Volume 7, Issue 4 — April 25, 2018
|Church Technology Conferences|
By Anthony Coppedge
House of Worship Technology Consultant
After a week-long intensive at the National Association of Broadcasters Convention (NAB), it may feel too soon to start thinking about another conference. Then again, a major reason your firm goes to these conferences is to connect with potential buyers, reconnect with existing clients and see for yourself what others in the audio, video and lighting industry are showcasing. So back we go into planning for the next conference. Just make sure you’re aware of unique vertical market conferences — especially church conferences — where your chances of getting face time with new leads are exponentially greater and the competition scarce.
In the house of worship market, the tip of the technoloxgy spear can be found at just a few unique conferences focusing on the technical and creative arts teams of churches. As some of your industry peers have already found, sponsoring or exhibiting at these is hyper-targeted.
List of Church Technical & Creative Arts Conferences
When I taught at my first church tech conference hosted by Technologies for Worship Magazine, it was as a church technical director. Twenty years later, the church technology space has grown dramatically with a host of conferences focused exclusively on church technical and creative arts teams.
“This three-day experience provides church teams with hands-on training, real-world solutions, networking, and more importantly, the inspiration that you need to grow your church community. There’s something for everyone on your ministry teams with five conferences covering tech, facilities, safety and security, communications, and worship.
Over 225 vendors and manufacturers exhibit during the Expo, with services that provide worship facilities with the products and services they need, from companies that specialize in servicing the church and worship facilities market.”
“That Church Conference is a communications and marketing conference designed to bring together church practitioners to collaborate and learn from each other in a fun and exciting environment with practical teaching from leading experts in the church.”
“STORY is a two-day conference for makers, creators, and artists who tell stories in a variety of mediums, industries, and settings.”
“The Tribe Tech Team Development Summit is designed to help church production staff and volunteers with the personal, technical and spiritual elements of working in church production. This is an event produced by Church Production Magazine.”
“During this three-day, two-night event, Saddleback’s Communications Team will share strategies and best practices in marketing, web, social media, creative arts and storytelling. You’ll walk away with new vision and practical solutions to expand your reach and grow your church.”
“SALT is a reminder of the role creativity plays in the context of the local church. We believe that creativity is a seasoning, it’s not the main course or a substantive side dish because creativity has no nutritional value. We are returning to Nashville for a three-day conference for the creative and technical arts community with inspiring environments, unhindered moments of worship, powerful speakers and a multitude of practical workshops on creativity.”
The size and focus of each conference listed above are generally similar but uniquely tailored. This list, however, is just a sampling of church creative and technical arts options available to local church leaders. There are dozens of smaller regional events hosted at and by churches, so be sure to know which churches are in your local markets hosting these events, too.
Before Sponsoring, Know This
At big shows like NAB, LDI, AES and InfoComm, the expo halls are huge and the focus is on new products. It’s hard for most vendors to stand out amidst miles of carpeted aisles. It’s the opposite of that at these conferences.
Having been both a sponsoring vendor and an attendee at church conferences, I have a few key pieces of advice and some helpful insights for maximizing these opportunities.
Listen to the attendees. The smallish nature of these events means you’ll have the opportunity to meet pretty much every attendee face-to-face. Don’t sell. Listen. And once you’ve listened, don’t sell. Instead, educate. Send your engineers and support team members to man the vendor booths (sometimes they’re just tables). A couple of people who deeply understand not only your product but the unique pain points and challenges of churches are going to make a better impression than your top-grossing salesperson or that marketing event coordinator.
Don’t bother with printed materials. It’s 2018 and attendees at these events are not carrying sponsored bags loaded with full-color product spec sheets. Have a unique URL for them to put their information in right then and there on their own smartphones. And don’t automatically add them to an email list, either. Here’s the chance to follow-up with an actual phone call and a personal email. The size of these means you’ll have a manageable number of people to respond to after the conference, so don’t fill their hands with printed materials that will just end up in the hotel trash bin anyway.
Cool swag works. Yeah, I’m still a guy who loves meaningful marketing, but there are two kinds of swag that make it home with me: a fun gizmo that I can give to my kids when I get off of the airplane and a useful, branded technology tool for myself. Personally, I like giving away USB jump-drives pre-loaded with some helpful templates and documents (not product PDFs) that church techs may actually use. Whatever you pick, make it something practical as it will likely make it past the hotel trash all the way back to the attendee’s desk. And high-quality, fun t-shirts (see SnorgTeesfor geek humor that will easily pass muster with church techs) are great for giveaways and raise your cool quotient.
The big conferences are a ton of work and exhausting. The little ones, especially when focused on a specific target market like churches, likely have better ROI. Just be sure to send people who actually know the house of worship market, OK?
What say you? Share your views and links in the comments below.Leave a Comment
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|The Failure of AV Marketing|
By Anthony Coppedge
House of Worship Technology Consultant
The AV industry sucks at marketing. Everyone knows it because marketing across the audiovisual space is generally equally crappy. It’s boring, over-hyped, and under-designed. Pablum. Noise. Filler.
“But we need A4, full-color printed spec sheets handed to us at trade shows,” said no buyer in the 21st century.
“The ad of a smiling, stock photo model standing by your gear convinced me your brand was right for us,” justified exactly zero purchases.
“Once I clicked through five layers of menus on your website on my smartphone, I knew we should order more gear from you,” said no prospect considering their vendor of choice.
Marketing in the AV industry is producing lackluster content without using the power of data-driven decision making – and the results are uninspired. So, who’s to blame? Even better: Who’s going to fix it?
