Volume 5, Issue 11 — November 8, 2012

Volume 5, Issue 11 — November 8, 2012
 

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Apple TV: Wireless that Works!

By Scott Tiner

I am a wired kind of guy. Wireless connections have failed me time and time again. From wireless mics that screech noise when they have interference from cellular phones, to Wi-Fi touch panels that need specially configured routers to work properly and still just drop off the network randomly, wireless is just not my thing. I love to tell my clients that the worst wired connection is better than the best wireless connection. Then, I met AirPlay and AppleTV.

For now, I am going to ignore all the consumer features that the Apple TV provides, as it links with your iTunes account. I think that trying to stream movies that you purchased or rented from iTunes into your classroom, may present technical and legal issues. Most institutions have their own rules about this type of thing, and I recommend that you think this through with your copyright officer or legal counsel.

However, get working with AirPlay now! The AppleTV costs a mere $99. This is in everyone’s budget. Better yet, the client is built into iPads, iPhones and any newer Mac running Mountain Lion. If you are using a laptop that is running Mountain Lion, you can set your display options to automatically show in the menu bar, whenever it recognizes an AirPlay device.

Connecting to the TV just happens. I know that we often tell people how easy something is and then proceed to give them a 15-minute training on how to use this “easy” technology. This is not the case with the AppleTV. It really just happens. I used it with a faculty member this semester.  My instructions to her totalled an email with about five sentences and she had it running in class that day. The faculty member is really interested in the technology because it allows her to move around the room, sit down with the students, connect with them and still connect with the display in the room. She has indicated to me that this product is a game changer. A game changer not due to the technology — we have seen various incarnations of wireless video — but because of the ease of use and easy availability of the client. The idea that you don’t have to download a client, troubleshoot it with all your students and faculty, and then worry about upgrades, makes it appeal to me as a tech manager.

Perhaps the biggest hang-up right now with AirPlay is that the protocol it uses (Bonjour) is not routable. Also, it is a “chatty” protocol that is designed to work on typical home networks, but not in large corporate networks. Your network administrators will tell you that using AirPlay on your network will bog it down. However, some of the major network manufacturers, along with other third party vendors are working on this issue and coming out with solutions. 

Some benefits of the AppleTV implementation with AirPlay are that it can be password protected and the particular device can be renamed. So, a user can easily find the device they want to connect to and students (or others) cannot jump on the system and display things that are not desired. However, part of the beauty of the device is that students CAN connect to the display with their own devices. I know that the idea of sharing screens around a room has been something that I have been asked about several times. Until now, the solutions have been very expensive hardware solutions, or very clunky software solutions.

IR drivers are readily available for the Apple TV. This allows programmers or integrators to easily integrate these devices into new installs. The resolution of the streamed image from an iPad does leave something to be desired. While Apple promotes it as 720p, it looks more like 800×600. It would be desirable to have a better resolution, but the image is viewable. Also, when you go to full screen video (even from within a web page) the resolution improves.

If you are an installer, you are not going to make much money on the device.  It would probably be easier for you if you just let your customer just buy it on his own. Yet, that does not mean you cannot make money. If you deliver a solution that can solve the routing issues with Bonjour and offer a nice interface on the classroom touch panel, then you have a winning (and profitable) solution. There are plenty of third party software applications that allow Macs and PCs to be AirPlay servers. Come up with a solution that integrates some of these tools and sell me a service. This is where integrators and designers need to be creative: Technology Managers are very savvy about what is on the market, so don’t offer us a different solution that is much more complicated and is exponentially more expensive.

I would like to end my first article here with a thanks to rAVe ED for the invitation to be part of the rAVe family. I would love to hear what you are thinking about, or would like to hear more about in future columns. I’m looking forward to hearing from you.

Scott Tiner, CTS, has worked in the AV/IT field in public K-12, private K-12 and higher education institutions. With a BS in Secondary Education from the Boston University School of Education, he has a deep interest in the use of various types of technology in the classroom. Currently, as the assistant director of user services: digital media, classroom technology & event support at Bates College, Scott designs learning spaces, oversees event support and staging and manges all video streaming on campus. Scott also oversees the Digital Media Center. The Digital Media Center provides support and instruction on all video and audio editing on campus.

Scott is very active in the field, having presented at both regional and national conferences. In 2011, he was appointed as chair of the Technology Managers Council of InfoComm. Scott can be contacted via LinkedIn, on Twitter at http://www.twitter.com/stiner or via email at stiner08@gmail.com

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InfoComm: Project Changes: Manage Them or Just Make Them?

