Volume 14, Issue 21 — November 3, 2016
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Editorial Editorial Editorial
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Industry News Projection Digital Signage Unified Collaborative Conferencing Audio Control & Signal Processing Media Players, Recording & Distribution Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories
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4K, Holography and Why Terminology Matters
By Mark Coxon rAVe Blogger
I admit it.
I’ve been trolled.
Typically when someone trolls you for a response on social media it means it’s time to take a deep breath and just move on. Convincing someone you don’t know to move away from a point of view they already hold rarely if never happens. It’s a futile effort. But in this case, I’m not only responding, I’m writing a whole blog about it. Go figure.
The other day I saw a post on Twitter touting a new “holographic” display the BBC was developing to change the future of television! Of course, I was intrigued and I clicked. I took the bait.
The video showed an inverted mylar mirrored pyramid sitting atop an LCD screen with four images displayed on it, creating a volumetric display with an image composed of four separate reflections. Don’t get me wrong, I’ve always liked volumetric displays. They have been around a long time and I think they have some really cool applications for retail or modeling and visualization. They are an extension of the old Pepper’s ghost theater trick, where an angled piece of glass in front of the stage reflects the image of an actor illuminated in the orchestra pit below, magically creating a “ghost” on the stage itself.
However, the future of TV? Probably not. Volumetrics are good at depicting a single subject in a quadriscopic reflected illusion. They are also typically relatively small.
If you wanted to insert those images into a setting you would need another screen at the rear of the volumetric playing the background video while the “holographic” subjects moved in front of it.
So lets take that to it’s logical solution for a TV. Even if you wanted to replicate what is now a small TV in a home, let’s say 40″ we have major problems. Take a look at the diagram below:
As you can see, to create an image equivalent to that on a 40″ TV, you’d need a pyramid that can encompass that screen. Then you’d need a base display about 2.3 times wider than that in the horizontal position below the pyramid to play the content for reflections. If you want background images behind the subject, you’d need a secondary 40″ diagonal display at the back of the unit as well. Then you’d need a cable box or PC outputting two streams, one for the subject in the pyramid, and a second for the 2D background display.
The result is a wholly new high bandwidth source box with dual outputs feeding an 82″x82″ display in the horizontal and a 40″ display in the vertical that takes up about 46 square feet in your living room…
I can say with certainty that this is NOT the future of TV.
Would it be amazing in an innovation center, a corporate lobby, a museum or even a theme park? Absolutely!
Now, despite the feasibility issues listed above, I have a much larger problem with this whole thing. It’s the use of the term “hologram,” as this is not holography in the first place, even is it is “holographish.” For anyone who follows my writing you may remember me taking exception to the use of the term 4K to describe UHD displays, or if you go back even farther, to me ranting about the misuse of the term automation as well. You may even have thought: “Wow! Mark is really crazy about terminology. Isn’t it close enough?”
The answer is no. Terms mean something, and using them improperly can actually devalue the services that we provide. We can’t get lazy and call technologies by names that don’t apply to them just to try to capitalize on them.
A great example of how the AV industry has devalued products and services through the lax use of terminology can be found in an award-winning talk given by Simon Dudley when he was at Lifesize. He correctly asserts that we did ourselves a disservice as an industry by calling everything from a fully equipped $500,000 telepresence room to a Skype call on a Chromebook “videoconferencing.” They are all most certainly that at the core, but the differences in performance are so great, that lumping them all together into one term brings them down to a lowest common denominator and causes consumers to use the lowest price as an anchor for the price they expect to pay. He makes the analogy that it would be like the car industry calling everything from a skateboard, to a go cart, to a car a “four-wheeled personal transportation device.”
The point is that terms matter. They differentiate technologies from one another and maintain the value and integrity of superior products and services. If we call everything from a Pepper’s ghost to a volumetric a “hologram,” then when true laser holography in open air becomes a reality, no one will listen and it will be harder to sell it.
As professionals, we should embrace the terminology that correctly identifies the technology at hand, and not piggyback off of existing buzzwords leveraging them to create more consumer interest. It may be good for short term sales, but it is bad for long term viability, for profitability of technology over its life cycle and for our reputations as technology professionals. Leave a Comment
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The HD and 4K Video Storage Issue Facing Churches
By Anthony Coppedge House of Worship Technology Consultant
It is incredible to consider that less than 100 years ago, the original video signals had about 210 lines of resolution, evolving to 512 lines in 1952 with the advent of color television, to the eventual jump to 1920×1080 (pixels instead of lines) for High Definition (HD) video. It’s now possible to get 4K resolution in the consumer market with the promise of 8K coming in 2017. These increases have been amplified by the consumer market, which has dominated the content creation of high-resolution content for television, film and digital media. The trend has followed along in the commercial markets, too, not the least of which is seen each weekend in the over 300,000 churches in the U.S. alone.
As the House of Worship market happily adopts the advances in video, the unforeseen challenge is the HD and 4K video storage issue facing churches. Now that they can capture content at HD and 4K, where and how are they going to store, archive and manage all of that massive data files? It’s all happened so quickly (relatively speaking), that there’s not been much thought by the vast majority of churches on these pending challenges.
