Systems Contractor News - July 2023

The Future of AV Distribution is Here

The DisplayNet ® DN-300 delivers an unprecedented level of AVoIP performance, versatility and reliability; at a price point that defines a new industry benchmark for value. Based on the latest SDVoE technology, the DN-300 provides 4K/60 (4:4:4) video distribution with limitless scalability, zero-frame latency and zero image artifacts.

This single unit offers several unique features that provide system designers with exceptional versatility:

 Switchable Transmitter /  Receiver operation

 Dual (copper /  fiber) network interfaces

 Auxiliary H.264/5 video output streams

 Powerful network security features

 PoE+ support

 Silent, fanless operation

 Versatile KVM Routing

 Full-bandwidth USB 2.0 support

DisplayNet also provides software-defined MultiViewer and Advanced Video Wall engines that power a wide range of applications without the expense and complexity of ancillary products. A highly intuitive web-based UI and API greatly simplifies setup and installation, as well as integration into third-party control systems. Contact us today to see how DisplayNet can move your next AV system into the future.

SYSTEMS CHECK

Is Your Digital Signage as Good as DFW's Restroom?

Few things rattle my faith in the survival of our species more than the spectacle of airplane disembarkation. Mind you, the boarding process isn’t exactly a shining beacon of hope, either, but from the time that “ding” indicates it is safe to get out of your seat until the time I step onto the jetway, I can’t help but wonder how we (the collective we) ever got off the ground.

When the flight is over, I’m eager to, you know, get off the plane. There are connections to make or luggage to collect or sites to see—or simply things to do rather than stand in the aisle and watch people struggle with leaving the instrument of their airborne adventure, even when they don’t have luggage in the overhead compartment.

Every once in a while, though, an airport can renew your faith in humanity. As you may recall, I went on a bit of a rant in March regarding a digital signage survey positioned just outside of restrooms at two New York airports. While I’m a supporter of most digital signage, this particular application left me wanting to bathe in Purell.

But the Dallas Fort Worth International Airport (DFW) has found an excellent way to incorporate digital signage into public restrooms. I can’t believe I just wrote that sentence. But this solution should put the potty talk to rest for a very, very long time.

DFW has a display showing travelers which restroom is theirs, and a green background indicates that the facility is good to go (forgive me). Plus, the bottom of the sign can provide the number of available stalls as well as wayfinding instructions for other options if the restroom is closed (in which case the background will be red).

Clearly, someone decided that if the DFW terminal was going to update the traditional restroom placard with digital signage, they were going to do it right. The display has real information, and international travelers and even young children can decipher the basic icons and color-coded messaging.

Is your digital signage project as useful as the DFW restroom display? I can’t believe I wrote that sentence, either, but you get the point. Yes, many displays still generate the “wow” factor, and they will continue to do so for some time. However, as digital signage becomes more omnipresent, “wow” will be replaced by “why.” As in, why is this display here and why should I give it my attention?

Content is king. Relatively few people beyond the readers of SCN are terribly interested in the engineering behind a digital signage installation. No, they want information. Maybe it’s part of an interactive museum exhibit, or maybe it’s a wayfinding map in a shopping complex that can direct them to a jewelry store.

Whatever the use case, viewers want content that is helpful and relevant, but it also needs to be easy on the eyes. The best digital signage finds a balance between content and aesthetics. If viewers need to put on their reading glasses to read the fine print on your digital menu board, it’s time to go back to the drawing board—or at least the restroom.

® avnetwork.com

JULY 2023 VOL. 30 NO. 7

CONTENT

VP/Content Creation Anthony Savona

Content Director Mark J. Pescatore, Ph.D. mark.pescatore@futurenet.com

Content Manager Wayne Cavadi

Contributors James, Careless, Michael Chorpash, Chuck Gloman, Carolyn Heinze, Douglas Kleeger, John Mailhot, Dave Van Hoy

Group Art Director Nicole Cobban Art Editor Rob Crossland

Production Managers Nicole Schilling, Heather Tatrow

ADVERTISING SALES

Managing Vice President of Sales, B2B Tech Adam Goldstein, adam.goldstein@futurenet.com, 212-378-0465

Sales John Casey, john.casey@futurenet.com, 845-678-3839

Janis Crowley, janis.crowley@futurenet.com, 845-414-6791

Debbie Rosenthal, debbie.rosenthal@futurenet.com, 212-378-0468

Zahra Majma, zahra.majma@futurenet.com, 845-678-3752

Andi Tureson andi.tureson@futurenet.com

SUBSCRIBER CUSTOMER SERVICE

To subscribe, change your address, or check on your current account status, go to avnetwork.com and click on About Us, email futureplc@computerfulfillment. com, call 888-266-5828, or write P.O. Box 1051, Lowell, MA 01853.