More often than not, any attempt at great marketing inside an established business will be met with ferocious, unswerving deterrence by senior leadership; not because it’s great marketing, but because it’s different from what’s been done for years. The distress of wading into untested waters crashes like waves of fear against the shores of familiarity.
As a result, marketers acquiesce and produce what is requested. More sales slicks. Another boring, untargeted ad. Stock photos and play-it-safe copywriting that stretches the known boundaries of innocuous wordsmithing.
As a marketer myself, I can say this with great veracity: I blame the marketers.
Yes, I know I just made the case that senior leaders push back against truly great marketing, but it’s not the C-suites’ job to be fantastic marketers; that’s the job of the marketer!
Leaders stick with what got them to where they are in their career. For a lot of reasons, this is generally good. But when it comes to the explosive rate of change in the past five years alone, the balance of power has shifted to the consumer, not the manufacturer or vendor’s leadership. What got audiovisual firms where they are today will not be what keeps them around in the near future.
In the Information Age, the agility of marketing is the key to both responding at the speed of consumer engagement and providing educational thought leadership targeted to specific personas and demographics. Social media alone is a unique opportunity to both lead with insights, education, and personality (yes, your brand should have a tone and voice), and to drive those conversations into targeted buyer journeys that lead the client down a path of their choosing and your design.
As marketing has changed over the years, we now have the empirical data to see volumes of metrics to make the case for what is – and what isn’t – working. In fact, I would say we have so much information available to us as marketers that analysis paralysis is the bigger issue for marketing. Still, there is simply no excuse for the AV industry as a whole to suffer from such mediocre product marketing with the tools we have at our disposal as marketers.
Don’t Bring Conjecture to a Data Fight
I’ve worked for a number of bosses who overruled me as a marketer. Over the years, I learned a valuable lesson: never bring my conjecture to a data fight.
A former boss and good mentor, Jeff Hook, said often: “Change is always bad… in the short run.” Any change will be opposed. Expect it. Prepare for it. And then fight it with insightful data.
Professional marketers need to stand behind the data that points to better business outcomes. These are not the low-hanging fruit of so-called ‘vanity metrics’ of site visitors and email open rates, but the insights from looking at how website landing pages, ad click-thru rates, social media engagement and webinars convert into sales opportunities. It’s not the activity of creating ‘more stuff’ for sales, nor is it the hope that another whitepaper is going to be as useful as the product engineers think it’s going to be; rather, it’s the data that shows what people are doing, what’s creating engagement, which ads are driving traffic, and ultimately what’s separating the window shoppers from prospective buyers.
For example, at the end of each year, I write an annual “House of Worship Ads” roundup to highlight the best ads and, new as of 2017, an example of what not to do. Since advertising is an (expensive) aspect of marketing that is part of the problem, I submit that it’s worth taking a look at these reviews (2017, 2016, 2015, 2014) for examples to discuss in comparison with your own advertising efforts.
More Than Your Job Is On the Line
The marketers of the audiovisual industry need to dive into the data and look for the insights. Marketers must become champions for testing new ideas and doing small, iterative experiments to validate their ideas with rock-solid data. Then, armed with conversion-rate data, marketers can confidently bring change — in design, form, and function — to find what resonates with clients and prospects so that the C-suite can see the forest for the trees.
More than the marketer’s job is on the line; the very craft of professional marketing has shifted from content producers of run-of-the-mill deliverables to the makers who are leveraging agility for delivering better, tested-and-verified results faster for improved business ROI.
What’s at stake for these marketers besides their jobs? The efficacy of their craft. Marketers can continue to take the blame, or they can embrace the fact that audiovisual marketing sucks and start doing something about it with data, metrics, and insights.
What do you have to say about the state of marketing in the audiovisual industry?Leave a Comment
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|DIY Acoustics: A Cautionary Tale|
By Dr. Frederick Ampel
President & Principal, Technology Visions Analytics
AUTHOR’S NOTE: In the year or so that I have been writing this column for rAVe’s house of worship publication, the majority of the articles have been how to or problem/solution oriented, with an educational and information focus. A number of those have concentrated on room acoustics and acoustic treatment areas (specifically, on intelligibility here and here, new construction room acoustics here and on getting cleaner, brighter and more articulate sound, here). This is because acoustics related problems are one of the major issues that most HOW spaces have to deal with sooner or later.
In the last few months, I have come across an increasing number of articles and blog posts offering advice on acoustic treatment and materials with the DIY reader as a target. Many of these were written by suppliers or sales folks in that market segment. However well meaning their intent, the content of the vast majority of what I have seen is either too general and vague to be of much practical value or — more distressing — offers specific advice on specific solutions without knowledge of the actual space(s). That approach is simply not a good idea at best and at worst, could create more problems than it would purport to solve. I’m not going to mention specific companies or articles because that’s not the point, it’s the idea that advice must be weighted with the facts, not based on theory only.
The Perils of the Vague Idea — One Size Does Not Fit Most!
It was a Thursday a few weeks ago, much like any mid-west winter Thursday — grey, cloudy and COLD! The phone rang, and seeing it was a local house of worship calling, not one of the daily calls with someone trying to sell us computer repair, we picked it up. (Thank you, Caller ID).
The person on the other end said they had reached out to us to try a help them solve an acoustic issue with their sanctuary. On the surface, fine and dandy — we do this all the time.
But then came the “oh-by-the-way” part of the problem: He said that the church had done some of its own ‘acoustical solutions’ work to try and fix the problem, based on various information they found online.