Historically, the very largest churches with decades of experience in broadcast television have been the only ones with the experience in archival and long-term storage of media. I hail from this generation and remember the climate-controlled archival rooms that held rows upon rows of 1″ tape, 3/4 U-Matic, Betacam SP, Digital Betacam, P2, etc. where these physical recording tapes held archival content. These churches only represent a tiny, fractional percentage of the entire market, so their experience is largely unknown by 20- and 30-something aspiring content producers in young, growing churches.
What the broadcast experienced churches know is that it’s one thing to store content; it’s quite another to catalog, manage, and access archival content.
LTO (Linear Tape-Open) has been around for a while and has been used in larger media-rich environments, but in the house of worship market, the typical solution is to use hard drives or tape/solid state storage (Sony’s XDCAM HD and Panasonic’s P2 HD formats are typical for medium to large churches). And to share those files? iCloud, Google Drive, and Dropbox prevail. Not exactly great short or long-term solutions, but at least they are in the Cloud, so it’s a simple (but inefficient) short-term fix.
To give some perspective on the ginormous file sizes we’re talking about, at 4K uncompressed the storage needs will exceed 2.3 TB for one hour of recording — common for the length of many church services being recorded. Heck, even ProRes422 requires over 400 gigabytes of storage for that same hour. Houston, we have a storage problem. Inexact math, sure, but it’s close enough to paint the eye-opening picture of massive file sizes. And that’s not accounting for multi-camera recordings used in editing. These file sizes quickly become stupefying.
It’s not crazy to consider that the general 10:1 rule for raw content to produced content would apply, meaning 23 TB for 10 hours of content from a multi-camera shoot could be edited down to a one-hour church service – every single week. And that’s only church services and doesn’t include the many man-hours spent capturing video content for testimonials, missionary stories, events and even church announcements.
Hyped for years and now a reality is the new optical Archival Disc, jointly developed by Sony and Panasonic, with a promised 100-year shelf life for managing long-term archives. I chatted with Sony’s marketing manager for Optical Disc Archive Systems (ODS), Ellen Heine, and Sony’s Faith Market manager, Craig Harper, to get the latest data about this new format.
“When you look at storage, you want it to be accessible and quickly identifiable,” shares Heine, “and pure file storage on a hard drive won’t give you that.” To her point, the need to store the captured video content is a good starting point, but all of the project files and even an export of the video editing project is helpful to save hours of time for future editing needs. It’s one thing to keep a shelf full of hard drives with Post-It notes, but it’s quite another to organize relevant media files together.
Additionally, most churches won’t have the archive rooms described above and the risk of damage to a hard drive is higher than that of a dust- and water-tolerant media like ODS. An interesting example of this scenario is Lake Point Church in Rockwall, Texas, which archives to an ODS disc that sits on a shelf. It’s an easy first step towards a robust long-term storage solution. It’s also budget-friendly, as a $6k drive is an affordable starting point. Surprisingly, the cost per disk is only about 4 cents per Gigabyte for the new Generation 2 Optical Disc Archive media!
With only one church (to date) running a 4K end-to-end video system in the U.S. (possibly in the World), the 4K content being captured today by church producers for field production could benefit quickly from ODS as not only a long-term archival format, but as a near-term solution for the acquisition side of the workflow. When a video shoot is complete, producers can offload camera storage directly to ODS, instantly freeing up camera storage for the next field production shoot. “ODS is a time-saver,” opines Harper, “both for accessing the large files associated with HD and 4K as well as the storage retrieval for future editing.”
And those large churches using long-term tape storage? “If you’re using LTO (Linear Tape Open), every 3 years you’re replacing the tape and the drives. With ODS, you’re not forced into media migration, which is a very budget-friendly option for churches not used to the broadcast media demands.”
The workflow can be as varied as you need it to be because ODS Is essentially the reliable storage at the end of the workflow. For example, if in a shared storage environment for online editing, you’ll need a way to purge that storage before it is full. The nice thing about having the archive on optical disc is that it’s readily available and can be accessed right off of the disk when needed as a near-line device.
Of course, this begs the question of Cloud-based storage: is it a viable option? The answer is yes, but with qualifiers. In all scenarios, an archival and indexing system is required; these are available from a number of vendors including XenData, SquareBox, Pre-Roll Post and many others. The key is accessibility and transfer speed; on-premise ODS is a robust, easily accessible solution, while Cloud is limited by connectivity. Arguably, the Cloud is anywhere/anytime access, so the real question churches will need to ask is how often and to what extent do they need to access their archival content and project files. Sony even has a Cloud service, Ci, designed to address this need.
The future for high-resolution church services is large; large file sizes, large storage needs and large sales opportunities for systems integrators and manufacturers alike.
What say you? How do you see the HOW market adopting long term media storage? Comment below. Leave a Comment
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dnp Is Simply Dominating Ambient Light Rejection Screen Sales – And They Will Keep Growing (or Be Purchased Soon)
By Gary Kayye rAVe Founder
Although there are other ambient light rejection screens out there, the dnp brand and line, by our analysis, seems to be the dominating screen for that application — with over 68 percent of the installs. This carries over to both rear-screens and front-screens.
dnp arguably invented that category of screen technology. So, how does an ambient light rejection screen work? Watch this video.
