Volume 5, Issue 23 – December 7, 2007 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Introduction Welcome to rAVe Pro Edition – Volume 5, Issue 23
Editorial |
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Welcome to another edition of rAVe! There are a lot of industry happenings covered in this issue. Westinghouse getting into commercial displays, Ingram Micro getting into digital signage and Dolby getting into LCD technology! Also this week, I tell you the ONLY differentiator you need to care about when choosing among projector manufacturers. –Gary Kayye, CTS Thanks to our sponsor D-Tools, worldwide leader in easy-to-use, highly accurate system design software. System Integration just got easier! Please click here for a 30-day FREE trial! Projector Specs are Dead: A History What the heck does the title of this article mean? Well, thanks for asking! Back in the 1980's, just making a projector that worked to blow-up video images on big screens was a feat in itself. Companies like AquaStar, Advent, Barco and Electrohome (now Christie Digital) were among the pioneers. They each began by either making projectors that showed videos on airplanes, for aerospace applications or for home theater enthusiasts.But, they were all big, bulky, boxy and just plain not bright. But, they worked. Then, one day, along came two more industry pioneers, Andrew Edwards of Extron and Imre Csaszar of Covid, and they invented little small boxes that converted the computer signals of the late 1980's into those that these projectors could display. Called computer-video interfaces, these little boxes converted computer signals from IBM PCs, mainframes and Apple IIs into video signals (analog) so that they could be displayed on these boxy, bulky and not bright projectors. Then, in 1986, a little-known company called Sayett Technologies and a better-known company called Sharp Electronics both introduced innovative displays called LCD panels. LCD panels, looking like giant 35mm slides on steroids, were connected to computers via Extron or Covid cables or conversion boxes, and placed on top of OHPs (overhead projectors) and projected light on a wall or screen. This resulting image, albeit low-resolution by today's standards, were bright and readable – but black and white! By 1990, there were 18 LCD projector manufacturers all marketing products that averaged 18 pounds, were 300-400 ANSI lumens, displayed 640×480 native resolution graphics and were louder than the average HVAC system in a room. But, they DROVE the ProAV industry and ProAV economy. InfoComm started the Projection Shoot-Out, a venue where you could go to one room and see EVERY projector manufactured in the world side-by-side, and the battle of the projector specs began. As Chairman of the Projector Shoot-Out from 1992 to 1999, it was hilarious to watch the specs-man-ship of these LCD projector manufacturers and their marketing departments (who wrote the specs). In the Shoot-Out, we posted signs next to each and every projector on display – signs that explained the projectors' key specifications like weight, light output (ANSI lumens), resolution and price. And, these specs mattered. Perform badly in the side-by-side venue of the InfoComm Projection Shoot-Out, and die. Just ask anyone who worked for AmPro in 1995 or Polaroid in 1999. Although I empathize with the plight of the projector manufacturers way back then when the Shoot-Out was a huge influence on purchasing decisions by ProAV dealers, I am still amused by the tactics some took during set-up of the events. For example, in 1995, we implemented a rule that didn't allow for changes to their signage after three days prior to the event. Why? Well, up to that point, manufacturers would literally wait until the signs of their competitive products were placed out to change the price of their projectors or even their own ANSI lumens specs. We even had cases of signage theft that eventually led to not placing out the signs until the morning of the event. Back then, and even up until 18 months ago, a few specific specs SOLD projectors: ANSI Lumens: During the 1990's, the average light output of a portable projector rose from 500 ANSI lumens to over 2500 ANSI lumens. Now, 3000 and above are normal specs on many portable lines. Weight: During the life of the Projection Shoot-Out we went from having one weight category to having seven – everything from Large-Venue (hell-a-tious-ly heavy projectors) to ultra-light projectors weighing less than 3 pounds. Contrast Ratio: The average contrast ratio of an LCD Projector in 1999 was 120:1. Now, we see specs of over 20,000:1 regularly. Price: They're all cheap now. Anyone who complains about the price of a projector today has no historical perspective on the market. Check this out: In 1992, General Electric (yep, the same company that owns NBC now) showed a Large Venue Projector that was 600 ANSI lumens for $180,000 – no, that's NOT a misprint). Now, merely 15 years later, you can buy a 3200 ANSI lumens projector for less than $1800! I wonder how the sucker who spent 180 grand feels today (Hey, Charlotte Arena, what do you say?).Resolution: The native resolution a projector can display used to be a big deal. First it was video, then VGA, SVGA, XGA, SXGA, QXGA and the letters keep changing. Now, every manufacturer has projectors that can do it all. So, what's the differentiator now? Service, Service, Service. Who's got it, who doesn't and what can you do to make sure you're selecting a company that will make service #1?