The sources they used, he said, seemed to be supplying information that matched up with their space and conditions, so they followed the advice, bought the materials and put them up as shown in the article’s diagrams. Oooooops!
Warning bells started going off in my head, but I asked: “Ao what happened, and how can we help you”?
There was this long pause and then: “Well, it’s actually worse now than before we did anything. Can you come and take a look and what would that cost?”
In my head I thought “been there, done that,” but we said “of course,” discussed a service fee and off we went.
What we found when we got there was a room ‘plastered’ with fabric-covered fiberglass panels arranged in a spaced pattern down each wall starting about 3 feet off the carpeted floor. I lost count at 100.
The central cluster sound system was essentially working into a giant mid-band absorber and had no clarity and no definition, but the room had no “echoes,” which was the stated problem they were attempting to solve. And the pews all had thick fabric cushions as well to add to the amount of absorption.
What do you think was the recommended solution and why? The answer is below.
Every Worship Space Has Multiple Acoustic Personalities
One of the primary reasons that general purpose recommendations won’t work is that every worship space can take on any number of different ‘acoustic personalities’ depending on, but not limited to:
- Various kinds and types of surface finish materials and their response(s) to temperature and humidity
- Weather — air temperature, humidity and air density
- Occupancy level and who is occupying the space — for example, adults create a different kind of effect on the acoustics (larger body size more absorption) than children.
Even supposedly “identical spaces” (two rooms built at the same time by the same people using the same materials) are not going to measure exactly the same.
For instance, the acoustic characteristic of brand A drywall and brand B drywall at precisely the same thickness and rating will NOT be the same due to variations in product formulas, manufacturing processes and so forth.
Even within a brand, a batch to batch difference can often be found — the same applies to every other finish material, surface treatment or acoustical solution that you can think of and a whole bunch you didn’t even consider.
Physics Is Physics — The Aerodynamics Example
Perhaps an easier way to understand this complex set of variables and their significant effects on both perceived and measured room acoustics parameters is to look at a different branch of related physics — aerodynamics.
Both acoustics and aerodynamics incorporate such sub-disciplines/sciences as fluid dynamics (air often behaves as a fluid), atmospheric sciences and the effects of thermodynamic variables such and temperature, humidity, atmospheric pressure (altitude) air-density coefficients and so on.
The Same Plane, Different Conditions
So let’s look at one specific aircraft — say a brand new shiny Boeing 777. That airplane flies in and out of Denver’s airport every day, year round, to different destinations, but that does not matter (except for the weight of the fuel it carries to reach that destination which will vary).
What matters is that aircraft will behave VERY differently depending on the effects of a whole bunch of physics parameters, including air temperature, total weight, humidity, air density, equivalent altitude* and a multitude of other factors. So for the pilots of that plane on any given day, there is no one “setting” that will work for taking off (or landing), even though it’s exactly the same plane in exactly the same location.
[*Actual physical altitude, like Denver’s altitude of approximately 1 mile above sea level is not the real altitude that will have to be factored into the plane’s performance. The real altitude is a complex combination of temperature, humidity and other variables. This is why pilots always check and set their altimeter (altitude reference instrument) to a specific number supplied by the airport for that day, time and set of conditions. That number will change throughout the day and from day to day.]
The complex number of variables that must be considered is why professional pilots MUST use a PILOTS OPERATING HANDBOOK or POH before, during and at the end of every flight. That book will contain tables (or charts) like the one shown below.
If you look at the table you will see data on maximum takeoff weight, range, runway length and speed required for takeoff and landing speed all weighted against a specific set of temperature and humidity conditions and engine type.
For example, the thrust produced by the engines, and thus the distance needed to takeoff is based on a precise set of listed temperature and humidity conditions. If the actual conditions are not exactly the same, pilots must use such tables and the flight management computers to calculate what the actual numbers will be for the actual conditions.
For example, on a nice spring day at 85 degrees the required takeoff distance might say 8,000 feet, but if it were 95 degrees that distance would increase to over 9,500 feet.
Why does this matter? Well I don’t know about you, but when that plane starts down the runway I really, really want it to take off. If the calculations are wrong, it may not be able to do that.
Real World Acoustics
Just like the plane example above, each worship space will vary based on a long list of the potential variables, some of which are mentioned above. The worship space we began this story with had applied a one-size fits all solution, not understanding that they were missing key information needed to properly and effectively address the problem.
And that missing information is really what was needed to determine what was causing the problem and its actual origin. Then the appropriate solution to correct the difficulty, and not have more impact than really necessary.
The leadership was concerned that they had now “solved” their problem, but perhaps they needed a new (and expensive) sound system to deliver their message in the ‘fixed ‘room. There was a distinct undercurrent of, “How are we going to pay for that?” running through the dialog.
With no apologies to either Elon Musk or “The Hitchhikers Guide to The Galaxy,” our approach was really quite simple. We told the leadership that although they had apparently solved one problem, they had in so doing created another. They sort of knew this but were not willing to accept the results.
We recommended removing a segment of the panels bit by bit until the problem resurfaced and then finding out what was causing it, where it actually originated and determining a workable solution that DID NOT require a new sound system. Perhaps some re-tuning or adjustment to the system might be helpful but it seemed workable and there was no real reason to replace it IF we could bring back the needed clarity and maintain the echo reduction.
You could almost hear the collective exhale. Now, this would not be a one-day process, we told them. It might take a few days to figure it all out but it could be solved scientifically, and with proper measurement and data collection, corrected once and for all.
The Answer to DIY
I am not saying that any house of worship should not to employ DIY problem-solving. In fact, given real-world budgets and economic realities, it’s probably an inevitable choice. But what I am saying is that just like DIY aerodynamics or brain surgery, you have to know when you’re out of your comfort zone and when it’s time to call in some expertise.