As projectors have gotten brighter and brighter, lights are being left on in the room. Ten years ago, yes, an ambient light rejection screen would have helped, but wasn’t required as most projection applications were in the dark — or, at least, in dimly lit rooms.
But now that projectors are regularly being integrated with 3000+ ANSI lumens, the lights are being left on — so students, meeting attendees and presenters aren’t in the dark. So, that created the need for the ability to “reject” or throw away (aka: absorb) the room lights. This is EXACTLY what dnp invented.
This company is going to keep getting bigger and bigger. And, I am shocked that someone like Da-Lite, Stewart or Draper hasn’t purchased them. Instead, a screen or two is being OEM’ed from them and branded under their US-counterparts. But look for that to change.
dnp is ripe for an acquisition and I wouldn’t be surprised if Milestone AV or even Peerless-AV hasn’t already made an offer. Plus, dnp is run by some amazing people — something you can’t always say is true in an acquisition. The dnp team is highly technical, focused and understand the value of a screen company sis highly service-based. Screens aren’t one-size-fits-all any longer.
Want to learn about dnp? Go here. And, if you want to understand the technology even more, go here. Leave a Comment
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DSE Opens RegistrationDSE 2017, which will be at the Las Vegas Convention Center March 28-31 (exhibit hall open March 29-30) will offer more than 125 educational opportunities, including 10 pre- and post-show events, eight industry-specific keynotes, 34 general conference sessions, 28 free on-floor workshops, 42 industry vertical roundtable discussion groups, “Brainstorming” meet-ups for individual end-user sectors, and a program of study to ensure certification renewal in cooperation with the Digital Signage Experts Group.
New this year are the industry-specific keynotes and two special sessions for manufacturers/exhibitors. All sessions include relevant topics vetted by both the DSE Advisory Board and Educational Oversight Committees comprised of volunteers whose expertise and experience helped shape the 2017 curriculum.
The general conference is comprised of eight tracks including:
- Digital Signage Fundamentals
- Professional AV/IT Systems Integrators
- Digital Out-of-Home Network Operators
- Retail
- Restaurants
- Corporate Communications
- Higher Education
- All Other End User Industry Verticals
NOTE: Halloween Registration Special: For one week only from 10/31 to midnight 11/4 (EDT) attendees can register using the code DSEBOO for a one-time 20 percent off the purchase of any conference package. Leave a Comment
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ISE 2017 Will See Over 130 New Companies Exhibiting With over three months to go before it opens its doors Integrated Systems Europe 2017 has been confirmed as the biggest exhibition in the event’s 14-year history following an increase in show-floor space, exhibitors and halls.
A true indication of the event’s international pulling power is the fact that ISE 2017 will see 135 first time exhibitors making their debut at the show. This confirms ISE as the destination of choice for companies looking to build their profile and business opportunities in the AV marketplace. In total, ISE 2017 will feature over 3,000 square metres of additional show-floor exhibition space compared to ISE 2016.
Integrated Systems Events Managing Director, Mike Blackman commented: “Making sure that we can feature all of the world’s leading AV vendors and service providers has always been a priority for us in delivering value for ISE attendees. With the expansion of the show I am delighted that we are able take the attendee and exhibitor experience to the next level for our 2017 event.”
The 2017 edition will not only be the largest but also the most compelling show produced so far. A Closing Keynote featuring Cirque du Soleil’s CEO Daniel Lamarre, the largest ISE educational programme so far produced by CEDIA and InfoComm International plus five Show Floor Theatres all point towards a rich and vibrant four-day event.
To help cope with the show’s continued year-on-year growth the RAI Amsterdam will be introducing an additional hall and pavilion, a new hall numbering system and increased car parking facilities. The new hall, named Hall 9, will be able to be accessed via Halls 8, 10 and 11. A new Pavilion will be erected at the Congress Square providing an additional 1,500 net square meters of exhibitor floor space. It will connect with the Exhibitor Foyer, Diamond Lounge and Auditorium. The combined area will now be known as Hall 14.
Blackman continued: “We will be able to provide more space for exhibitors and create a richer experience for attendees over the four days of the show. As ISE evolves and grows it’s great news that our venue partner is working with us to take the show forward.”
Furthermore, a total of 940 additional parking spaces have been created to meet the expected increase in attendee demand.
The introduction of the new areas means that some ‘traditional’ halls and areas within the RAI Amsterdam will be renumbered. These are as follows:
Other updates at ISE 2017 will include the introduction of a new Smart Building Theatre into the new Hall 9 and a focus on Education Technology in Hall 13.
The next Integrated Systems Europe will take place from 7-10 February 2017. You can register here (and use our free company invitation code: 250332). Leave a Comment
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NEC Europe Launches Another WUXGA Native But 4K-Capable, Laser Installation Projector NEC Display Solutions Europe today launched the PX1004UL laser phosphor projector. Offering maintenance-free operation for up to 20,000 hours and spec’d at up to 10,000 ANSI lumens brightness, the PX1004UL completes NEC’s Solid State Light (SSL) source line-up of projectors with 5,000, 6,000, 8,000, 10,000 and 12,000 ANSI lumens.