Reprinted with permission from Sound & Communications. Founded in 1955, Sound & Communications is the premiere magazine for AV systems integrators, contractors and consultants. To subscribe or read sample articles, go to http://www.soundandcommunications.com.
Sound & Communications Launches Industry First Internet Talk Show – rAVe Founder Gary Kayye Featured VIEWpoint's debut covers Digital Signage. Industry veteran Lyle Bunn, Strategy Architect, Alchemy International, interviews industry consultant Gary Kayye, as both try to decipher what, precisely, the term "Digital Signage" has come to mean and where the most money can be made in the future. The twice-monthly emails will provide a clickable link, directing viewers to the Flash stream. Downloads are also available for Apple iPod, iPhone and 3G-video-enabled mobile devices (carrier restrictions apply). You can watch VIEWpoint and sign up at http://www.soundandcommunications.com/viewpoint
TI's R&D Team Does it Again – This Time Single-Chip Real-time HD Processing http://focus.ti.com/download/trng/multimedia/dsp/davinci/olt107005/index.htm Texas Instruments is boasting a 10x performance increase with its new DaVinci digital media processing technology, which the company says allows consumers to seamlessly move content across their video end products. It performs media processing for video transcoding in media gateways, multi-point control units, digital media adaptors, video security DVRs and IP set-top boxes. Bundled with a complete offering of development tools and digital media software, the new TMS320DM6467 DaVinci processor is a DSP-based system-on-chip specifically tuned for real-time, multi-format, high-definition (HD) video transcoding. Integrating an ARM926EJ-S core and 600 MHz C64x+(TM) DSP core along with a high-definition video co-processor, conversion engine and targeted video port interfaces, TI says this system solution delivers a 10x performance improvement over previous generation processors to perform simultaneous, multi-format HD encode, decode and transcoding up to H.264 HP@L4 (1080p 30fps, 1080i 60fps, 720p 60fps). TI says this facilitates consumer demand for video on the go across different devices and different video formats, taking care of both storage and playback of HD. This is great news for both commercial and consumer apps – and it's about time. For the entire story, go to http://www.ti.com/dm6467pr
Westinghouse Goes After Commercial Display Market The company says there will be a major increased emphasis on R&D and product development in the commercial group. Products will include the company's VM product line, consisting of 1080p displays without TV tuners as well as new quad monitors that offer super high resolutions for business applications. Westinghouse Digital's PumpTop TV initiative with AdtekMedia, which delivers TV at the gas pump, will also be included in the Commercial Business Unit as well as "other forthcoming commercial business and digital signage initiatives, partnership and products." This will most certainly drive the price of LCD displays down, down and down. Be careful as Westinghouse has historically demonstrated a desire to grow mindshare and market share via a low-price marketing plan. This will force many manufacturers to reduce the price of their comparable models and accelerate margin erosion. For more information, go to http://www.westinghousedigital.com/default.aspx
Christie Debuts Single-Chip 4100 ANSI Lumen HD 1080p DLP Projector – Targeting Commercial AND Home This is clearly an installation projector, at a bit less than 28 pounds and with dimensions of 14.8 L x 20.0 W x 8.8 H". The Christie HD405 is Christie's first 1080p single-chip DLP projector. It uses Christie's 10-bit image processing and a standard RGBCYM color wheel for improved color saturation and reproduction. List price is $24,495 US. This projector from Christie could be historic. For years, AV Integrators have realized that they need to be specifying and installing 16 x 9 projectors – with the impending 2009 HD conversion of the HomeAV market. However, bright wide-screen projectors have only been available in expensive giant projectors. And, the smaller HD-based projectors, those that are home theater worthy, are NOT bright enough for ProAV installations. That all changes with this projector. For more information, go to http://www.christiedigital.com/AMEN/Products/christieHD405.htm
