Volume 5, Issue 12 — December 4, 2012

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From Zero to Streaming in Ten Days

By Scott Tiner
rAVe Columnist

On Monday, Nov. 21, 2011, I got a phone call that would lead to a drastic change in my technical knowledge and the work that my staff and I do. The call was from our assistant vice president for advancement. The presidential search committee for my employer, Bates College, had met over the weekend and decided on a candidate for our next president. A public announcement was planned for Dec. 4. They wanted to keep the candidate a secret until the announcement, and they wanted to live stream the big event — 10 days and counting (including the Thanksgiving holiday that week).  

We had done a simple single camera stream of a building dedication and live-streamed the construction of a new football field. However, for this event they wanted a multi-camera production along with graphics.  

Our first task was to decide on the hardware that we needed. Multi-camera with live switching and graphics required an advanced device. We had previously used the Makito and Barracuda from Haivision. Both of these are excellent devices, but did not provide our need for live switching. We did some research first with our local providers. Only one had a TriCaster available and it was rented out at $1,000 per day, with staff to support it costing $100 per hour. Knowing that we wanted to rehearse the event in the days leading up to it, we determined that by purchasing our own TriCaster from NewTek, it would pay itself off after only three or four events. So, later that afternoon we ordered a TriCaster 300 and had it shipped overnight.

The TriCaster proved very easy to learn and configure. Within a day of its arrival, we were loading graphics and getting test streams running. The TriCaster is an extremely powerful device, even the 300 model that we have. NewTek no longer sells the 300, but does have a similar model, the TriCaster 40. In the past year we have seen and played with a few other broadcast switchers, some more expensive, some less, but I have found none to be as complete and efficient as the TriCaster. It is expensive, no doubt, but it will pay itself off easily using it just two to three times per year.

Our next real challenge was the staffing. We needed three experienced camera operators, along with someone to do the lights, projection and other staging for the show. It was obvious that unlike purchasing hardware, we could not provide this staffing in house. We simply did not have the skill, manpower or equipment in-house. We turned to our preferred staging partner, HPA Productions. They took care of hiring camera operators, set up the lighting and ran the projection for the event. If you are considering streaming for the first time, put a lot of thought into who is standing behind your camera. The best encoding hardware in the world can not make up for a lousy camera person. Most non-AV people think running a camera is simple — they do it every weekend at their kids’ soccer games. We know better. We know that a good camera person knows his camera and knows what makes the shot. HPA provided us a turnkey operation.

We decided internally that we would follow industry practice in how the events were managed.  So, we provided a producer from our communications office. The producer’s role was to call the show. We also provided a technical director, from our Classroom Technologies (or Media Services) group. This person’s role was to take care of all technical needs from coordinating with HPA Productions and contracting with a CDN to configuring and running the TriCaster.

I was the technical director for the event and it earned me more than a few gray hairs. However, the event went off without a hitch and the stream looked fantastic. We had over 1,000 people tune into the broadcast from over 18 countries. You can see the big announcement and the quality of the stream here: http://vimeo.com/33170779

Or course, no good deed goes unpunished. While working through my supply of “Just for Men” hair color in the weeks following, I got another call. We were going to live stream commencement in the spring. Oh, and since we now have a new president, we need to prepare for her inauguration in the fall. To make matters even more interesting, our commencement speakers included Robert DeNiro, Gwen Ifil and Bonnie Bassler. I decided it was time to simply dispose of the “Just for Men” and embrace my gray.

As I like to do after any major event, I convened everyone involved in the event in the weeks following and debriefed on the event. We learned a few things. First, our outgoing feed to the Internet had plenty of bandwidth. As many of you know, your upload bandwidth is different from your download bandwidth. What we did not expect was for our download bandwidth to top out.  There were too many people on campus trying to watch the event. To solve this problem we purchased a license for a Wowza server. Now when we stream, we take a feed out of the TriCaster and connect it to our Haivision Makito box. That box streams to our Wowza server and provides our stream for our internal customers. The TriCaster continues to feed our CDN, which serves our external customers.