By Bradley A. Malone, PMP

This article is reprinted with permission from InfoComm and originally appeared here.

This is the 15th in an ongoing series of organizational project management maturity articles by InfoComm University senior instructor Brad Malone. To read the 14th installment, detailing the process of reporting status, progress and forecasts, click here. To read all the articles in the series, click here.

Project changes are inevitable. Even the most well-defined, cookie-cutter project will experience changes — for a number of reasons. One reason is that no matter how cookie-cutter, all projects have something that makes them unique, and that uniqueness creates uncertainty. Predictions (plans) attempt to make uncertainty more certain, but just as no one can predict the future (not even Nostradamus or The Farmer’s Almanac), no project ever goes exactly according to plan. Anyone who says their project matched their plan must have written and published the plan after the project was finished — something I’ve seen several people do when their performance metrics measured them on how well the project matched the plan.

Another reason change is inevitable is that clients often change their minds or gain a different understanding, especially when moving from a drawing or design document to a three-dimensional room. And a third reason for project changes: technology. Technology moves fast, and a solution that was designed with many technology components may include pieces that don’t integrate as seamlessly as promised or aren’t even available any more.

Still, there’s a myth that lingers in the minds of many owners and clients: A good project is one that doesn’t change. Bah.

So if change is inevitable, regardless of what some clients believe, the question you need to answer when managing change and measuring project success is, “Which is more important, managing the project and adjusting the plan, managing the plan and adjusting the project, or managing neither and saying, ‘It’s all good?’”  Because “change,” in the context of a project, is often regarded as a bad word and something we shouldn’t discuss, the strategy many people take is to either hide the change or play mix-and-match with other pieces of the project so that, in the end, they hopefully make everything look good. This works sometimes, but other times it can be disastrous. Clearly, not the best approach.

Debunk the Myth

Let’s deal with reality and debunk the myth. Say it together: “Projects will always experience change and this change must be managed in a disciplined and documented fashion.”

Because a project is a future-based occurrence, the best we can do is plan ahead based on our experience with similar projects. Those similarities become conditions upon which we make our estimates, resource plans, schedules, and budgets and pricing.

When we come across uniqueness (as opposed to similarities), we must document and communicate our assumptions. (And it just so happens I’ve got several thoughts about assumptions here).  That doesn’t necessarily mean our assumptions are correct, although we must base our plan on the belief that they are. When a project’s assumptions or conditions do not prove correct — which, again, is inevitable because projects change — the important thing is figuring out how to manage the change. And it has to be part of a communicated process.

First, the sales representative must include the project change-control process within the scope of work document and proactively discuss this process with the client as part of their sales and proposal activities.

Second, the project manager — or lead technician on a smaller installation — must communicate this change-control process to their counterpart at the start of the project during a structured kick-off meeting.

Third, the process needs at least two forms and associated steps: a Field Change Order form and a Contract Change Order form. The Field Change Order form must be readily available on the job site, easy to use, and provide a quick-and-rough estimate of the parts and labor needed to fulfill the change (seeing as the change may add labor and equipment to the project, subtract labor and equipment from the project, or some combination of the two). A project manager or lead technician must have the authority and responsibility to fill out the Field Change Order form and get it initialed by the client. Even if the change is something transparent to the client, if it’s different from what was planned, a Field Change Order should still be filled out to help correlate between the final job costs and the documents of record (as-built drawings).

Field Change Orders will almost always change the cost of the project, which is distinct from the price.  Remember: Cost is a project management function; price is a sales and business function.

A number of Field Change Orders (typically five to 10) may be combined into a single Contract Change Order. The Contract Change Order process is managed by a combination of the project manager, sales representative, and procurement specialist, depending on their specific roles and responsibilities in the AV integration company. A Contract Change Order details a total number of hours (plus or minus), changes to equipment and associated materials, the labor to modify the drawings (this is often left out), and any travel related charges.

Based upon the AV integration company’s management and sales conversations, a client may not be billed for all of the work required to fulfill the Field Change Orders. Again, this is a management decision, but you should always list the Field Change Orders’ impact on a project in its entirety. I’ve found that clients will understand and respect you more when you show them the effort and materials required to make the inevitable project changes, then show them that you will not be charging them for a portion of that effort (you may even decide to credit the client when a change causes a reduction in the total labor required for the project). I’m not saying give away the store, but it’s amazing how a client’s perception of value changes when you share factual information.