FogScreen Now Available to U.S. Market Via American Exhibition Services The FogScreen One projection screen (one meter) and FogScreen Inia projection screen (two meter) will be available for AES's associations and management groups. While both can be used as standalone units, the one-meter-wide device is designed to seamlessly link with other one-meter devices to make a larger image. For more information, go to http://www.fogscreen.com/en/
DP Introduces Its Brightest Projector The LIGHTNING HD-3D can display active 3D content at up to 2048 x 1080 resolution and 120 frames per second through twin-dual DVI inputs. The company says that by enabling active 3D via DVI, rather than via analog inputs, the LIGHTNING HD-3D series remains the only projectors in their class capable of end-to-end digital 3D display. The same twin-dual DVI inputs can also accept sources with up to 12 bits per color (R, G & B). These 12-bit sources are pixel-mapped to the DMDs via de-gamma processing with an output grey scale resolution of 16 bits per color. When used with high color-depth sources, DP says the LIGHTNING 45HD-3D is capable of producing a total on-screen pallet of more than 280 trillion colors at any resolution up to 2K. DP also introduced a similar model, the LIGHTNING 38HD-3D at 22,000 lumens. For more information, go to http://www.digitalprojection.com/
Kramer Introduces High-Bandwidth Presentation Switcher for Multiple Video, Audio Sources This high performance switcher includes three independent 4×2 audio/video matrix switchers and one independent 2×2 audio/video matrix switcher in a two-rack unit frame for a standard 19" professional rack enclosure. It combines the functions of a 4×2 matrix switcher for computer graphics signals with audio, a 4×2 matrix switcher for composite video and audio, a 4×2 matrix switcher for s-Video and audio, and a 2×2 matrix switcher for component video (Y, PB/CB, PR/CR). The VP-26 provides a computer graphics video bandwidth of 300MHz for transparent performance even in the most critical applications, and is HDTV compatible. It offers composite/SDI video bandwidth of 420MHz, s-Video bandwidth of 320MHz, and component video bandwidth of 380MHz. The VP-26 also has a CAT5 output for one of the computer graphics video outputs that can handle signals with resolutions up to UXGA for applications that require long distance signal distribution. US price is $2,895. For more details, go to http://kramer-us.com/news_full_story.asp?iNews=159
Da-Lite Adds Projector Mount and Ceiling Plate Packages, Veneer Options The mount and ceiling package includes the UPM-1 Universal Projector Mount, the CPM-ACP Above Ceiling Plate and the CM-P6 6" Long Pipe. A second package also includes the CPM-PLC Plenum cover for the CPM-ACP for use in Plenum Ceilings. The UPM-1 mount will hold projectors up to 50 lbs. and features adjustable feet for micro adjustments and includes mounting and security hardware. The CPM-ACP mounts above a finished ceiling and includes a ceiling plate, sliding coupling, a mounting package set including four wires with Kwik Loc cable joiners for easy installation, and a black escutcheon finishing ring. The CPM-PLC Plenum cover features a removable lid for easy access and side knockouts for conduit as well as an electrical junction box. For more information, go to http://www.dalite.com/
AMX, Medialon Partner on Show Control Medialon provides software-based control systems to museums, theme parks and entertainment venues. The Manager Software allows you to program and synchronize an unlimited number of devices, including audio, video, lighting, image processors and special effects. The new AMX-Medialon interface allows facility and/or event staff to centrally control individual devices via the AMX Control System, and/or initiate show control sequences using Medialon's Manager Software. The combination streamlines the number of interfaces required to operate these two different systems, especially for cruise ships, theme parks, casinos and museums that often require two control systems – one for sequenced events during a show, the other for real-time control. For more information, go to http://www.amx.com/newsroom/pressrelease-file.asp?release=2007.11.16