We also learned a lot about proper communication amongst the producer, tech director and camera operators. We documented this work so that we now have standards in place so everyone knows what is happening, without confusion.  Finally, we learned that we needed appropriate time to setup, rehearse and test the equipment.  Rehearsals for any events are critical, and the more you have the better. Having done it a few times will help you with knowing what kind of time this will take, but also turn to your support people and let them help you with this.

In my view, this is another one of those situations where a strong relationship between AV companies and educational institutions is critical. Many companies would not want to work with a school that had its own TriCaster, hardware, tech director and producer. They would ask, what can we do if all that is already in place? The simple answer is — a lot!  

You can sell us the TriCaster or other encoders as a turnkey solution. We have our TriCaster in a rolling Gator rack with a Mackie mixing board and custom plates for external connections. We did this on our own, because no one offered it to us as a solution. How about a service contract on the equipment? Perhaps that contract could even include a TriCaster expert on hand during live events in case of problems. As mentioned previously, we needed camera operators along with people and equipment to run the cables and troubleshoot any issues with the setup.   

Finally, you need to contract with a good CDN. We chose Mirror Image out of Massachusetts and have never regretted it for a minute. Their prices are extremely fair, shockingly fair actually.  Along with that (and most importantly), the company’s customer service is superb. My calls and emails were responded to so quickly that I actually wondered at times if I were their only client.  Of course, I am not. They simply know that customer service is every company's bread and butter.

As I mentioned at the beginning of this article, my knowledge and job responsibilities have changed dramatically. Streaming continues to grow in our college. We did go on to successfully stream commencement and the inauguration. Things have gone so well that this fall we have recently taken over support of streaming our athletic contests. That’s a story for another day.

As an extra Christmas treat for you real techies out there, check out a time-lapse video of our set-up and tear down of the presidential inauguration set: http://vimeo.com/52644978

I continue to welcome your comments, questions and discussion. Send them via email, Twitter, LinkedIn or in the comments section. Last month we had some great feedback, and I wrote a follow up article that is posted in my rAVe blog. Check it out. We will do the same this month if we get feedback and questions. I’m looking forward to hearing from you!

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: Designing for High Contrast: How One University Uses InfoComm’s Projected Image Standard

By Brad Grimes
InfoComm International

This column was reprinted with permission from InfoComm International and originally appeared here.

Several years ago, like most people, the art history faculty at George Mason University in Fairfax, Virginia, put aside their slide projectors and embraced the convenience of computer projection. They weren’t thrilled with the results.

“Ever since, they’ve said they’re just not getting the same depth of color as they did with slides, which is true,” said Matthew Silverman, CTS, PMP, Manager of Learning Space Design at George Mason.

So a few years ago, to address their concerns, Silverman’s group encouraged art history professors — on a purely subjective basis — to pick rooms around campus that they thought delivered high enough contrast to meet their projection needs. Their picks were then flagged in the registrar’s database so that when the university scheduled art history classes, they were scheduled for approved, high-contrast rooms. It was an imperfect solution.

Recently, Silverman said he has a new tool at his disposal that will help George Mason University’s art history department — and others on campus — to define objectively its high-contrast requirements: the ANSI/INFOCOMM 3M-2011 Projected Image System Contrast Ratio standard [PDF overview]. “Long-term,” says Silverman, “we want to test and benchmark all our classroom spaces and enter that information into the registrar’s database so that they can schedule art history for any room that meets the requirements, rather than a room that someone walked into and said, ‘I think this is a high-contrast room.’”

The ANSI/INFOCOMM standard, released in June 2011 by InfoComm International, seeks to define acceptable minimum contrast ratios for projected images, relative to their application, for both installed systems and live events. Contrast ratio, as defined in the standard, is a “system” contrast ratio, taking into account not only the projector, but also the projection screen and the impact of ambient light. Silverman, who also serves on InfoComm Standards Steering Committee, is intimate with the standard because George Mason University was one of the testing grounds required by InfoComm’s board of directors before submitting the standard for approval by the American National Standards Institute.

Positive Failure

“I’m a huge believer that we’ve needed standards for a long time,” said Silverman. Therefore, he said, when the standard’s task group needed volunteers to field-test the proposed standard, he accepted the job.