Overall, this change-control process communicates to the client that the project was well managed, the project manager actually had a change-control process in place, and your company values the business relationship it has with the client.

Unfortunately, this is very different from what I normally see. Too often:

• The client makes a change, or the facility doesn’t match the drawing, or other subcontractors don’t complete their portion of the job.
• There is no easy-to-use change-control process for the project manager or lead technician to follow and document.
• Sales doesn’t find any value (monetarily, for themselves) in processing small (or sometimes even large) changes.
• And the client (sometimes the general contractor) ends up learning that the AV integration company will make changes without any ramifications to the client.
• This common scenario reduces profit potential, increases labor costs, and causes frustration across the installation and service departments. Because changes weren’t tracked, the final drawings don’t match reality, there’s no closed loop to correlate the variance between actual and estimated labor, and future estimates continue to be off.

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Telerent Buys Avidex

Avidex Technologies, an AV integrator based in Bellevue, Wash., just announced it was sold to Telerent Leasing Corporation (TLC), a subsidiary of ITOCHU International, Inc. TLC is a national provider of hospital television systems through its TeleHealth Services division and is headquartered in Raleigh, N.C.  

Avidex and TLC have confirmed that Avidex’s offices in Seattle, Wash., Fremont, Calif., Spokane, Wash. and Salt Lake City, Utah will continue to operate as usual and that Avidex personnel will continue as employees of the Avidex subsidiaries of TLC. The three owners and founders will continue in their leadership positions at Avidex, and be joined by TLC’s vice president of corporate development, Joel Harris, who will serve as CEO of Avidex Technologies, Inc.

Paul Peck, president of Avidex, said this company is enjoying one of the strongest years in its history. He said, “AV systems are becoming more sophisticated, and are capable of delivering more value, every year. This [TLC's acquisition] continues to reward our strategy of providing our corporate and healthcare clients state-of-the-art systems that are reliable and intuitive to operate."

Peck commented that Avidex would be expanding its corporate operations to the east coast, and would create a separate new division specializing in healthcare facility A/V solutions — something that we're sure the folks at Whitlock (with headquarters in Richmond, Va. but with its most successful office in Raleigh, N.C.) will be interested to know.

So, what does rAVe think? Well, as long as Mike Clark is part of the deal — and stays with Avidex  — we're quite sure this will be successful: He's Mr. Avidex. So, watch carefully. If he leaves, this will not follow a good path. If he stays, we'll see a strong Avidex presence on the east coast too.

Avidex can be found here: http://www.avidexav.com

Telerent can be found here: http://www.telerent.com

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Grund Audio Design Debuts VIP Loudspeakers

Grund Audio Design's new VIP Series loudspeaker series includes four models, three of which are three-way loudspeaker designs. The VIP-06, VIP-08, VIP-10 and VIP-12 models loudspeakers are passive designs (requiring external amplification) with high power capabilities and that utilize injection molded enclosures. As the smallest enclosure of the family, the VIP-06 is a two-way design that has a 1-inch HF dome tweeter coupled with 6.5-inch cone LF transducer. The VIP-06 provides a 68 Hz – 20 kHz frequency range for natural sounding program reproduction.

The VIP-08, VIP-10 and VIP-12 loudspeakers are all three-way designs that Grund says results in a far more natural sounding midrange, therefore offering improved speech intelligibility as well as vocal performance reproduction. The midrange transducer in each of the three models features a 5-inch cone with a 1-inch coil in a quasi-horn loaded design. Similarly, these three models feature 1-inch HF dome tweeters. For low frequency reproduction, the VIP-08 uses an 8-inch cone transducer, the VIP-10 employs a 10-inch cone transducer and the VIP-12 incorporates a 12-inch cone transducer. The frequency range for the VIP-08, VIP-10 and VIP-12 is, respectively, 45 Hz – 18 kHz, 40 Hz – 18 kHz and 38 Hz – 18 kHz.

AV integrators will appreciate the four M6 integrated flypoints offered by the new VIP series loudspeakers as they simplify installs in restaurants, presentation facilities, classrooms and secondary areas in houses of worship.