In the case of the house of worship in our parable, the amount of money they ended up spending to find out what the real problem was and solve it was less than a third of what they originally spent on the panels trying to solve it themselves, and they did not need a new sound system — a few aiming tweaks here and there, some level adjustments and EQ and it worked just fine.
So, before you place that order for a truckload of acoustical stuff, spend a few dollars finding out what the actual problem is. In the end, it will most likely be less expensive and produce a better result than guessing a solution and then having to go back and fix the fix.Leave a Comment
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|Vinten Debuts Ceiling Track System for Cameras|
Vinten today announced that its robotic camera dolly and ceiling track system will ship in the U.S. next month. A collaboration between Vinten Automation and veteran dolly manufacturer Tecnopoint, the new Vinten ceiling track system is designed for creative productions in which floor space is at a premium.
Like its sister product, the Hexagon floor track system, the new ceiling track system fully integrates with all Vinten robotic camera supports. The dolly, motorized column and robotic head natively interface with the Vinten control protocol and can be fully managed from the Vinten robotic control system (VRC) to create a powerful studio robotic solution. The track system supports shot sequencing, allowing users to select multiple shots and execute a seamless move through multiple key frames, and an absolute encoder outputs tracking data to the VRC, making the system ready for use in an augmented reality or virtual reality environment.
The new ceiling tracks are designed for flexible installation. The dollies run on steel rails mounted on a truss, while four traction wheels with dual synchronized motors enable high-traction operation with virtually no slipping. Available with straight or curved tracks, the system’s modular structure enables multiple configurations to fit any specification.
The quiet ceiling track system offers integrated cable management, so there are no cables outside the track. Cables move along the track with a festoon system, although a unique cable management system that uses a side vessel for chain cable is available for users who can’t accommodate a festoon.
All the specs are here.Leave a Comment
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|Hitachi’s Newest High-Lumen Laser Projectors Are Aimed at Houses of Worship MarketHitachi’s two newest projectors are both 1080p native resolution laser projectors aimed at house of worship facilities. Hitachi’s LP-WU6500 and LP-WU9100B both have HDBaseT and HDMI inputs, are single-chip DLP and offer brightness specs of 5,000 and 10,000 lumens, respectively.
With 20,000 hours of maintenance-free operation, laser projectors are good for house of worship facilities because of their low maintenance and long life of performance. With built-in HD resolution, four digital inputs and a built-in lens with a lot of flexibility, the 5,000- and 10,000-lumen laser projectors are easy for any AV team to adjust once installed.
With Hitachi’s new high-lumen additions to its solid-state light projector line, house of worship facilities can be prepared for any congregation size, no matter the time of year.
Here are all the specs.Leave a Comment
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|FOR-A to Introduce MBP-1000VS 12G-SDI/IP Multi-Channel Video Server|
FOR-A has announced that it will introduce a new 12G-SDI/IP multi-channel video server next month. The MBP-1000VS is designed for 4K editing environments, offering multi-input/output 4K and HD support and ingest, playout and 4K recording functionality.
With the new FOR-A video server, users can choose from four SSD capacities with maximum 9.6TB to meet their system needs, and can add an LTO option for immediate archiving of captured 4K material or extended recording. With the LTO option, for example, the 9.6TB model MBP-1000VS unit can record approximately 31 hours in XAVC Intra Class 300. The unit also enables recording of HD material for approximately 318 hours in MPEG-2 10-bit 4:2:2 50Mbps. Offering a full range of playout and ingest system applications, the MBP-1000VS is controllable from a variety of automated production control systems and offers redundant power supply.
4K XAVC and MPEG-2 codecs are available with the MBP-1000VS. FOR-A is offering a range of MBP-1000VS interfaces for 12G-SDI or video over IP transmission, including 12G-SDI, 3G-SDI and SFP+, to accommodate varying user needs for inputs/outputs and size of internal storage (SSD). The MBP-1000VS-12G, which mounts 12G-SDI in/out, supports quad-channel 4K XAVC codec. Standard configuration of this model provides two channels for recording and two for playback and it can be configured with up to four channels for recording and four for playback. The MBP-1000VS-IP includes a SFP+ port for 10 Gbps video over IP I/O. It supports up to dual-channel 4K XVAC codecs and can switch channels from encoding to decoding as needed. Supported formats for video over IP include SMPTE 2022-6/7 (TICO) and NMI (LLVC). This model also offers 3G-SDI output capabilities for monitoring. The MBP-1000VS series also includes an HD supporting model, which supports MPEG-2 codec and can be configured with up to eight channels for inputs/outputs.
Here are all the tech specs.Leave a Comment
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|Magewell to Debut Standalone Streaming Encoder
Expanding beyond its video capture and playout cards, Magewell will show company’s first standalone, hardware-based streaming encoder at the 2018 NAB Show next month. Dubbed the Ultra Stream HDMI, it’s capable of recording or streaming video and audio from a variety of sources with one-click using on-device buttons or a smartphone app. Designed for users who want to stream but may have very little technical knowledge, the encoder is aimed at church volunteers, teachers and gamers to corporate marketers and live event organizers.
The initial configuration is performed over network or Bluetooth connectivity with the free iOS or Android app. Once encoding and destination parameters have been set (e.g., entering Facebook or YouTube keys), recording and live streaming can be started and stopped directly with physical buttons on the Ultra Stream unit or via virtual buttons in the app. It can natively stream to Twitch, YouTube and Facebook Live or to a custom-specified RTMP server. Streams can be output to multiple target services simultaneously, while real-time video preview in the smartphone app allows for monitoring.