Using Digital Light Processing (DLP) technology and native WUXGA resolution (1920 x 1200), the projector has the capability to process 4K input signals – but converts them to WUXGA. In addition, the laser projector utilizes a filter-less design technology and is essentially dust proof, removing the need for filter cleaning or replacement. These features combined with low overall power consumption provide exceptional reliability and virtually zero maintenance. The PX1004UL projector is therefore an attractive option in scenarios where total cost of ownership is crucial and maintenance access is limited.
The projector offers easy and flexible installation options with support for third party lenses. This enables the PX1004UL to be used as a drop-in replacement without any reprogramming. The free landscape and portrait orientation function of the projector makes it suitable for use at any angle, while the geometric control function makes the projector perfect for projection onto curved surfaces. Furthermore, the projector supports automatic camera-based stacking and blending. This gives users quick and easy multi-screen setup capabilities, plus support for large presentation pictures.
Go here for all the detailed specs. Leave a Comment
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Epson Debuts New PowerLite 2000-Series Portable ProjectorsEpson today announced the new Epson PowerLite 2000-Series. The series features nine projectors that are designed for business meetings, large boardrooms, lecture halls, classrooms, and houses of worship. The PowerLite 2000-Series includes up to 5,500 lumens of color brightness and 5,500 lumens of white brightness, in addition to full HD 1080p support and comes equipped with built-in enterprise level Wi-Fi security, and features a full interface for multiple connections and installation flexibility.
The PowerLite 2000-Series leverages HDMI connectivity but also includes USB ports for images from a USB drive stored as PDF, JPEG, BMP, GIF, or PNG files without having to connect to a PC. In addition, leveraging a wireless LAN module, the PowerLite 2000-Series projectors offer security features such as WEP, WPA-PSK, WPA-EAP, WPA2-EAP wireless encryption to help prevent information leakage in an enterprise environment.
The series also features Faroudja DCDi Cinema video enhancement technology delivering exceptional image quality without introducing artifacts. In addition, the DICOM Simulation Mode (Digital Imaging and Communications in Medicine) provides the ability to reproduce images with an advanced grayscale level that simulates DICOM Part 14, designed for viewing grayscale medical images, such as X-rays, for training and educational environments. Wireless screen mirroring with Miracast allows PowerLite 2000-Series users to stream Full HD movies, videos, photos, and music from a smartphone, tablet, laptop or PC directly to the projector.
The flagship models – PowerLite 2265U and PowerLite 2165W – include HDBaseT connectivity for easy installation, in addition to support for Multi-PC projection, which allows up to four individual PC screens to be displayed simultaneously over the network with up to 32 connected to the same projector. The projectors include Screen Fit, an auto-sensing feature that adjusts the image size to fit within a frame, whether it’s a screen or a board, with the push of a button. The PowerLite 2265U and PowerLite 2165W projectors can be used with the Epson iProjection App to display content from an iOS or Android mobile devices with wireless or network capabilities4.
Here are all the specs.
The different models can be compared here:
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Hitachi Introduces CP-X25LWN XGA Projector Aimed at Schools
Hitachi America has announced the immediate availability of the CP-X25LWN, a 3LCD projector aimed at classrooms and conference rooms. Spec’d at 2,700 ANSI lumen, the XGA (1024×768) resolution projector has a 5000:1 contrast ratio, 10,000 hour lamp life and is integrated with Hitachi’s HDCR (High Dynamic Contrast Ratio), Image Optimizer Technology and energy-saving ImageCare Technology .
The CP-X25LWN has two HDMI inputs, a 1.2 manual zoom lens, 10,000-hour Hybrid filter, 16-watt audio output, network control/maintenance/security, PJMessenger, a wireless network option and the ability to present content via LAN.
Here are all the detailed specs. Leave a Comment
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Vivitek Upgrades NovoDS to V2.1 Vivitek’s NovoDS is a digital signage content player that can incorporate text, photos, audio, video and web content in fully customizable configurations for a variety of settings – including wirelessly.
Vivitek just released a software and firmware upgrade to V2.1.1 with new features and improved functionalities including more templates for content design, serial port (RS 232) control of multiple displays, Full 1080p HD content storage and playback and an enhanced simulator mode.
Details on the free upgrade are here. Leave a Comment
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Zoom Announces 215 Percent YoY Usage GrowthAre you Zoom-ing yet? If not, you will be soon. Zoom just announced 215 percent Y0Y (year-over-year) growth in usage and some major new features for their Zoom Rooms conference room system.
So what does “215 percent YoY growth in usage” mean? Rough translation: Zoom is on track to hit 15 billion (that’s billion with a B!) annual meeting minutes! Their president, David Berman, commented: “Zoom’s innovative solution is disrupting the traditional web and video conferencing markets. Our tremendous momentum is driven by the platform’s quality, reliability, and ease of use. With Zoom, organizations are simplifying their collaboration stacks for video conference rooms, executive offices, desktops, mobile devices and multiple use cases.”
He’s right. Unlike Skype, it’s a closed-system so it has a higher up-time and connectivity is simplified through their cloud-based codec and SaaS model.
Zoom also announced major enhancements to the Zoom Rooms conference room solution.