Silverman and Classroom Support Technician Andre Wilson used the Projected Image System Contrast Ratio standard in a single room on campus — and the room failed. “But we knew exactly why,” Silverman said. “It failed because no one had thought about lighting. When we looked at the light on the screen, no one thought about directional lighting or managing the light on the screen. It had nothing to do with anything audiovisual. It wasn’t like the projector wasn’t bright enough or the screen was too large.”

The standard defines four minimum contrast ratios based on the needs of the viewer for a stated purpose: Passive Viewing, Basic Decision Making, Analytical Decision Making, and Full Motion Video. For example, if the room will be used for looking at non-technical PowerPoint presentations, the standard requires a 15:1 contrast ratio. If it’s for analyzing engineering drawings, the standard calls for 50:1.

The standard is easy to implement, requiring little more than a light meter. It steps users through the process from preparing a viewing area plan to measuring and recording luminance values at different viewing locations. The standard also comes with sample viewing area plans, a measurement conformance form, and a form for detailing the tested projection system in order to help identify remediation points in the event a system fails to conform.

At George Mason University, Silverman put the test room viewing needs in the Basic Decision-Making category, or 15:1. And while the tests indicated that the room was certainly usable under most circumstances, Silverman would be the first to say it wasn’t up to industry standards. “From a faculty point of view, any time we can improve the contrast, the brightness, or the quality of their image, they’re happy. From an industry point of view, is it where we should be? Probably not.”

And that’s typical of rooms throughout campus, Silverman explained. With the ANSI-approved standard in hand, George Mason University is in position to improve the quality of all its learning spaces. “We have to benchmark our entire environment and figure out what we can fix easiest,” he said. “In some places, it may be as easy as zoned lighting. In the new buildings, we’ve been vocal about zoned lighting because you can flip off the lights over the screen and double your contrast on the spot.”

As the school receives funds to proceed with new and updated classrooms, Silverman said he plans to hand the standard to lighting designers and require that they provide the proper conditions at the projection screen location.

And he’s helping other groups on campus maximize their projected image experience. Silverman helped George Mason’s College of Science with a requirements document for a new presentation space at the base of the school’s observatory.

“They planned to project space imagery and black was really important to them,” Silverman said. “One of the instructors pointed to a printed poster on the wall and said, ‘If I can‘t get this kind of contrast, then it doesn’t meet my requirements.’”

For the presentation space in question, Silverman and the faculty determined that contrast was one of the top factors in the room’s design. They included the Projected Image System Contrast Ratio standard in the RFP that they shopped around to integrators and decided they were willing to sacrifice system functionality to ensure the contrast ratio was up to snuff — at least 50:1.

“Given that I was working with a bunch of scientists, they really liked that they had a way of saying, ‘OK, this is how we define what correct contrast is,’” Silverman said.

In fact, one of the ANSI/INFOCOMM standard’s greatest strengths is that it provides AV integrators, consultants, and technology managers with an industry-approved method for measuring and describing an often-overlooked variable that can be critical to the optimal viewing of projected imagery. Said Silverman, “We learned a lot about our spaces in the process of testing just one room.”

To obtain a copy of the ANSI/INFOCOMM 3M-2011, Projected Image System Contrast Ratio standard, you may purchase it from the ANSI eStandards Store, along with InfoComm’s other ANSI-approved standards, ANSI/INFOCOMM 1M-2009, Audio Coverage Uniformity in Enclosed Listener Areas, ANSI/INFOCOMM 2M-2010, Standard Guide for Audiovisual Systems Design and Coordination Processes, and the new ANSI/INFOCOMM 4-2012, Audiovisual Systems Energy Management.

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Chief Debuts Extra Large Flat Panel Cart

Chief is rolling out a cart designed for extra large displays. Dubbed the FUSION Mobile Solution for Extra Large Screens, the new rolling cart has the capability of making HDTVs and Digital Signage displays from 90 and 105 inches mobile.

The universal bracket design matches multiple display patterns and holds up to 500 pounds (226.8 kilograms). The large rolling casters make for easy positioning and include one locking caster per leg. Integrated cable management provides a clean installation, and leveling feet are available for more permanent installations.