The first of multiple planned models in the Ultra Stream family, the Ultra Stream HDMI captures, encodes and streams video up to 1080p60 via an HDMI input interface from sources such as video cameras, players and game consoles. The encoder also supports 4K HDMI inputs at 60fps with 4:2:0 color subsampling, down-converting them automatically to HD (H.264) for recording and streaming. Embedded HDMI audio is done by an analog microphone input and a headphone output for monitoring. HDMI loop-through connectivity enables source signals to be simultaneously sent to a monitor or projector without the need for an HDMI splitter.
In addition to outputting live streams, the Ultra Stream HDMI can record video as MP4 files to a directly-connected USB drive or the associated smartphone. Footage can also be recorded in a loop on embedded storage within the unit for subsequent previewing and downloading. The device supports H.264 video compression and AAC audio, with HEVC encoding and recording planned for a future update. Two distinct combinations of resolution, frame rate and bitrate can be specified, enabling simultaneous recording and streaming with different parameters. Still frames can also be captured with the app.
The compact Ultra Stream HDMI measures just 3.7 inches (94.2 mm) square with a height of 1.1 inches (28.5 mm). The flexible unit offers both wireless and wired network connectivity, with built-in Wi-Fi as well as an RJ45 Gigabit Ethernet port. Here are the specs.Leave a Comment
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|Marshall Electronics Announces New HD PTZ Camera
Marshall Electronics just debuted a new high-definition PTZ camera, the Marshall CV620-WH2/BK2. Built on a 2-megapixel, 1/2.8-inch sensor, the Marshall CV620 delivers 1920×1080 video and can be controlled remotely via RS232 over Ethernet cable or RS422 over twisted pair. It uses common protocols to make it compatible with most integrated control systems.
The Marshall CV620 has multiple outputs including HD-SDI (3G) and HDMI (DVI) and many broadcast adjustable settings, such as white balance, exposure, iris, gamma, black level and more for tremendous flexibility of use. The pan-tilt range spans 340° horizontally and 120° vertically. It offers simultaneous 4D control for pan, tilt, zoom and focus.
The Marshall CV620 can be set to resolutions of 1920x1080i, 1920x1080p and 1280x720p, with adjustable high-speed frame rates of 60, 59.94, 50, 30, 29.97 and 25 frames per second. The high definition PTZ camera, available in black (BK2) or white (WH2) color options, is mountable via table, wall or ceiling and includes flappable images.
The Marshall CV620-WH2/BK2 is here.Leave a Comment
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|Gefen Ships Six New AV-Over-IP Products|
Gefen is now shipping six new models from their Gen 2.0 AV-over-IP product line including the DVI KVM, VGA KVM and audio-only input and output formats. The Gen 2.0 KVM line claims 4K Ultra HD with HDR support, built-in scalers, video-wall control, independent USB, RS232, IR, audio routing and backward-compatibility with first-generation products.
The new Gefen AV-over-IP line-up includes a new KM Emulation feature which facilitates real-time, simultaneous keyboard and mouse control of each source from all connected workstations, eliminating the inherent limitations of earlier systems. HDMI and DisplayPort products feature maximum input resolution of 4K 60 Hz 4:2:0, and maximum output resolution of 4K 30 Hz 4:4:4. HDCP 2.2 and 1.4 are also supported. The DVI and VGA models support VESA and CEA resolutions up to WUXGA (1920×1200 at 60 Hz) and 1080p Full HD (1920×1080 at 60 Hz).
The Sender units (except DisplayPort) feature a video output for local monitoring of the source. USB, RS232 two-way IR and audio can be routed independently between any sender and receiver unit, allowing end users to control any of the sources and the displays within their network.
The new digital and analog audio over IP units allow integrators to add audio-only nodes to an installation. Each receiver can play back audio from any of the Gefen AV-over-IP sender units, including audio de-embedded from HDMI inputs. These senders and receivers can be used for multi-room music, conferencing, public announcement and live venue audio projects.
All KVM and AV Receivers feature a built-in scaler as well as a video wall controller that accommodates any screen configuration up to 16×16 in sizing and manipulating live and signage content. Digital and analog audio break-out on HDMI, DVI and DisplayPort receivers allow audio that is embedded into the video to be sent to a separate audio system, enhancing the impact of presentations in large venues. HDMI models pass 7.1 channels of HBR (High Bit Rate) and LPCM digital audio from source to display.
The Receivers’ integrated USB hub with two USB 2.0 and two USB 1.1 ports accommodate touch panels, keyboard and mouse, and a variety of supported devices.
A built in two-port Gigabit switch on each receiver allows the daisy-chaining of additional receivers or other IP-enabled devices. In applications such as digital signage, where content is often replicated on multiple displays throughout the installation, the ability to cascade the receivers removes the requirement for each cable to be run directly to the main network switch.
You can see the entire line here.Leave a Comment
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|Epson Ships PowerLite L-Series Laser Projectors for Education and Corporate Markets
Epson has announced its new PowerLite L-Series for corporate, signage, education and houses of worship. The new Epson PowerLite L615U, L610U, L510U, L400U, L610W, L500W and L610 use an integrated laser light source, include up to 6,000 lumens of color and white brightness with resolutions up to WUXGA (1920×1200) and have enhanced wireless technology to connect to multiple devices.