- Intelligent Proximity with One-Click Share: Zoom Rooms will automatically detect your device, and with a single click you can share your content.
- Automatic Audio Feedback Elimination: Noise canceling with proximity detection avoids meeting disruptions by automatically adjusting your computer audio when you’re in a Zoom Room.
- Direct Sharing: Share the content from your computer screen directly over your local network to the room display. This saves on bandwidth and provides higher quality video.
- Remote Room Management: Allows IT to save time by controlling peripherals and managing Zoom Rooms remotely.
- IP PBX Call-in Support: Every Zoom Room can have its own phone number and accept incoming calls.
- This makes Zoom Rooms perfect for executive offices and conference rooms.
- Accessibility Support: Expanded accessibility features include closed captioning to display meeting text on conference room screens.
Here are all the specifics. Leave a Comment
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Nureva Launches Mobile HD Collaboration CartNureva Inc just launched the new Nureva Span MC306i visual collaboration system, a full HD mobile cart. The MC306i is purpose-built for Span software, which supports ideation, design, planning and other activities by groups that need to be immersed in visual information. The mobile Span system integrates a full HD 1080p solid-state, interactive projector and a customer-supplied PC to transform almost any wall into a 6′ 2″ (1.88 m) wide interactive workspace. Two or three carts can be linked together using Span software to produce 12′ 4″ and 18′ 6″ (3.76 m and 5.64 m) interactive digital workspaces.
For groups that need the flexibility to meet anywhere, the MC306i offers access to an expansive cloud-based canvas for creative collaboration. With Span software, users can create, share and edit ideas and information on their own personal devices as well as contribute and interact with content directly on the wall. By drawing upon familiar tools, including sticky notes, sketches, images and flip charts, teams can make the shift from a paper to digital collaboration experience without compromising their proven processes. The MC306i addresses a growing need for organizations to re-imagine how groups innovate and create together, allowing them to make better use of open or underused areas, like corners, huddle rooms, large common spaces and even hallways. It can also be used in multiple meeting spaces, providing cost-conscious organizations with a way to share their technology investments.
Some features:
The mobile Span system includes a full HD 1080p ultra-short-throw solid-state projector with:
- 25,000 hours of expected life (similar to flat-panel displays), carefree maintenance and high resistance to dust
- An energy efficient optical engine, which consumes 80% less power than lamp-based projectors and 30% less power than an 84″ (2.13 meters) flat-panel display
- The cart can be moved around an office and then started up quickly:
- A fold-down handle and durable casters allow the cart to be easily rolled up to and used with nearly any flat or smooth surface
- Near-instant on/off lets groups get started immediately
- Two infrared pens provide accurate interactivity through auto-calibration and are easily stored on a magnetic pen tray when not in use.
Availability and pricing
The Nureva Span MC306i visual collaboration system is available immediately through a network of value-added dealers and distributors globally. The list price in the United States is $6,999. More information is here. Leave a Comment
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Three-Year-Old Highfive Takes the Videoconferencing World By Storm
A company you likely have never heard of, Highfive, is stealing most of your videoconferencing sales — at least in September and October, that is.
The three-year-old company is focused on product-based (not cloud-based) videoconferencing and does it by first selling (direct or through resellers) an all-in-one camera-bar system (appropriately called the Highfive device) that includes a 120-degree HD camera, an integrated VTC-CPU, a long-range noise-cancelling mic array, a license-free software bundle and wireless projection system. Yes, wireless.
They sell an optional audio box that’s basically a 360-degree speaker array that you set in the room and is powered by something Dolby has branded as Dolby Voice. Dolby, themselves, are claiming it blows away any other audio conferencing system.
Well, you’ll have to read about it yourself, but, this is an interesting solution. And, if you want to learn more or become a reseller, go here. Leave a Comment
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More About Google’s Jamboard, the 55″ 4K Interactive LCD Whiteboard Aimed at InFocus MondoPad, Sharp AQUOS BOARD, Microsoft Surface Hub and Smart Technologies
Google, yesterday, announced an exclusive (at least so far) deal with projector company BenQ to distribute its new interactive LCD called Google Jamboard. It’s a portable (on four wheels), 55” 4K (3840×2160) resolution LCD monitor that’s integrated with Google’s G Suite — email, videoconferencing, cloud collaboration of Google Docs, device management, file sharing, etc. Pull in work from Google Docs, Sheets and Slides or add photos stored in Drive. To capture ideas, Jamboard includes tools like sticky notes and stencils as well as intelligent features like handwriting and shape recognition. And, of course, videoconferencing.
Here’s a video from Google about it.
Google is being bold with their statements as they’re claiming it has the best handwriting recognition in the industry as Jamboard’s touchscreen was “built for precision drawing.” It automatically recognizes the difference between using the stylus to sketch or the eraser to start over, and neither require batteries or pairing. Jamboard can also sense when you’re using your finger to wipe work off of the screen, just like a classic whiteboard (except you won’t get ink on your hand). The intuitive, single-cable setup makes it easy to start creating quickly with Jamboard — just wheel it in, turn it on and start brainstorming. So far, just like the interactive whiteboards from InFocus, Sharp, Microsoft and Smart Technologies, right?
Well, it’s $6,000. And, it’s Google.