Here are all the specs: http://www.chiefmfg.com/Products/XVM1X1U

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Extron Introduces New Economical Wall Mount HDMI Twisted Pair Extender

Extron has introduced the DTP HDMI 230 D, a Decora-style transmitter and receiver set for transmission of HDMI, audio and bidirectional RS-232 and IR control signals up to 230 feet (70 meters) over a single CATx cable. The HDCP-compliant extender provides an economical and effective means for extending HDMI with embedded multi-channel audio from HDMI-equipped devices. In addition, the DTP HDMI 230 D accepts analog stereo audio signals and digitizes them for simultaneous transmission over the same twisted pair cable.

This extender simplifies the incorporation of analog and digital audio signals and it allows a direct analog audio connection from devices with stereo output, such as desktop computers or laptops, and provides balanced and unbalanced audio output from the receiver. In addition, the DTP HDMI 230 D continuously maintains DDC communication of EDID and HDCP between a source and display for reliable operation, ensuring direct compatibility and optimal signal transmission between devices.

The DTP HDMI 230 D is compatible with CAT 5e, CAT 6, and CAT 7 twisted pair cable, and can be used as a point-to-point solution or integrated with an HDMI matrix switcher to extend inputs or outputs to remote locations. It supports signal resolutions up to 1080p/60 or 1920×1200 and supports HDMI specification features including data rates up to 6.75 Gbps, Deep Color up to 12-bit, 3D, HD lossless audio formats, and CEC. For added flexibility, either the transmitter or receiver can be powered over the original twisted pair cable, allowing both devices to share one external power supply. Both devices are available separately, and may be mixed and matched with the desktop DTP HDMI 230 transmitter or receiver to suit the installation requirements of a specific application.

Here are all the specs: http://www.extron.com/product/product.aspx?id=dtphdmi230drx&s=5

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FSR Intros Top Shelf Equipment Rack

FSR's new Top Shelf is a wall-mounted equipment rack that mounts to a wall close to the ceiling in locations without drop ceilings, or where space above the drop ceiling is limited. Top Shelf (model: TS-400) holds up to four RU of equipment with multiple mounting locations for power as well as signal connections. The unit’s steel frame ensures the equipment will be securely mounted and a plastic cover allows wireless signals to pass in and out of the enclosure unobstructed. The cover can be painted to match the room décor, and the box can be mounted in the best location to ease wiring and visual impact.

Top Shelf includes a three position rack depth adjustment, has an optional fan that offers up to 110 watts of equipment cooling, includes an assortment of cable clamps and has a 50-pound equipment capacity. The steel cover still allows Wi-Fi and other wireless devices to pass through.

Here are all the specs: http://www.fsrinc.com/products/ts-400.htm

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Extron's New Six-Input Presentation Switcher Sets New Bar

Extron's new IN1606 is a six-input, HDCP-compliant video scaler that includes four HDMI inputs, two universal analog video inputs (component video, VGA and composite video), and two simultaneous HDMI outputs. This is THE PERFECT switcher for any and all classroom and most meeting room installs. It features what Extron calls an advanced video scaling engine with 1080i deinterlacing and Deep Color processing to output resolutions up to 1920×1200 and 2K (2048×1080). Enhanced audio features include six stereo inputs, fixed and variable stereo outputs, two mic/line inputs with ducking and 48 V phantom power, plus HDMI audio embedding and de-embedding and control options including Ethernet, RS232 and USB.

The IN1606 features Extron's SpeedSwitch technology that allows for fast switching speed for HDCP-encrypted content. EDID Minder and Key Minder automatically manage EDID communication and HDCP key negotiation between input and output devices and real-time HDCP status verification, offering valuable feedback to system operators and helpdesk support staff.