The new Grund Audio Design VIP Series are shipping now. Here are the list prices:

• VIP-06:  $179.00
• VIP-08:  $299.00
• VIP-10:  $379.00
• VIP-12:  $439.00

For more info, go to: http://www.grundorf.com/index.php?Type=SOUN&Application=VIP

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InfoComm International Appoints David Labuskes as New Executive Director and CEO

InfoComm International announced a new executive director today, David Labuskes, CTS. He is currently vice president of RTKL, a division of ARCADIS, one of the world's leading architectural and engineering firms and founder of the company's Technology Design Practice. Labuskes' responsibilities at the company are full operational, financial and marketing strategy for the delivery of design services around the world. He's responsible for key account business development, client relationship management, P&L and product development. He also has over 20 years of IT and software development experience.

Current Executive Director and CEO Randal A. Lemke said, "I've had the pleasure of knowing and working with Dave for more than 10 years. I was delighted when I heard the search committee chose him."

rAVe founder Gary Kayye said, "David is an AV insider, exactly what we needed at InfoComm. His technological expertise and leadership at RTKL is legendary and he'll be a great leader of InfoComm and visionary for our industry."

The InfoComm search committee for the new executive director and CEO was made up of Johanne Belanger, Lee Dodson, Matt Emerson, CTS, Jim Ford, PE, Greg Jeffreys, Mark Valenti, CTS and Tony Warner, CTS-D, who chaired the committee. In March, InfoComm retained Korn/Ferry International to assist in conducting the search.

Current InfoComm Executive Director and CEO Randy Lemke, Ph.D. announced this past January that he planned to retire at the end of the year. Lemke joined InfoComm in 1996 as vice president of education. In 1997, he pioneered InfoComm Academy Online, an Internet-based training system for the AV industry, which currently has 3,000 students enrolled daily. He became executive director and CEO of InfoComm in 2000.

Lemke holds board positions, and has been the chairman of Integrated Systems Events, LLC, a joint venture European trade show company, and InfoComm Asia PTE, Ltd., a joint venture company in Singapore operating InfoComm's Asian tradeshows. He is the founding and current chairman of the STEP Foundation, a jointly supported foundation composed with other industry associations to bring sustainability to the process of planning, designing, integrating and operating technology systems and reduce long-term environmental impact from technology deployment. He has also served as chief executive of ICIF, InfoComm's charitable foundation.

In January, Lemke said, "It has been an honor to serve the needs of such an exciting and innovative industry these past years, and it's with mixed feelings that I leave the wonderful team of professionals and close friends I have made here at InfoComm."

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New FUSION Series Carts Combine Sleek Aesthetics and User-Friendly Features

Chief is now shipping its new FUSION Series carts in North America. The design updates include flexible cable covers to allow access at any point along the column while concealing cables for a clean installation. A turn knob lets a single user smoothly raise and lower the screen to any height between 50 and 70 inches (127-177 centimeters). The new carts and stands also feature: +5/-5 degrees of tilt and effortless display adjustment User-friendly interface, optimal for screen sizes up to 60 inches and 200 lbs (90.7 kg) Black or silver finish Smooth rolling and lockable castors for effortless positioning Chief engineers created wider columns with rounded edges to make the carts easy to hold during the moving process, and the angled base makes corner positioning a snap. Here are all the details: http://www.chiefmfg.com/Series/lpau

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Optoma Adds Second 6,000-Lumen Projector

Optoma also announced another 6,000-lumen single lamp projector, the TW865-NL. This 1280×800 projector offers VGA and HDMI inputs and carries three optional lenses — allowing for a throw ratio from 1.0 – 3.07.

A single-chip DLP projector, the 3D-capable TW865-NL is spec'd at a 4000:1 contrast ratio with a 2,000-hour lamp, and can be controlled via RS232 or IP. Because the projector can be mounted in any configuration (360-degree mounting capability), it's good for creative applications like houses of worship projection or digital signage apps.

Here are all the specs [PDF]: https://www.ravepubs.com/utility/documents/Optoma_TW865-NL_datasheet.pdf

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Christie Introduces One-Chip DLP G Series for Fixed Installations

Christie introduced last month the G Series, a new high-value, high-brightness projector line. In the new G Series, the Christie DHD550-G and Christie DWU550-G offer 5,000 and 5,100 lumens, respectively, one-chip DLP technology and a single mercury-lamp design for fixed applications. The 1920×1080 DHD550-G and 1920×1200 DWU550-G are meant for board and conference rooms, government, houses of worship, higher ed and a variety of small venue applications.