LICENSING/REPRINTS/PERMISSIONS

SCN is available for licensing. Contact the Licensing team to discuss partnership opportunities. Head of Print Licensing Rachel Shaw licensing@futurenet.com

MANAGEMENT

SVP Wealth, B2B and Events Sarah Rees MD, B2B Tech & Entertainment Brands Carmel King Managing Vice President of Sales, B2B Tech Adam Goldstein

Head of Production US & UK Mark Constance Head of Design Rodney Dive

FUTURE US, INC. 130 West 42nd Street, 7th Floor New York, NY 10036

No surveys, just good, clean restroom information.

Diversified Expands Partnership with Appspace

Diversified can now offer its clients a unified workplace communication and management platform through Appspace. The Appspace platform combines solutions for space reservation, digital signage, an employee app, and a modern intranet.

Through a long-standing partnership, Diversified has offered Appspace workplace communication solutions, including digital signage, to its clients in various vertical markets, including banking, technology, and healthcare. The expanded relationship means Diversified can offer workplace management solutions to their clients— many of whom are investing in flexible workplace options for employees.

“For more than 10 years, we’ve witnessed first-hand the innovation Appspace brings to the workplace experience,” said Liz Davis, president of workplace solutions at Diversified. “This innovation is becoming increasingly more important as our clients look to enhance employee engagement, whether their employees are remote, hybrid, or frontline workers. Appspace enables us to better deliver on this important need through one single platform.”

According to many reports, some companies

expect to reduce their IT spending in 2023 to brace for an uncertain economic climate. By consolidating workplace communication and workplace management into one platform from Appspace, Diversified can help clients reduce their technology spending by eliminating the need for multiple siloed products.

Appspace also recently launched its app for Microsoft Teams, which allows organizations to embed the Appspace employee app functionality and other Appspace features into Microsoft Teams. The Appspace app for Microsoft Teams further helps organizations generate cost savings and productivity by reducing the number of solutions required for their workplace management and communication needs.

“Many Fortune 500 companies and other organizations are rationalizing their real estate footprints as they embrace more flexible work options,” said Scott Chao, chief growth officer at Appspace. “At the same time, they need smarter technology to keep employees engaged and informed. Through this expanded partnership, Appspace will help Diversified offer their clients a simpler workplace experience platform to improve employee engagement and drive IT cost savings.”

Snap One Opens New Co-Headquarters in Utah

In May, Snap One announced the opening of a new five-story, 94,983-square-foot co-headquarters on the Innovation Pointe Campus in Lehi, UT. According to Snap One COO Jeff Dungan, the new co-headquarters features an Innovation Center with an expanded number of laboratories, test areas, and training facilities to accelerate the development of hardware, software, and services that can be envisioned, designed, prototyped, tested, and delivered faster than ever before.

“In designing this new co-headquarters, we have considered the long-term needs of our partners and their customers and created an environment that internalizes the capabilities needed to accelerate our innovations,” Dungan said. “The name of the location of our new innovation center—Innovation Pointe—is very fitting. This campus will function as a creative hub for a larger community that is attracting some of the biggest names in technology today.”

New LED Displays Enhance Isotopes Fan Experience

Albuquerque Isotopes fans are enjoying two new LED displays at Rio Grande Credit Union Field at Isotopes Park in Albuquerque, NM. The main video display and structure, one of the largest in the minor leagues, measures nearly 35x110 feet, and its variable content zoning can display one large image or multiple zones of content. An “out-of-town” display, which measures nearly 5x51 feet, shares league-wide updates and scores from other games. Both 15 HD pixel pitch displays were designed, manufactured, and installed by Daktronics.

Epson Partners with 5 Gyres to Battle Plastic Pollution

Epson has partnered with The 5 Gyres Institute, a nonprofit organization dedicated to empowering action against the global crisis of plastic pollution through science, education, and advocacy. Through the partnership, Epson will focus on raising awareness of plastic pollution and identify solutions for customers to reduce plastics at work and home.