The full specs are here: http://www.extron.com/company/article.aspx?id=in1606ad

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projectiondesign Launches Panoramic Projector The new F35 Panorama projector from projectiondesign has an exceptionally wide image aspect ratio of 21:9 or 2.37:1. In an office environment with an average ceiling height, this enables images as wide as 4 meters (13 feet) to be created without the need for edge-blending the output of two separate projectors or simultaneous side-by-side projection of images from two separate sources. Users can fill an entire screen from a single source, or, for example, set up a video conference call next to a computer presentation. Based on projectiondesign’s F35 single-chip DLP platform, the F35 Panorama has a resolution of 2560×1080, which is 35 percent more horizontal pixels than 1080p HD, as well as a brightness spec of 7,000 ANSI lumens and an 8000:1 contrast ratio. Inputs include two DVI, two HDMI, two VGA and one component video port. It also has RS232 or IP control and an assortment of lenses available, ranging from 0.75:1 to 6.5:1. Here are all the details: http://www.projectiondesign.com/products/f35-series Leave a Comment Share Article Back to Top

NEC Introduces Two New Mobile Projectors

NEC Display has introduced the VE281 and VE281X mobile projectors, which are aimed at small meeting rooms, schools and conference room installs. Both projectors are specified at 2,800 lumens, offer auto power on and quick startup/shutdown, an Eco Mode, a carbon savings meter and extended filter life. They also have energy-saving features such as NEC's Intelligent Driving Scheme (IDS2) technology to extend the lamp life of the projector up to 6,000 hours in Eco Mode and 4,000 hours in normal use.

The VE281 is native SVGA (800×600) resolution and the VE281X is native XGA (1024×768) resolution, using a one-chip DLP engine with a BrilliantColor chip with a specified contrast ratio of 3,000:1. Inputs include HDMI and VGA (both ports automatically turn on the projector when they detect a signal). The VE281 and VE281X will be available in January 2013 with a list price of $369 and $449, respectively.

The  VE281 is here:  http://www.necdisplay.com/p/np-ve281 and the VE281X is here: http://www.necdisplay.com/p/np-ve281x

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Haivision Launches New H.264 Encoding Platform With Makito X Series

Haivision today announced its "next-generation" H.264 video encoding platform, the Makito X Series. Haivision says the Makito X Series offers a six-fold increase in encoding power that delivers high quality HD video using half of the bandwidth of comparable encoders.

The Makito X2, a dual channel low-latency HD-SDI H.264 encoder, is the first Haivision product to incorporate the company's new X Series technology. It can encode up to 12 HD sources (up to 1080p 60Hz) to H.264 within a 1RU of rack space. Supporting High Profile H.264 video compression, the Makito X2 specs say its gets up to twice the picture quality while maintaining the Makito's 55-millisecond encoding latency — what was the picture quality before? Haivision say the picture quality of the Makito X2 streams are on par with broadcast-quality encoders at higher bitrates, but that remains to be seen.

Makito X2 supports multiple bitrate (MBR) streaming with up to four renditions of each input from 32 Kbps to 25 Mbps at full 1080p 60Hz. Here are all the specs: https://www.haivision.com/products/MakitoX

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Torus Ships AVR2 Power Conditioner

Torus Power's new flagship power conditioner is now shipping. The AVR2 Series of power conditioners include features such as surge protection; voltage stabilization; Web-based control that includes scheduling, monitoring and real-time control; and RS232 control. It also provides noise attenuation from 2 kHz to beyond 1 MHz.

AVR2 series provides multiple IP-addressable duplex outlet zones that can be separately turned on or off through the Web browser, and/or remotely scheduled. It offers individually addressable outlet zones (five individual zones in 15-amp and 20-amp models, and eight individual zones in 60 and 100 amp models.)
   
AVR2 series provide voltage stabilization that keeps equipment in the optimal voltage operating range (in North America +/– 5V, in Europe/Asia/Australia +/- 10V) of nominal operating voltage, regardless of fluctuations in line voltages. The front panel display shows voltage conditions (input/output voltage), current draw and IP address.

Here are the full specs: http://www.toruspower.com/north-american-custom-installed/

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Sony’s New 4K Ultra HD Video Player

Sony Electronics unveiled this month the new 4K Ultra HD Video Player, a hard-disc server that connects to Sony's 84” 4K LED TV (XBR-84X900), allowing consumers to view 4K resolution movies and short form 4K videos.

Available now in the U.S. as a bonus to customers purchasing the Sony 4K LED TV, the video player comes loaded with content, including both full length Hollywood features and a gallery of videos, creating the first true home 4K experience.

As a standalone unit, the Sony XBR-84X900 TV already upscales all video inputs, including the more than 7,000 Blu-ray Disc titles currently in distribution, to a near-4K resolution through the use of Sony's proprietary 4K X-Reality PRO three-chip picture engine. Now, with the new video player, consumers can for the first time enjoy 4K Ultra HD video in the home.