Epson’s new PowerLite laser projectors are spec’d to offer maintenance-free operation with up to 20,000 hours using a laser light source. Weighing between 17 and 19 pounds, PowerLite L-Series features are designed to be portable or for installation. The new PowerLite L-Series also supports advanced wired and wireless solutions, including HDMI and HDBaseT. To support BYOD classrooms, the projectors provide enhanced wireless display technology, allowing teachers to connect the projector to up to 50 Chromebooks, PCs and Mac computers, and iOS and Android devices. Educators can also simultaneously display up to four screens with the Epson iProjection4 wireless display solution. The PowerLite L610U and L615U models offer wireless screen mirroring from a smartphone or streaming device with Miracast.
The projectors include the following features:
- Solid-State Laser Light Source and Electrostatic Air Filter
- Versatile Connectivity and Control – Supports a full range of inputs, including HDBaseT 3G-SDI; compatiblilty with Crestron RoomView, AMX, Extron XTP, Control4 and Art-Net for easy integration
- Full 360-degree installation flexibility, including Portrait Mode, Instant Off power, quieter performance and high contrast ratios
Here are the detailed specs on each one. Epson says the projectors will ship in August.Leave a Comment
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|JVC Professional Video Announces Three Additions to Its 4KCAM cameras|
JVC Professional Video today announced three new additions to its family of 4KCAM cameras. Among other new features, the new GY-HM250U offers integrated graphics and live streaming, while the GY-HM250SP adds sports-specific score overlays. Also new, the GY-HM180U sets a new benchmark for professional compact cameras without built-in streaming or graphics.
Designed for enhanced single-camera production, the GY-HM250U offers lower-third and full-screen titling solutions for recorded or streamed video output without an external CG or production switcher. Lower-third graphic overlays are generated and controlled using a browser-equipped device, such as a tablet or smartphone. JVC also provides a software utility that lets customers upload logos or icons that are displayed in the lower-third of the recorded video.
Full-screen graphics can be advanced manually or presented as a slideshow during extended breaks in the action with user-defined timing. Users can store up to 50 .JPG or .PNG graphics, such as team logos or religious icons, in the camera. Worship facilities, for example, can display scripture readings or lyrics, with the operator manually advancing graphics during the service.
The GY-HM250SP’s score overlays for football, baseball, basketball, hockey, soccer, and volleyball can be placed in various screen positions. Camera operators can update the score using an external Wi-Fi connected smartphone or tablet, or receive real-time scoreboard data automatically when wirelessly connected to a Sportzcast Scorebot that is integrated with the venue’s scoreboard.
Both the GY-HM250U and GY-HM250SP also feature built-in streaming with Wi-Fi and 4G LTE connectivity that provides live access to CDNs like Facebook Live and YouTube. The cameras also work as part of JVC’s S.L.I.M. studio camera system, an affordable approach to multi-camera production that uses the RM‑LP100 remote camera control as a CCU for JVC IP-capable cameras.
Other new features include 4:2:2 recording for 4K/30p and 4K/24p, as well as 4K/60p HDMI output. The new tele macro shooting mode on the GY‑HM250U and GY‑HM250SP provides better focus on close objects than previous models, while the new Zero Config function provides automatic, one-click configuration of the camera when it joins the same LAN as other cameras.
The GY-HM180U lists for $1,795, the GY-HM250U is $2,245 and the GY-HM250SP is $2,595. Here are more tech specs.Leave a Comment
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|Focusrite Debuts Red 16Line Audio Interface
Focusrite is debuting its Red 16Line audio interface supporting 64-in/64-out Pro Tools | HD and dual Thunderbolt 3 ports. With its Dante and analog connectivity, Red 16Line interfaces with your live sound or production console to capture multichannel audio broadcasts into Pro Tools or other native audio DAWs. The Red 16Line features ultra-low latency A-D/D-A conversion for 16 line level ins and outs, two Red Evolution mic preamps, up to 121dB dynamic range and expansion over Ethernet for networked audio. The host mode can be simply changed either in the remote control software, or on the device front panel to select Pro Tools | HD- or Thunderbolt-connected native DAWs in seconds.
Red 16Line features 16 line inputs on D-sub, coupled with 16 line outputs and two main monitor outputs, and the outputs can be ganged for surround monitoring applications. The two digitally-controlled Red Evolution mic preamps provide up to 63dB of ultra-clean gain along with stereo linking, individually switchable phantom power, high-pass filter, phase reverse and Air mode (the name Focusrite gives to the sonic signature of the classic transformer ISA preamp).
Here are the detailed specs.Leave a Comment
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|Audio-Technica Adds Handheld Transmitter to 6000 Series Line
Audio-Technica is now offering the ATW-T6002x Handheld Transmitter for the 6000 Series High Density Wireless System — a spectrum-efficient solution that allows 31 channels in 4 MHz of bandwidth.
The ATW-T6002x handheld transmitter offers low handling noise and features a metal construction body, high-visibility OLED screen, soft-touch controls and switchable RF power (2 mW/10 mW/50 mW). Its industry-standard thread mount allows for the use of six new interchangeable A-T microphone capsules, as well as other compatible capsules.
The 2016 FCC Incentive Auction has resulted in a repack of the broadcast spectrum, reducing the amount of spectrum available for wireless microphone operations and driving the need for spectrum-efficient technology to operate a high number of simultaneous channels in today’s market. To address this issue, Audio-Technica developed the 6000 Series, whose channels are spaced at 125 KHz intervals and can all be used simultaneously. The system operates in the 944-952 MHz band, which is free of broadcast TV. The FCC has expanded license eligibility for this band beyond broadcasters and content creators to include sound companies and venues that routinely operate 50 wireless microphones or more. The 6000 Series system consists of the following components: the ATW-R6200S receiver, the ATW-T6001S body-pack transmitter and new ATW-T6002x handheld transmitter, an optional ATW-DA410 antenna distribution system, and a number of compatible Audio-Technica lavalier and headworn microphones. Key features include high-performance filtering to remove external noise; clear, easy-to-read displays; transmitter frequency setup from receiver via IR sync; network monitor and control; durable, compact body-pack transmitter design with a highly reliable new miniature input connector.