Both offer optional wireless connectivity, a selection of optional lenses and input options that include HDMI, DVI and display port. When it comes to image quality, the Dynamic Contrast feature boosts contrast ratios up to 5000:1, and Picture-in-Picture and Picture-by-Picture functionality provide flexible display options. And for multi-projector installations, the Christie G Series comes with color matching as well as an optional dual processing warp card that enables blending and warping.

The G Series is now shipping.

For more information on the G Series, click here: http://www.christiedigital.com/en-us/business/products/projectors/1-chip-dlp/g-series/pages/default.aspx

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MMD/Philips Debuts Monitors With Built-in Flypaper

MMD/Philips just debuted the Philips Q Series, which is comprised of the 32-inch BDL3210Q, 42-inch BDL4210Q and 46-inch BDL4610Q. The Philips Q Series is a new family of edge-lit LED commercial displays aimed at digital signage applications. What's especially interesting about this announcement is the integration of a digital signage content software called Flypaper Express (with a free 30-day trial) built right into the monitors. The software comes equipped with 10 themed templates that can easily kick-start digital signage projects.

The 32-inch BDL3210Q is a 1366×768 resolution display while the 42-inch BDL4210Q and 46-inch BDL4610Q are both 1920×1080 resolution displays. All three include HDMI and VGA ports, network-content delivery (as well as USB stick content delivery) and can be controlled via the network.

Here are all the specs:  

• BDL3210Q: http://www.usa.philips.com/c/professional-products/80cm-31.5-inch-edge-led-hd-ready-bdl3210q_00/prd/en/
• BDL4210Q: http://www.usa.philips.com/c/professional-products/107cm-42-inch-edge-led-full-hd-bdl4210q_00/prd/en/
• BDL4610Q: http://www.usa.philips.com/c/professional-products/117-cm-46-inch-edge-led-full-hd-bdl4610q_00/prd/en/

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NEC Simplifies Digital Signage for ProAV Integrator with New Bundled Offerings

NEC Display announced today the addition of 10 Digital Signage/Content Creation Solutions. These product bundles introduce customers to the digital signage industry with easy-to-use solutions that include everything needed to run content on a single digital screen. Available in digital screen sizes up to 65 inches, each bundle includes an NEC V, P or X Series display, a single board computer to source digital signage content, a wall mount kit compatible for both landscape and portrait orientations, an Ultrablok surge suppressor, NEC’s Content Management Software (CMS) and a voucher good for two hours toward NEC Content Creation Services.

As part of the bundle offerings, select displays offer a built-in expansion slot allowing for clean, hidden PC integration, while reducing the bill of materials needed for installation. X Series bundles include the OPS-PCAF-WS, which boasts a 1.6 GHz Dual Core Fusion processor and 32 GB solid state drive. P and select V Series bundles incorporate the NET-SBC-04, which offers a 160 GB SATA hard drive and 2 GB of RAM, while other select V Series displays include a Seneca Data X4-525 external media player with 1.8 GHz Dual Core Atom processor and 320 GB hard drive storage.

Here are details of each of the 10 Bundles: http://www.necdisplay.com/category/product-bundles

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Dukane Intros New iPad Charging Cart

The Dukane model CC1 is a low-cost, all metal charging device that can be wall mounted or set on a table top. It is lockable, securely charging up to 30 iPads or tablets simultaneously.
 
The CC1 uses an all steel cabinet with locking tabs that can be secured with a Kensington Cable lock. It has all UL listed power strips with 32 outlets. The CC1 measures 27.8"x13"x25" (HxDxW), comes with 15-year warranty and lists for $995.

Here are all the specs: http://www.dukane.com/av/products/documents/specs/CC1.pdf

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Revolabs Announces Executive HD MaxSecure Wireless Microphone System with AES-256 Encryption

Today Revolabs announced a new addition to the company's Executive HD product family in the form of the MaxSecure wireless microphone system, adding capability for the Advanced Encryption Standard (AES-256) as defined by the National Institute of Standards and Technology (NIST). With the addition of the Executive HD MaxSecure products, Revolabs supports an encryption standard that is designed for compliance with the security encryption standards AES FIPS 197 and AES FIPS 140-2, established by the United States government and approved by the U.S. National Security Agency (NSA) for applications requiring advanced privacy protection.

The rack-mountable Revolabs Executive HD wireless microphone system is designed for meeting rooms as well as large auditoriums. Each Executive HD unit provides support for up to eight microphones with exceptional audio quality; multiple units can be linked together to support up to 32 microphones per area. The Executive HD can be integrated with all control systems via RS232 or Ethernet or it can be controlled via a front-panel LCD display locally.