The company's 4K Ultra HD Home Experience includes the 84" 4K LED TV, the Video Player, and an Xperia™ Tablet S that serves as a remote control through an app. Pre-loaded onto the Video Player will be the first ever collection of 10 full-length feature films presented in native 4K for the home (all from Sony Pictures, of course).

In addition to the full length features, the Video Player will come pre-loaded with a gallery of 4K video shorts, including Red Bull Media House's exclusive 4K videos. Additionally, Sony's 4K Ultra HD delivery solution is designed to be updated with additional 4K titles and video clips.

Want more info? Go here: http://www.sony.com/index.php

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WSJ Reports Dell and Intel May Buy or Invest in Sharp – And Sharp Debuts 4K IGZO Display

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NEC Intros 3,300-Lumen Short Throw Projectors

NEC Display just launched the new UM Series of ultra-short throw LCD projectors, starting with two 3,300-lumen units: the UM330X and UM330W. Both offer interactivity options via integration with eBeam.
 
A complete interactive projector solution can be created using the optional NP02Wi eBeam interactive system (http://www.necdisplay.com/p/NP02Wi), which connects between the USB port on the eBeam module at the front of the projector and computer, and uses IR to determine the wireless pen’s position within the displayed image. This technology gives users the ability to control their computers and annotate accurately at the whiteboard. With the projectors' ability to be mounted to the walls directly above the screens on which they project, the UM330X and UM330W help eliminate shadows and glare typically found with standard projection systems.

The UM330X is an XGA (1024×768) projector and the UM330W is a WXGA (1280×800) resolution projector. Both projectors use 0.36:1 lenses; offer Eco-modes; can take content through a wired or wireless network; and have two HDMI ports, a VGA port and a USB content port.

The UM330X and UM330W projectors, as well as the UM330X-WK1 and UM330W-WK1 bundles, will be available in January 2013 at a minimum advertised price of $1,099, $1,299, $1,318 and $1,518, respectively.

The UM330X is here: http://www.necdisplay.com/p/np-um330x

The UM330W is here: http://www.necdisplay.com/p/np-um330w

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Panamax's Rack Ears Are Now Removable

Panamax's BlueBOLT-enabled power conditioners, the M4315-PRO and M4320-PRO, are now shipping with removable rack ears.
 
The rack ears come pre-installed flush with the faceplate, but can be adjusted forward or backward for various installation options for maximum flexibility. Whether in a cabinet, in a console or on a shelf, the new design and slimmer 17" width allows you to maintain the aesthetics clients want while still using the equipment you need.
 
To learn more about BlueBOLT and the M4315-PRO/M4320-PRO, go to http://www.mybluebolt.com/products

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Generation 3 of InFocus Interactive Projectors Arrive

InFocus has introduced its third generation of interactive projectors, the IN3920 Series. Improving upon the company's previous interactive features, these installable or portable projectors have an ultra short throw lens, can use two LiteBoard wands at once, and are promoted as an easy-to-use alternative to interactive whiteboards. The IN3924 and IN3926 interactive projectors allow teachers or presenters to turn almost any surface into an interactive workspace — no screen required.
 
The so-called "magic" is in the wireless LiteBoard wand, which can be used like a mouse to draw, write and click on the projected image. The teacher or presenter can use the wand — held like a pen or remote control — to interact with the image. Two wands can also be used simultaneously, allowing people to interact with the same projected image at the same time.

Both projectors are 1-chip DLP projectors using six-segment color wheels with a specified brightness of 3,000 lumens, offering HDMI, VGA and USB inputs. The IN3924 is XGA (1024×768) and the IN3926 is WXGA (1280×800).

