable Recommendation Program helps AV installers to select cables that are engineered for optimum signal transmission within a twisted pair infrastructure. Extron XTP DTP 24 cable is specifically engineered to improve performance and signal path reliability with Extron XTP Systems, DTP Systems, and HDBaseT applications. The cable is available in both plenum and non-plenum versions, and is certified to 475 MHz bandwidth at distances up to 330 feet (100 meters).
Extron XTP DTP 24 cable is performance-optimized, 24 AWG shielded twisted pair cable specifically engineered to Extron’s exacting standards of performance. The cable utilizes an SF/UTP Shielded Foil/Unshielded Twisted Pair design for superior performance in digital video and audio distribution system applications and features 24 AWG solid copper conductors within overall braid and foil shields. Both non-plenum and plenum-rated versions are available in spools of 1,000 feet (305 meters). To ensure end-to-end cable infrastructure performance, a line of matching shielded RJ-45 plugs, punch down jacks and couplers is also available.
The HDBaseT Alliance details are here. Extron’s cable is here. Leave a Comment
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Maybe Painting a Screen is Good Enough?You’ve probably heard of Goo Systems, the company that makes a paint that becomes a projection screen surface. But did you know that they have over 20 shades for different environments and applications, including retails digital signage?
Now the company has launched a machine, called Goo Toob, that actually paints a coated Reference White and High Contrast Screen Goo paint in sizes up to 118 inches diagonal. More, larger sizes are set to launch in 2014. Goo Systems has also just launched a line of pigments of more reflective versions of its matte Screen Goo coatings, which is called +20.
Here are all the details. Leave a Comment
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Crestron Intros New Power Supply for Motorized ShadesCrestron announced this week the launch of its new “intelligent power supply” (CSA-PWS10S-HUB), which can power up to ten Crestron shade motors of any kind, each with its own replaceable fuse. The built-in integrated five-segment Cresnet hub provides an isolated control network for each pair of shades, therefore limiting the impact of any wiring faults. The CSA-PWS10S-HUB replaces all current Crestron multi-shade power supplies.
According to Crestron, no other shade power supply offers such robust built-in diagnostics, enabling integrators to:
- Automatically shut down the branch with the fault
- Identify wiring issues such as shorts and crossed connections quickly and easily without a multi-meter
- Trigger program events based on problems detected by the power supply (e.g., notices on touch screens and emails to service department).
A master raise/lower pushbuttons on the supply housing make it simple to test for proper shade operation prior to system commissioning — without the need for a connected control system or computer.
The power supply ships ready to mount on the wall. It’s also available in a pre-assembled, UL listed bundle with a 1×1 CAEN enclosure (CSA-PWS10S-HUB-CAEN-1X1) that can be surface or recess mounted.
Here are all the details. Leave a Comment
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For all you REGULAR readers of rAVe HomeAV 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% opinionated. We not only report the news and new product stories of the high-end HomeAV 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.
rAVe HomeAV Edition, co-published with CEDIA, launched in February, 2004.
To read more about my background, our team, and what we do, go to https://www.ravepubs.com Back to Top |
Copyright 2013 – rAVe [Publications] – 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 HomeAV Edition contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. |
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