It’s not shipping yet in mass, but they’re looking for integrators — through BenQ — to sell it.
All the Google details are here. Leave a Comment
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Sennheiser Expands SpeechLine Digital Wireless Product Line Sennheiser is expanding its SpeechLine Digital Wireless system with new products including two fully wireless Tablestand units, a Qi-based wireless charging solution and a new network enabled charging unit.
SL Tablestand 153-S DW and SL Tablestand 133-S DW: Sennheiser has created two new wireless base units featuring wireless charging by induction, the SL Tablestand 153-S DW and SL Tablestand 133-S DW. Being independent from any cables, they offer a highly flexible solution for users. Both utilize the most commonly used Qi wireless charging standard.
The SL Tablestand 153-S DW is the perfect solution for ad hoc press conferences or podium discussions in any location. It is compatible with Sennheiser’s MEG 14‑40‑L II B gooseneck microphone, connecting via its XLR-5 socket. The unit provides battery life indication via dedicated battery status LEDs.
Offering compatibility with all Sennheiser XLR-3 gooseneck microphones, the SL DW Wireless Tablestand 133-S DW is optimized for podium discussions, speeches and lectures. It comes with a rechargeable battery pack with up to 10 hours of operating time.
Both new Tablestands can either be charged wirelessly with Sennheiser new CHG QI 2 wireless charging base or via USB. They can also be monitored and controlled with Sennheiser’s Control Cockpit.
The new wireless tablestands are available in a set: The SpeechLine Digital Wireless Tablestand Set SL TS 133 GN SET DW including the SL Tablestand 133-S DW, the MEG 14-40 B gooseneck microphone and the SL Rack Receiver DW. The Wireless Tablestand Set SL TS 153 GN-L SET includes the SL Tablestand 153-DW, the MEG 14-40-L-II B gooseneck microphone and the SL Rack Receiver DW.
CHG QI 2: The new CHG QI 2 is a convenient wireless charging solution that uses the wireless Qi Charging standard to provide convenient wireless charging for two mobile devices. It can be used both with the SL Tablestand 133-S DW and with the SL Tablestand 153-S DW.
CHG 4N: Also added to the SpeechLine Digital Wireless family is the CHG 4N, a network enabled charger featuring four individual charging bays. These can either be used for the SL Bodypack DW or the SL Handheld DW. Each bay has four dedicated LEDs to indicate the corresponding battery status of the mobile device.
Its network interface provides IPv4 and IPv6 compatibility for seamless integration. As with the new Tablestands, Sennheiser Control Cockpit makes it easy to remotely monitor and control the CHG 4N’s settings and status information.
More information is here. Leave a Comment
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Anchor Audio’s Bigfoot and Beacon Line Arrays Add AIR Wireless CapabilityAnchor Audio has announced that the Bigfoot and Beacon line array’s now offer the AIR wireless technology, and have complete wireless capability and connectivity between units. The Bigfoot and Beacon AIR’s are not passive companion units, but instead, are main units with either an AIR transmitter or AIR receiver built-in. The units can be used together for larger coverage or separately as stand-alone units.
The Bigfoot and Beacon AIR systems are battery powered, operate six to eight hours or more on a single charge, and receivers can be placed 150+ feet from the transmitter. AIR transmitters and receivers come as an optional built-in upgrade to the main sound system and replace the CD/MP3 combo player in the units. The transmitter can connect to an unlimited number of AIR wireless companion speakers. The AIR wireless technology offers 100 user-selectable channels operating within the 900 MHz frequency, which is one of the few clear channel ranges available and, therefore, limits interference from competing signals. The Bigfoot and Beacon line arrays are durable and easy to transport with built-in wheels and handles. Delivering 130 and 120 dB of clear sound respectively, these portable sound systems are ideal for both music and voice amplification making it truly versatile.
Currently, Anchor Audio offers AIR capability in the Bigfoot and Beacon Portable Line Arrays, Liberty Platinum andGo Getter Portable Sound Systems, and MegaVox Pro Portable PA System. All of the Anchor AIR product line, including the Bigfoot and Beacon can be mixed and matched to fit your ideal audio solution setup.
The AIR companion transmitter also connects seamlessly with Anchor Audio’s Assistive Listening Devices (ALB-9000), which operate on the same 902-928 MHz, resulting in an immediate ADA-compliant portable sound system. Main-unit systems are available with up to two wireless microphone receivers in addition to the AIR wireless companion transmitter.
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KLARK TEKNIK Ships 1176-KT Compressor KLARK TEKNIK announced the shipping of its 1176-KT FET-style compressor with a discrete signal path utilizing custom-engineered MIDAS input and output transformers. The compressor offers three ratios: 4:1 for moderate compression; 8:1 for severe compression: 12:1 for mild limiting; and 20:1 for hard limiting. Additionally, ‘All-button’ mode is included for aggressive vocals and especially effective when applied to drums, bass, guitar and room microphones.
An Attack Knob adjusts the time it takes for the compressor to respond to audio that exceeds the threshold. To accompany this, a Release Knob adjusts how long the compressor remains engaged after incoming audio falls below the threshold. Similarly to the Attack Knob, the Release Knob response time is faster when clockwise and slower when counter-clockwise.