The IN3924 and IN3926 projectors are available now for $1,199 and $1,425, respectively. Here are all the specs: http://www.infocus.com/projectors/classroom-projectors/infocus-in3900-projector-series

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Extron Now Shipping Select DMP 128 Audio DSP Models with Acoustic Echo Cancellation

Extron has started limited shipping of its new DMP 128 and DMP 128 C Digital Matrix Processors. Both DMP 128 models are 12×8 audio mixers featuring Extron ProDSP, automixing, and I/O expansion capabilities. The DMP 128 Series offers a configuration approach to DSP for quick mixing, routing, conferencing, and room optimization. Configuration using the DSP Configurator software allows the DMP 128 Series to be installed quickly but still allows for adjustments that can be heard in real-time. A digital audio expansion port allows two DMP 128 units to be linked together to expand input and output signal management and routing capabilities.

The DMP 128 C model includes Extron AEC for conferencing applications. AEC is essential for effective remote room-to-room conversations and includes eight independent channels of AEC, as well as selectable noise cancellation. AEC processing can be challenged by conditions such as double-talk, when talkers from both ends are speaking simultaneously, and when near end talkers use wireless microphones. Extron AEC features  algorithms that deliver fast echo canceler convergence for optimal intelligibility.

Both models include an automixer with gated and gain sharing modes for managing up to eight groups of microphone signals. Gating threshold, signal level reduction, and timing parameters are user-adjustable per channel. This allows for fine-tuning to avoid the "chopped" sound characteristic of a traditional automixer when a mic is gated off. As the number of active microphones is doubled, system gain is automatically reduced by half, uniformly attenuating microphone signal levels to minimize audible changes in the overall sound and the possibility of feedback. For a natural sounding mic mix, the automixer also offers a gain sharing mode when the NOM (number of open microphones) is bypassed, allowing all mics to gate on. When a DMP 128 is linked to another unit through the expansion port, each incoming expansion bus can be assigned to an automixer gating group.

Extron ProDSP is engineered from the ground-up using a 64-bit floating point DSP engine and studio grade 24-bit converters with 48 kHz sampling — all managed through Extron's DSP Configurator software.

Here are all the specs: http://www.extron.com/company/article.aspx?id=dmp128ad

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3M Intros Pico Projector with Roku Stick Player

3M has launched a uniquely package pico projector with its new 3M Streaming Projector with a built-in Roku video stick. Capable of streaming movies and TV shows via the Roku service, the 4"x4"x2" projector is a 854×480 resolution, 1-chip DLP that outputs 60 lumens. Using a 2.5 hour battery, the 3M Streaming Projector is capable of projecting images up to 120" diagonal and also has an HDMI input for a computer or a Blu-ray player.

Here are all the details: http://solutions.3m.com/wps/portal/3M/en_US/ConsumerProjectors/Home/Product/StreamingProjector/

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Extron’s Dual Link DVI Fiber Optic Extender Ships

Extron is now shipping its DDX 102 Dual Link DVI Fiber Optic Extender, a transmitter and receiver set for long haul delivery of DVI signals over fiber optic cabling.

It uses all digital technology to deliver pixel-for-pixel transmission of video images up to 2560×1600, including HDTV 1080p/60. The extender delivers dual link DVI-D signals up to 500 meters (1640 feet) over two multi-mode cables or single link DVI signals over one fiber optic cable. The capabilities (and the compact size) of the DDX 102 make this fiber optic extender ideal for sending high resolution DVI content in a wide variety of applications.

The DDX 102 transmitter and receiver feature industry standard LC-type connectors, and can be used for point-to-point fiber optic applications with dual link DVI requirements. The units connect directly to the DVI source and display devices, eliminating the need for additional mounting hardware.

EDID Minder automatically manages EDID by maintaining continuous communication with the source, ensuring that it powers up properly and reliably outputs content for display. The transmitter also provides an EDID capture mode to store display EDID.

Here are all the specs: http://www.extron.com/company/article.aspx?id=ddx102shippr

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IEEE Begins Work on New Ethernet Standard

The Institute of Electrical and Electronic Engineers (IEEE) wants to define a new Ethernet standard capable of between 400 Gbps and 1 Tbps per second.

The current state of the art for high-speed connectivity is 40 Gigabit Ethernet (40GbE) 100 Gigabit Ethernet (100GbE), both of which were ratified by the IEEE in 2010. Just two years later, the IEEE is forced to re-evaluate the situation.