Here are all the specs: http://www.revolabs.com/Products/Product-Line/Executive-HD-8-Channel.aspx

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Christie Add Four New One-Chip DLP E Series Projector Models

Christie also added four new 1-chip DLP E Series projectors to its product lineup this week with the Christie DHD675-E, Christie DWU675-E, Christie DHD775-E and the Christie DWU775-E. The new Christie E Series models offer a dual lamp design that provides increased brightness ranging from 6,450 to 7,200 lumens, a choice between HD (1920×1080) and WUXGA (1920×1200) resolutions and delivers up to 5,000:1 contrast ratio thanks to the Dynamic Contrast feature.

These models are aimed at board rooms, conference rooms, auditoriums, government, higher ed and houses of worship. They also include an optional dual processor warp module for blending and warping images, color matching and an optional stacking system, making it ideal for rental and staging applications.
 
The new Christie E Series models feature a dust-sealed light engine and dual mercury lamps that have the unique ability to optimize lamp configuration to maximize lamp operation in 24/7 applications. Also included is a high brightness six-segment color wheel (RGBCYW) with an optional rich color wheel (RGBCYM) available when color precision is needed. Christie says the color wheel ensures radiant colors while eliminating artifacts from rapidly moving content.

The new E series projectors will ship in November.

To see all the specs, click here: http://www.christiedigital.com/en-us/business/products/projectors/1-chip-dlp/e-series/pages/default.aspx

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Peerless Intros Built-to-Order Racks

Peerless-AV has introduced a new family of built-to-order racks featuring an online configurator that enables users to specify the precise location of each component, view a CAD drawing with all accessories installed and examine a rotating 3D model of the design before submitting it for a same-day quote. Models ranging in size from 8 to 44 RUs are available in 10 colors with a wide variety of options.
 
The series includes standard AV frame racks from 18 to 44 RUs with a choice of closed, open or extra-large open side panels for varying budgets and cabling requirements; furniture frame racks from 8 to 14 RUs designed to fit around a credenza or desk; and knockdown models from 8 to 43 RUs that can be assembled in less than three minutes with just eight screws.
 
Some interesting options include:

• A color choice that includes medium blue, silver, pearl gray, pebble gray, pottery white, light blue, light beige, gunmetal and cranberry as well as black.
• The option to silkscreen business logos anywhere on the racks in any custom color.
• A skirted base with four casters and two ground studs included.
• Top and bottom knockout panels.
• Lockable front and rear doors with right and left hinge options, as well as a lockbox option for laptops, remote controls, batteries, data tapes, patch cords             and other accessories.

All racks (except the knockdown models) ship fully assembled within two weeks of the order and are made in the U.S. You can see the entire line here: http://racks.peerless-av.com/

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Epson Introduces New BrightLink Training Videos for Educators

Epson has developed more than 30 “BrightLink Bright Spots” training videos to help teachers and technology trainers better understand the wide range of features available through EPSON BrightLink ultra-short throw and short throw interactive projectors. Available for free on the Epson website, the BrightLink Bright Spots are short video clips that cover specific topics related to using interactive projector technology in instruction.

Topics covered in the two- to four-minute BrightLink Bright Spots videos include connecting computers and document cameras, implementing various software programs such as Easy Interactive Tools and TeamBoard Annotation Software, using Epson’s iProjection app and more.
 
Find the videos here: http://www.epson.com/brightlinkvideos

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Support for JVC's Security Cameras Added in Latest EXACQ VMS Update

JVC today announced that its latest range of VN-T and VN-H IP-based physical security cameras have been integrated into the exacqVision VMS (Video Management System) software used with exacqVision hybrid and IP Camera NVR servers.
 
The latest version of the exacqVision VMS (version 5) software includes integration with JVC’s complete line of full HD box, mini-dome and dome security cameras. Model variations include day/night performance, indoor/outdoor housings, H.264 compression, back light compensation, IR LEDs, PoE, vandal resistance, water/dust resistance and more.

The exacqVision VMS software is a true open, cross-platform system used in video surveillance systems. The server software (Windows or Linux) is installed on exacqVision hybrid servers (incorporating analog and network cameras), exacqVision IP camera servers and commercial off-the-shelf servers. Every exacqVision server can be viewed and administrated from the free client software available for Windows, Linux and Macintosh computers. The client software connects to an unlimited number of exacqVision servers (regardless of the operating systems being used) to create a truly scalable surveillance solution utilizing both analog and network cameras. Integration with the new JVC line was created using the Onvif standard, specifically designed to ensure interoperability between products regardless of the manufacturer.