SIM2, Dolby Collaborate on New LCD Display Technology SIM2 Multimedia and Dolby Laboratories announced a collaboration to develop new prototype high dynamic range (HDR)-enabled liquid crystal display (LCD) flat screens using Dolby's new light-emitting diodes local dimming technology. In addition, SIM2 will provide Dolby with manufacturing reference designs. The companies say the new prototype displays will feature Dolby's dynamic range imaging technologies — Dolby Contrast and Dolby Vision — incorporated in SIM2's industrial concept. The LEDs with local dimming provide the enhanced contrast, says Dolby. Dolby Vision, they say, yields high brightness with enhanced contrast. For more information, go to http://investor.dolby.com/ReleaseDetail.cfm?ReleaseID=279215
Polycom Shipping SoundStructure Audio for Conferencing Systems The SoundStructure series are designed to serve as comprehensive systems featuring multiple input and output options and submix processing capabilities, for simpler installation and greater flexibility. The Polycom SoundStructure products are available in 8, 12 and 16 input/output "C" (conferencing) models with two plug-in cards for single and dual line telephony options. MSRP in North America is $4,995 for an eight-channel system, $6,495 for a 12-channel system and $7,995 for a 16-channel system. For more information, go to http://www.polycom.com/usa/en/products/voice/large_conference_room/soundstructure/soundstructure.html
Ingram Micro Announces Digital Signage Division Ingram Micro's Digital Signage Division says it offers a dedicated team of marketing specialists, category specialists, vendor managers, technical support staff and a growing number of cross-trained digital signage sales professionals. In addition, solution providers have access to a number of business-building resources through the new division. These include hands-on and remote training and education seminars, field-deployable sales and technical engineers, and the Ingram Micro Solution Centers — two multi-million-dollar high-tech solutions labs equipped with the industry's latest and most popular digital signage solutions. You can't say we didn't warn you about IT three years ago. For more information, go to http://phx.corporate-ir.net/phoenix.zhtml?c=98566&p=irol-newsArticle&ID=1083248&highlight=
New 65-Inch LCD From NEC The company also offers its own Digital Signage Technology Suite with 20+ advanced features for customizing digital signage display. You can also get optional digital tuner for the landscape model, and optional 15-watt speakers to debut next year. The LCD6520L-AV and LCD6520P-AV are available for shipping with an estimated street price of $18,499.99 and $19,999.99, respectively. For more information, go to http://www.necdisplay.com/NewsAndMediaCenter/PressRelease/?pressrelease=67704d60-4e4f-415e-b64d-1bce59af2e83
Well, that's it for this edition of rAVe! Thank you for spending time with me as we muse the industry's happenings. To continue getting my newsletter, or to sign up a friend, click the link below. To send me feedback, don't reply to this newsletter – instead, write to me at gkayye@kayye.com or for editorial: Denise Harrison at dharrison@kayye.com A little about me: Gary Kayye, CTS, founder of Kayye Consulting. Gary Kayye, an audiovisual veteran and columnist, began the widely-read KNews, a premier industry newsletter, in the late 1990s, and created the model for and was co-founder of AV Avenue – which later became InfoComm IQ. Kayye Consulting is a company that is committed to furthering the interests and success of dealers, manufacturers, and other companies within the professional audiovisual industry. Gary Kayye's rAVe was launched in February 2003. rAVe Home Edition co-sponsored by CEDIA launched in February 2004. rAVe Rental [and Staging] launched in November 2007. To read more about my background, our staff, and what we do, go to http://www.kayye.com Copyright 2007 – Kayye Consulting – All rights reserved. For reprint policies, contact Kayye Consulting, 400 Meadowmont Village Circle, Suite 425 – Chapel Hill, NC 27517 – 919/969-7501. Email: dharrison@kayye.com Gary Kayye's rAVe contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. |