Interchangeable Microphone Capsules:
- ATW-C510 cardioid dynamic microphone capsule (ATM510 equivalent)
- ATW-C710 cardioid condenser microphone capsule (ATM710 equivalent)
- ATW-C4100 cardioid dynamic microphone capsule (AE4100 equivalent)
- ATW-C6100 hypercardioid dynamic microphone capsule (AE6100 equivalent)
- ATW-C3300 cardioid condenser microphone capsule (AE3300 equivalent)
- ATW-C5400 cardioid condenser microphone capsule (AE5400 equivalent)
More detailed specs are here.Leave a Comment
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|Blackmagic Design Introduces New Micro Converter BiDirectional SDI/HDMI
Blackmagic Design today introduced Blackmagic Micro Converter BiDirectional SDI/HDMI, a pocket-size, broadcast quality video converter that simultaneously converts SDI to HDMI and HDMI to SDI in all SD and HD formats up to 1080p60 for $65.
The Blackmagic Micro Converter BiDirectional SDI/HDMI converts signals between professional SDI broadcast equipment and HDMI sources such as computers, projectors and big screen televisions. The converter can send different video formats in both directions at the same time. For example, customers could use it to convert NTSC format video from SDI to HDMI in one direction, while simultaneously converting 1080p60 video from HDMI to SDI in the other direction.
Blackmagic Micro Converter BiDirectional SDI/HDMI features professional 3G-SDI connections for working with all SD and HD equipment and formats up to 1080p60, including Level A and B devices. Unlike other small video converters, Blackmagic Micro Converters feature the highest quality broadcast technology, miniaturized into an industrial strength durable metal enclosure. Customers get the same broadcast quality 10-bit video processing found in full size converters. In addition, Blackmagic Micro Converter BiDirectional SDI/HDMI also has SDI re-clocking on the 3G-SDI input which regenerates the SDI video signal, reduces SDI jitter and improves SDI eye pattern before the signal is processed. This allows longer cable lengths and makes them incredibly reliable for use in professional broadcast.
Blackmagic Micro Converter BiDirectional SDI/HDMI can be powered via micro USB from a laptop computer, big screen television or mobile phone battery back. It can also be powered using an optional DC plug pack which supports 110 to 240V AC and comes with 4 different international AC socket adapters so customers can plug them into outlets anywhere in the world.
Detailed specs are here.Leave a Comment
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|Vivitek’s Large Venue Projector Family Grows With New DU6693Z Laser Projector|
Vivitek just introduced the DLP-based DU6693Z laser projector — a 7000-lumen, WUXGA (1920×1200) resolution single-chip DLP projectors that is spec’d to have a 10,000:1 contrast ratio. The DU6693Z includes a motorized lens with both horizontal and vertical shift (with 10 memory positions and four corner correction and keystone correction), eight optional lenses that range from a 0.38:1 to 8.26:1 throw ratio and it was designed to support 360 degree/portrait projection mode. Designed for both rental and staging as well as permanent install, inputs include HDBaseT as well as VGA, DVI and HDMI.
At only 32dB at normal mode, its low fan noise makes DU6693Z one of the quietest 7,000 ANSI lumen projectors. Vivitek says it’s using a new advanced thermal management technology to improve the projector’s cooling efficiency. Like most Vivitek projectors, the DU6693Z has a sealed optical engine that is air-tight, so no tiny dust particles cannot get into the optical engine part, and thus not able to interfere with the DMD chip.
All the detailed specs are here.Leave a Comment
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|Canon Europe Debuts LX-MU500Z 5000 Lumen Laser Phosphor Projector|
Canon Europe today launched the LX-MU500Z a single-chip DLP-based installation projector spec’d at 5,000 lumens, a 50,000:1 contrast ratio that’s native WUXGA (1920×1200) resolution. The laser-based system uses a blue laser and yellow phosphor wheel.
The LX-MU500Z runs at 35 dB and, because it’s laser-based, it can be mounted in any configuration; including in a 360-degree orientation. Because the LX-MU500Z has a lens shift of +/-50 percent, portrait projection and four-corner keystone correction, it can be installed off-axis and still be corrected. Inputs include VGA, HDMI, DVI and HDBaseT.
With five image storage modes and two user models, the LX-MU500Z leverages a blue laser diode and yellow phosphor wheel, which can last up to 20,000 hours, for projection and has no parts to replace.
Here are the detailed specs.Leave a Comment
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|Extron Intros New Streaming Media Decoder Card for Quantum Ultra|
Extron is pleased to introduce the new Quantum IN SMD 100 multi-channel H.264 decoder card for the Quantum Ultra videowall processor. It decodes up to four 1080p/60, eight 1080p/30, or 16 SD resolution streams from IP cameras, Extron streaming media encoders and other H.264 encoders. It is compatible with H.264, MPEG-2, and Motion JPEG streams at bit rates up to 40 Mbps. The IN SMD 100 features two independent network ports, allowing streams to be distributed across two different subnets, and supports push and pull streaming session management with a variety of transport protocols. It supports the video sections of ONVIF Profile S, making the IN SMD 100 compatible with a wide variety of streaming devices.