Get more details here: http://www.exacq.com

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Atlas A-Line Ships ELI, ELIJAH and EMMA Line Array Speaker Systems

Atlas A-Line Acoustics is shipping both the ELI and ELIJAH line array speaker systems, originally debuted at the InfoComm 2012 show.
 
Atlas says the ELI portable line array system is designed to provide even, high-powered coverage in small to mid-size rooms for acoustic performance or speech applications. This portable line array system consists an EL1503-B full range line array that uses a design consisting of fifteen 3" drivers and a 10" enclosure. The ELIJAH portable line array system consists an EJ2003-B full range line array that utilizes a design consisting of twenty 3" drivers and a 15" subwoofer enclosure.
       
The EMMA system is a three-way speaker system designed for use in speech and music reproduction applications for medium to large venues like houses of worship, theaters and concert halls. The system consists of two parts: the EM806A-B, which includes eight 6.5" high frequency ribbon drivers and eight 6.5" low/mid frequency drivers, and the EM410A-B, which includes four 10" subwoofers. Each unit is powered by an integrated class D amplifier with pre-configured DSP.

Here are all the specs: http://www.al4.me/

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AmpliVox Unveils Compact Mity Box Speaker

AmpliVox's newest addition is the Mity Box speaker system, a portable system measuring just 10.5x7x6.5” (LxWxD). The speaker can be easily connected to presentation carts or wall mounted with the included brackets. It can be ordered as a passive speaker or outfitted as an amplified speaker with wired or wireless 16-channel microphones. Built-in audio ports on the amplified models make it easy to plug in any external audio source such as an iPod/MP3 or CD player. Separate volume controls adjust the output levels for microphones and audio sources.

Here are all the details: http://www.ampli.com/pa-speakers/1230-Mity-Box.aspx

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3M Announces Collaboration with Mersive Aimed at Creating a New Class of Displays

Last week, 3M New Ventures (3M’s corporate venture unit) and Mersive announced a strategic development and equity agreement that will bring a new class of displays that foster visual collaboration to a broad range of customers.

“Advances in graphics processing technology are resulting in the creation of more pixels than ever before. However, viewing more pixels in the form of visual data is often constrained by either inadequate display systems or the high cost and complexity of currently available systems,” said Rob Balgley, CEO, Mersive. “Coupling our software with 3M projection and display technology will transform how visual data is used to creatively collaborate, interact, and make decisions.”

Central to the strategic development agreement are Mersive’s two software products: Sol software automatically aligns multiple projectors into one seamless image of extraordinary quality and resolution without the expense of specialized hardware and services; and Solstice software, a new media sharing and display management software, transforms how displays fit into IT infrastructure. Solstice enables multiple users with diverse devices, to access wirelessly any display in real time.

“Combining Mersive software with 3M’s projection and display technology, will produce affordable, easy-to-install, high quality display systems that foster interaction, facilitate decision making and cultivate creativity,” said Stefan Gabriel, president of 3M New  Ventures. “As part of this agreement, 3M and Mersive will closely collaborate to develop projection and display systems that achieve higher levels of performance and ease of use than products currently on the market.”

3M New Ventures, headquartered in Munich, Germany, identifies and invests in highly innovative companies and disruptive new technologies with strategic relevance for 3M.

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PMA Shows September Pico Projector Sales Led by Optoma; NEC Still Dominates All Else

Pacific Media Associates (PMA) has posted its recent results to the “Top Selling Projectors” area of the company's website.

Each month, Pacific Media Associates posts the Top 5 Projector Lists for the following product categories:

New Era / Pico and Personal (sub-1000 lumens) Projectors — The September results showed Optoma, Acer and AAXA holding their ground. In fact, the September rankings were an exact repeat of the August findings, with Optoma taking the number one, three and five top-selling projectors spots, by unit volume, with the Optoma PK-320, Optoma ML500 and PK-20, respectively. The Acer K11 took the number two spot again, and the AAXA M2 Micro rounded out the September Top 5 in the fourth position. This Top 5 list is compiled from data collected from PMA’s monthly Retail Projector Tracking Service sample, which is made up of North American retailers and web resellers.