Earlier this year, the IEEE’s own report 802.3 Ethernet Bandwidth Report showed that at core router level, total traffic is doubling every 18 months. Wired access (cable, DSL) is growing by 25 percent every year; wireless (Wi-Fi) access is growing 39 percent; and mobile data (GSM, LTE) is growing by 92 percent every 12 months.

By 2015, bandwidth requirements will be 10X greater than in 2010. By 2020, the bandwidth requirements will be 100X greater. By 2015, the IEEE predicts core infrastructure will need to support 1Tbps — and by 2020, 10Tbps.

IEEE has now set up the 802.3 Industry Connections Higher Speed Consensus Group. 802.3 is the Ethernet standard’s designation, like 802.11 for Wi-Fi. There will probably be two new standards: 400GbE and 1TbE (we’ll have to learn the new designations for huge storage). Like 10, 40 and 100GbE, the new standard will likely support copper wires (over a few meters), as well as and multi- and single-mode fiber.

Here's the IEEE’s Ethernet Bandwidth Report [PDF]: http://www.ieee802.org/3/ad_hoc/bwa/BWA_Report.pdf

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Interactive Flat Panel Displays and Whiteboards Sales Up 22 Percent

For calendar year Q3, sales of interactive whiteboards and interactive flat panel displays in the education and corporate sectors are up 22 percent year-on-year, according to the latest quarterly research from Futuresource Consulting. The following data provides key highlights from the market report.

Asia: Best Ever Quarter for Sales

Asia has, by far, achieved its largest ever quarter in terms of sales, with 76 percent year-on-year growth and activity in the region much larger than in the Americas. China volumes were the largest, making China the largest country market in the world for the first time. Futuresource expectations are that the huge education tenders will continue. India also experienced a substantial quarter, with more than 300 percent year-on-year increase.

USA: Market Falling

In the USA volumes fell, as previously forecast by Futuresource, and the education market is expect to continue to drop over the next few years; by the end of this year almost half of K-12 classrooms will have an interactive display and the early models sold into the market are not yet ready for replacement.

EMEA: Strong Growth

EMEA also experienced its largest quarter ever in terms of sales, achieving 44 percent year-on-year growth, with Vestel completing shipment for phase one of the Fatih tender. Additionally, Russia also had huge sales in the quarter.

UK: First Growth in Seven Years

The UK market is forecast to have 10 percent growth in 2012 according to Futuresource data. This is significant as it will be the first growth year for the UK in seven years. Interactive flat panel displays are starting to take market share from interactive whiteboards and some of the first replacement boards are being purchased, with schools tending to buy the same brands again. Although the BSF (Building Schools for the Future) programme was abandoned there is still significant new school construction due to the rise of academies, as well as substantial rebuilding programmes within existing schools.

The Global Perspective

The total market for interactive whiteboards, interactive flat panels and interactive projectors within education and corporate sectors is forecast to reach 1.5 million by 2015. However, the adoption rates of the three products are very different by country and even by region. Futuresource has compared all three technologies in eight regions / countries.

The scale of the opportunity in the corporate space is colossal, with over 67 million meeting rooms worldwide — this segment of the corporate market alone is twice the scale of school classrooms. However, there is currently no adoption of any specific product, so the market is open to be taken.

The corporate market is forecast to be the fastest growing sector, increasing to 24 percent by 2016. This growth will be in the more developed markets like the USA, UK, Germany and Sweden.

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Sharp Ships 90" LED TV

Sharp just started shipping its new 90" HDTV in the form of the LC-90LE745U — the world’s largest LED TV. Specs include four HDMI 1.4 inputs, a VGA port, a component video port and a built in ATSC tuner. It's capable of 3D imaging, offers a refresh rate of 240Hz and has built-in Wi-Fi. The native 1920x1080p LCD has a full-array backlit LED with a specified contrast ratio of 8,000,000:1 and offers a 176-degree viewing angle.

Marketed as part of the AQUOS product line, it's a SmartTV with apps that include Facebook, Twitter, Netflix, HuluPlus and VUDU.

But the real story here is that it is made on a professional production line, and can therefore be used for commercial applications such as digital signage or in classrooms. And, it will be. It lists for $10,999. Here are all the specs: http://www.sharpusa.com/ForHome/HomeEntertainment/LCDTV/Models/LC90LE745U.aspx#overview

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

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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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