An illuminated vintage-style VU meter keeps the 1176-KT in style with the original KLARK TEKNIK processor. The meter applies visual confirmation of gain reduction and output level based on which meter button is selected. And, the 1176-KT comes in 2U steel rack mount enclosure for live concert touring while using Neutrik XLR connectors.
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KanexPro Announces 4K HDBaseT Repeater KanexPro just announced the 4K (60Hz @4:2:0) HDBaseT Repeater (EXT-HDRPT100M) with one HDBaseT input and one HDBaseT output creating a daisy-chain path to multiple displays with each repeater supporting up to 330 feet (100 meters) in distance.
The HDBaseT Repeater provides two HDMI output ports and two RS232 ports dedicated for each output to control displays. The RS232 ports can send commands to compatible displays and projectors and each repeater in the daisy chain can be individually addressed to send specific commands to a particular unit. Professionally designed for digital signage applications, users can extend HDMI signals to two or more displays using a single HDMI device with the HDBaseT Repeater, allowing users to daisy chain additional HDBaseT repeaters. Up to eight repeaters can be used in a chain with the HDBaseT Repeater, creating a sixteen display signage connection from a single HDMI source on the sender-side.
The HDBaseT Repeater extends uncompressed 4K HDMI video, stereo audio and RS232 up to 330 feet over a single Cat6 cable. The simple plug and play Repeater supports built-in audio de-embedding with phoenix connectors to a two-channel stereo or amp. In addition, it supports HDCP 2.2 specifications with 4K@24, 30, 50 and 60Hz video resolutions with a 4:2:0 sampling rate up to 10 bit for robust HDR and color depths.
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Delvcam Debuts 17-Inch HD Rackmount Monitor Delvcam today announced the availability of the new “economical” DELV-3GHD-17IRM rackmount monitor with a 1920×1080 resolution for professional video monitoring.
The Delvcam DELV-3GHD-17IRM 17-inch rackmount 3G-SDI monitor with a 16:9 aspect ratio and 700:1 contrast provides HDMI/SDI cross conversion. Designed for OB trucks, the studio, post production and surveillance applications in a slim, rugged steel housing, the monitor features multiple signal inputs and outputs, user definable buttons and a built-in tally interface.
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Extron Intros SMP 111 With Recording and H.264 Streaming Capabilities in a Compact Package
Extron just launched the SMP 111, a high performance recording and streaming processor for capturing and distributing AV sources and presentations as live streaming and recorded media. The SMP 111 accepts an HDMI signal with embedded audio and an analog audio signal. Extron high-performance scaling and flexible signal processing enables superior display of content of varying resolutions from computer and HDTV sources.
The SMP 111 supports extensive streaming capabilities. It can record and stream simultaneously, with independent resolutions and bit rates using a range of transport protocols and session management options. Recording with the SMP 111 provides easy capture of live HDMI signals to an internal flash drive and external USB drives. Optional RCP 101 Series remote control panels are available to extend both front panel control as well as USB connectivity for thumb drive recording media. Requiring no licensing fees, the SMP 111 is a compact, flexible, and cost-effective solution for streaming and recording content.
The SMP 111 is ideal for applications that require simple recording of a single video signal with audio and metadata. It provides MP4 or M4V file format recordings integrated with metadata, chapter and event marking. It is also ideal for applications that require live streaming to remote participants, hosting services, or local confidence viewing. The SMP 111 can be adapted to many applications, documenting virtually any meeting, conference, or activity that uses an AV source as a reference. The SMP 111 is ideal for use in corporate, education, government, and rental and staging applications.
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Atlona Adds Backlit Keypad Atlona just introduced an eight-button network keypad, Model AT-ANC-108D, for Atlona IP-controlled AV switchers equipped for single channel output, including single channel mirrored output components. Designed for remote configuration, the keypad uses Power over Ethernet technology a single CATx cable handles both signal and power.
Combined with Atlona IP-controllable switching products for huddle spaces, classrooms and conference rooms, the network keypad has eight soft-touch backlit buttons and acts as a remote IP-based controller to send commands to the switcher. The switcher in turn responds to the commands or conveys them via RS232 to control other devices, such as video displays.
The AT-ANC-108D’s compact and shallow depth fits into a U.S. one-gang junction box for placement in walls or switch-enclosures built into tables and cabinetry. In cases where powering by POE is not practical or desired, it can also be run by an optional, external 5 VDC power supply.
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Magewell Adds Another 4K Video Capture Card Nanjing Magewell Electronics has launched a new Pro Capture DVI 4K card that supports single-link and dual-link DVI inputs, capturing video up to 1080p HD over single-link or 4K 2160p30 over a dual-link connection. The card can also support HDMI 1.4 signals up to 1080p with embedded audio using a simple HDMI-to-DVI adapter.
Designed for ProAV and broadcast applications, the new DVI-input model captures 4K video at up to 30 frames per second over its HDMI 1.4 and 6Gbps SDI interfaces, while the Pro Capture AIO 4K Plus supports 60fps over HDMI 2.0 and 30fps via SDI. The Pro Capture HDMI 4K and Pro Capture HDMI 4K Plus support 30fps and 60fps 4K video, respectively, for HDMI-only uses. All five cards support resolutions up to the 4096×2160 4K digital cinema and production standard, including 3840×2160 4K Ultra HD.