Mainstream (1000 to 3999 lumens) Projectors — Three manufacturers also vied for the Top 5 selling projector spots in September, with InFocus, NEC and Epson battling it out. InFocus took the top two spots with the IN112 and the IN114, while NEC took the number three and five spots with the NP-V260X and the NP-V260, respectively. Epson completed the list with the PowerLite93+ filling the fourth spot. This Top 5 list is compiled from data collected from PMA’s monthly Distributor Projector Tracking Service sample, which is made up of North American distributors.

High-End (4000+ lumens) Projectors — The September 2012 results also showed that three of the Top 5 selling high-end models, by unit volume, to be repeat winners. The numbers one through three spots in September were filled by the NEC NP-PA550W-13ZL, the Epson PowerLite 1945W and the Mitsubishi WD620, respectively. New to the high-end list were the Optoma TH1060P and the Panasonic PT-DZ570 in the number four and five spots. This Top 5 list is compiled from data collected from PMA’s monthly Pro A/V Projector Tracking Service sample, which is made up of North American dealers and integrators.

You can see PMA here: http://www.pacificmediaassociates.com

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Sonance Ships In-Wall Speakers Aimed at ProAV Market

Sonance is aiming to capture some of the ProAV in-wall speaker market with the IS4 C, a seamless, in-wall speaker with a built-in 70-volt and 100-volt autoformer. Using a 4-sq. inch tweeter, a 17-sq. inch mid-range and a 113-sq. inch woofer, the ISC 4 is specified with a 40 Hz to 20 KHz frequency response. It can be tapped from 0.5 watts to 32 watts or used as an 8 ohm speaker in by-pass mode, handling up to a 100-watt input.

The speakers are made to be integrated into drywall so that, when installed, they are totally invisible, appearing to be part of the drywall itself. Each speaker measures 16" wide by 25" high by 4" deep.

You can see all the specs here: http://www.sonance.com/products/invisible

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Peerless-AV Introduces SmartMount XT

This month Peerless-AV introduced the new SmartMount XT series of flat-panel TV mounts in articulating, tilt and flat styles, which the company says mount in a fraction of the time that standard mounts do. The line of pre-assembled, one-piece mounts can be affixed to walls by a single professional installer. They also now provide post-installation height adjustments on flat, tilt mount and articulating styles, as well as improved cable housing on articulating mounts.

Peerless-AV said the SmartMount XT products represent "the next wave" of innovative wall mounting solutions, featuring a low-profile design that anchors displays as close as 1.2 inches to the wall. SmartMount XT models shorten installation time because a single installer can hang the mount with as few as four screws. Articulating mounts come in single-stud or double-stud wall plate styles.

The SmartMount XT series includes the following models:

• SmartMount XT Articulating Wall Arm for 40” to 71” displays, weighing up to 135 pounds
• SmartMount XT Universal Flat Wall Mount, 32” to 70” displays, weighing up to 150 pounds
• SmartMount XT Universal Tilt Wall Mount, 32” to 70” displays, weighing up to 150 pounds

Here are all the stats:  http://www.peerless-av.com/en-uk/professional/products/STX645P

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New Behringer Loudspeakers Include Integrated Wireless Mic Receiver and MP3 Player

Behringer is now shipping its EUROLIVE B115D and B115MP3 active two-way loudspeakers, which feature an integrated, dual-channel mixer with two-band EQ, built-in sound processor and 1,000 Watts of Class-D bi-amplification. Fast and easy to setup, the unique enclosure design allows the loudspeakers to be pole-mounted, stacked or placed horizontally for floor monitor wedge applications. A dedicated USB-style 3.0 input provides seamless integration with Behringer's new upcoming ULTRALINK Series wireless microphones. B115D and B115MP3 both include a 15" long-excursion LF driver and a 1.35" aluminum-diaphragm compression driver. The B115MP3 includes an embedded MP3 player, featuring an eight-button user interface and LCD panel that allows the user to browse tracks and select shuffle, repeat or single-play modes. Both models include an integrated Behringer-compatible wireless mic receiver. They are covered by Behringer's three-year warranty and weigh only 38.9 pounds (17.7 kilograms) each. Here are all the specs: http://www.behringer.com/EN/Category/Loudspeakers-and-Studio-Monitors.aspx?s=B200

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For all you REGULAR readers of rAVe ED [Education] Edition out there, hopefully you enjoyed another opinion-packed issue!

For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that's why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).

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A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I've been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don't think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.

Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GreenAV in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: https://www.ravepubs.com

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