Quantum Ultra is a modular 4K videowall processor with high-performance scaling and windowing technology which accommodates a wide range of applications. It features the Extron Vector 4K scaling engine and HyperLane video bus capable of carrying a multitude of high-resolution sources for unmatched real-time performance. A single processor can support multiple videowalls with mixed resolutions and screen orientations, providing flexible system design with minimal complexity and cost. Portrait and landscape output support, output overlap, mullion compensation and custom output resolutions provide compatibility with nearly any display technology. RS232 and Ethernet interfaces provide direct connections for control systems. Quantum Ultra’s configurability, features and performance make it a future-ready solution for any videowall application.
Specs on the Quantum IN SMD 100 are here.Leave a Comment
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|Christie Expands Laser Phosphor Line with GS Series|
Christie continues to expand its comprehensive mainstream projector lineup with the new 1DLP Christie DHD635-GS and Christie DWU635-GS laser phosphor models featuring embedded warping and blending technology, dynamic contrast, 360-degree orientation, and both portrait and landscape mode. Both models are aimed at a wide range of applications including corporate boardrooms and meeting rooms, classrooms, lecture halls, houses of worship, hotel conference rooms, museums, libraries and other fixed or rental staging applications. The Christie DHD635-GS is HD at 1920×1080 and Christie the DWU635-GS is WUXGA (1920×1200).
Delivering laser diodes for up to 6750 ISO lumens of light output with 20,000 hours of operation, both projectors are equipped with Christie RealBlack technology to produce 4,000,000:1 full on/off contrast ratio in a whisper-quiet (36dBA) solution.
Compatible with all GS Series lenses – including a new Ultra Short Throw – both 1DLP projectors are capable of 24/7 operation and ship in April 2018 with a three-year parts and labor warranty. Here are more detailed specs.Leave a Comment
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|DPI Readies Industry’s First 8K DLP Projector, Ships 4K 3-Chip DLP Projector at 12.5K LumensDigital Projection was at NAB last week with its first-ever 8K DLP projector. The 25,000-lumen INSIGHT LASER 8K (7680×4320) — that’s 33-million pixels and four times the resolution of 4K. The INSIGHT LASER will ship later this year.
In the meantime, DLP’s HIGHlite 4K resolutions (3840×2160) LASER is now 12,500 lumens and a 2000:1 contrast ratio. The 3-chip projector is aimed at home-cinema and entertainment venues, commercial AV and houses of worship. Medical imaging is also supported through the projector’s DICOM simulation mode. Digital Projection’s LASER projectors provide a lowest cost of ownership as a result of the laser illumination system’s 20,000-hour life-span. With no lamps to replace or maintenance costs, the end-user saves money over time and never needs to worry about the possibility of lamp failure. In addition, since they are laser, the projector can be oriented in any position. Other features include HDMI 1.4a, HDMI 2.0 for support of 4K-UHD formats and DisplayPort 1.2 for 4K content delivery.
Here are all the specs.Leave a Comment
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|Arista Corporation Debuts RS-122 Universal 1RU Rackmount System With Dual HDBaseT and AV-over-IP|
Arista Corporation introduces the RS-122 Universal 1RU Rackmount System with Dual HDBaseT, AV-over-IP, and computer options. Designed for applications where computers and extenders can be configured dynamically, the RS-122 can accommodate any two of five available swappable modules:
- the MicroBox-1100A-E01 computer
- the ARD-1006-A07-TX HDBaseT transmitter
- the ARD-1006-A07-RX HDBaseT receiver
- the ARD-1006-A31-TX AV Over IP transmitter
- the ARD-1006-A31-RX AV Over IP receiver
The system enables integrators to determine which combination of transmitters and receivers should be placed in the system’s 1RU, 19-inch rackmount housing — with or without the PC controller module.
Arista’s MicroBox-1100A-E01 computer module features an Intel Atom E3845 1.9GHz quad-core CPU and up to 8GB DDR3 memory. The system is capable of running Microsoft Windows or the Open Source Linux operating system. Accessible ports on the front of the MicroBox-1100A-E01 include a four port USB 3.0 hub, dual Gigabit Ethernet, one RS-232/422/485 BIOS selectable COM port, a CFast slot, and a VGA port. The unit’s rear accessible ports include one HDMI port, one USB 2.0 connector, one RS-232/422/485 BIOS selectable COM port, an audio out jack and a power on/off switch.
The Arista ARD-1006-A07-TX HDBaseT transmitter module features an HDMI Loopback output, a two-port 10/100 Mbps Ethernet pass through hub, IR control, plus Power over HDBaseT. The unit transmits video signals up to 4K/UHD with embedded multi-channel audio and remote power for the receiver. The Arista ARD-1006-A07-RX HDBaseT receiver features a four-port USB 2.0 hub and a two-port 10/100 Mbps Ethernet pass through hub, along with an RS232 port and IR control.
Other module options also available are the Arista ARD-1006-A31-TX a 4K/60 4:4:4 AV Over IP transmitter and the ARD-1006-A31-RX 4K/60 4:4:4 AV Over IP receiver. These units deliver uncompressed, zero-latency signal with broadcast quality scaling for stunning visuals. They are ideal for applications that require high quality, zero latency video extension. These units’ attributes include HDMI 2.0, HDR video, windowing and audio downmixing, audio embedding/de-embedding and more.
The Arista RS-122 Universal 1RU Rackmount System with dual HDBaseT computers and extenders will be priced from $790 to $1,500, depending upon the configuration and here are the details.Leave a Comment
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