All Magewell Pro Capture cards feature hardware-based video processing, providing de-interlacing, scaling, color space conversion and video enhancements without taking valuable CPU cycles away from third-party software. Input video can be fed to multiple software applications simultaneously, with independent control of the resolution, frame rate and video processing for each output.
Magewell’s universal Pro Capture drivers support Windows, Mac and Linux operating systems, and offer broad compatibility with popular encoding, streaming, live production, collaboration, video conferencing and virtual reality (VR) creation software. For third-party developers, the comprehensive Magewell Pro Capture SDK enables partners to create custom software applications and turnkey solutions leveraging the full feature set and unique capabilities of the Magewell cards.
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Extron Ships Eight eBUS Button Panels and Accessories Extron has started shipping eight eBUS button panels and two accessories. eBUS button panels are customizable and integration-friendly AV system control interfaces that work with any IPCP Pro control processor. Multiple eBUS button panels may be linked together by a single cable that carries both power and communication. A variety of mounting options, including Extron’s new Flex55 mounting systems, provide easy integration worldwide. Buttons for most eBUS products can be easily customized using Extron Button Label Generator software or by using the online Custom Button Builder application. eBUS accessories include distribution hubs, power supplies, and mounting products that streamline integration and bring additional design flexibility to any system.
Extron’s eBUS technology is based on a digital bus architecture that Extron says allows for easy control system expansion, greater design options, and future upgrades. As with our TouchLink Pro touchpanels, eBUS button panels are designed for use with any Extron IPCP Pro Series control processor. Since they have the same physical appearance as Extron’s broad range of MediaLink controllers, eBUS button panels can be used alongside them throughout a facility while preserving a consistent look and user experience. A single eBUS button panel can be used as the AV control interface for a smaller system or multiple button panels and touchpanels may be combined when a more elaborate control system is required. Powered and non-powered eBUS distribution hubs are available to accommodate a variety of system design topologies.
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Christie Pandoras Box 6.0 and Widget Designer 6.0 DebutThe new Christie Pandoras Box 6.0 media server is officially launching this week and it combines the newest rendering technology with intuitive media and show control. Among its new features, Multi User mode allows multiple Pandoras Box operators to split the workload of a project and benefit from the increased efficiency by working on different tasks like warping, content encoding, timeline programming or simply work simultaneously on the same sequence. Pandoras Box 6.0 also features many workflow improvements such as editable meshes and warps, UV map adjustments and live canvas masking and painting all from within the preview window.
With Widget Designer, customers can create dedicated user interfaces and interaction logic simply by connecting visual control components. New to Widget Designer 6.0 is a redesigned HTML5 user interface and native HTML support including CSS Styles. Animation and transitions are now available for all pages and widgets and the new composite nodes allow for the integration of node-systems into re-usable custom nodes.
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Auralex Ships Updated SonoFiber Materials Auralex Acoustics is now shipping newly updated versions of its popular SonoFiber material, a cost-effective treatment with great acoustical properties. SonoFiber is now available in both one-inch-thick panels and two-inch-thick rolls. Panels come in a package of fourteen 1″ x 24″ x 48″ units, and the rolls measure 2″ x 48” [4 feet] x 300″ [25 feet]. The rolls feature a black scrim membrane on one side. New colors for the panels are also available: charcoal, light gray, white and beige color options are all now offered.
SonoFiber is the perfect solution for contractors and system integrators with projects requiring a Class A fire rating without the aesthetic demands of designer treatments such as fabric-covered panels. Made from recycled cotton fibers, SonoFiber is ideal for nightclubs, restaurants, gymnasiums, houses of worship, multi-purpose rooms and other commercial or industrial environments. SonoFiber is also ideal for unfinished metal deck ceilings with common acoustical issues like echo and reverberation.
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FSR Launches New OWB-500P Outdoor Wall Box FSR has announced the launch of the OWB-500P, the newest addition to the Company’s Outdoor Wall Box series. The OWB-500P box features locking white doors as standard with color and decorative selections, including windows. The covers have “flip up” cable entry doors so that the main cover can be locked once the cables are connected, and every OWB-500P is equipped with FSR’s enclosure box light — LITE-IT — for connecting in dimly lit areas. Custom interiors are available to meet each individual application.
The box’s square shape allows mounting in any orientation so the door can swing left, right or up. It is available in flush or surface mount models and includes blank plates for custom mounting. The OWB-500P’s design provides a safe and secure mounting for a variety of control panels including hard switches, elastomeric pads, touch screens, IPS plates and infrared pickups.
The 8” deep OWB-500P features internal brackets that can be arranged to provide numerous options for both high and low voltage. Standard gang openings make it the most flexible and easiest-to-install wall box available, while removable center dividers allow cables to be passed through the various compartments in a flash. The enclosures are constructed in NEMA-4 style and with the integral door, will meet the NEMA-3 and 3R ratings providing protection against falling dirt, rain, sleet and snow.
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For all you REGULAR readers of rAVe ProAV Edition out there, hopefully you enjoyed another opinion-packed issue!
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