“At Epson, we are dedicated to being part of the solution when it comes to taking care of our world,” said Kendra Jones, chief legal and sustainability officer, Epson America. “This partnership will help us learn from the experts and inspire Epson and our customers to further reduce our plastic footprint.”

Innovation Pointe is in the heart of “Silicon Slopes,” Utah’s tech community, which is also home to many leading tech innovators. The new Snap One co-headquarters will serve as the collaboration hub for some 500 Snap One area employees, one that complements the company’s other tech centers in Charlotte, NC, and Serbia.

5 Gyres offers nearly 15 years of expertise in scientific research and engagement on plastic pollution issues. The team leads research to drive upstream solutions, vet innovation, and support good policy measures that address the many sources of plastic pollution. Epson will support 5 Gyres solutions-focused research in 2023 by investigating the environmental fate and toxicity of bioplastics, determining the release of nano and microplastics from everyday items, and assessing novel materials in waste management streams, including compost.

From top: Liz Davis, Scott Chao

The new Snap One co-headquarters opened in May.

Buona Restaurants Adopt PDG Digital Menu Boards

Buona, a Chicago-area fast casual restaurant chain, will install Palmer Digital Group’s turnkey outdoor digital menu board systems at most locations, beginning with two locations paired with The Original Rainbow Cone ice cream shop. The dual-concept franchise initiative, along with changing consumer habits, inspired Buona to re-evaluate its drive-thru operations.

The marketing team was equally invested in the idea, given the challenge of updating multiple, differently sized static message boards in a timely manner. “It’s not easy to roll out signage when every location has uniquely sized boards, varying between single, double, and triple-panel configurations,” said Mark Kearins, IT director, Buona. “That leaves the marketing team scrambling to create

signage for a variety of dimensions, many of which are unique to one site.”

Founded in 1981, Buona brings Chicago flavors including its signature Italian beef sandwich to 26 restaurants in surrounding communities. In 2018, Buona joined forces with regional institution Rainbow Cone, which opened its original Chicago location in 1926 and today operates in 10 stores, with two more opening in Orland Park, IL, and Bradenton, FL.

One of these locations, in Valparaiso, IN, represents a Buona/Rainbow Cone dual-concept.

Buona ordered two triple-panel canopy systems for Valparaiso one for each drive-thru lane and soon committed to a larger order for its Bolingbrook, IL, Buona location, which adds single-panel preview boards. The company cut the ribbon on its modern-

Airtame Enhances Collaboration in 1,200 Kentucky Classrooms

With recent funding programs intended to help schools invest in new technologies, the Warren County Public Schools district in Kentucky recognized that it could help teachers simplify tech-based classwork and increase student engagement using the Airtame platform for shared screens. Enabled by the Airtame 2 hardware, the Airtame platform is now providing seamless wireless screen sharing and district-wide digital signage opportunities across approximately 1,200 TVs in the district’s 28 schools and seven non-instructional facilities.

“Warren County Public Schools has a focus on student-centered instruction, and we prioritize technology where appropriate, including providing every student with a Chromebook,” explained Matt

Kresslein, WCPS instructional technology coordinator. “We’re always looking for sustainable solutions that provide consistency in our instructional spaces, and Airtame, in conjunction with TV displays and devices for each student and teacher, provide that consistent experience.”

With every room featuring the same technology design, teachers can now walk into any classroom and instantly connect their laptop or mobile device to the display and begin screen sharing. Teachers can even designate a “Favorite Airtame” that keeps the chosen Airtame and TV at the top of their connections list, so there are no complications or barriers to presenting wirelessly. It’s a secure, virtually foolproof procedure that ensures schools can be as flexible as required while delivering consistent quality.

“We have transitioned from interactive whiteboards located at the front of each room to TVs with the Airtame platform, which has freed our teachers to move around the room as they lead digital lessons delivered wirelessly from mobile devices,” Kresslein added. “This has proven to be far more impactful than standing in the front of the room while students use their Chromebooks.”

One of the major advantages of using Airtame is that the platform protects and prioritizes teachers’

ized Valparaiso drive-thru experience on April 12, with staff and customers already reporting improvements in business management operations and the customer ordering experience.

PDG also supplied Spectrio PingHD digital signage software licenses for each location, which allow the marketing team to quickly populate pricing changes, limited time offers, and other dynamic content.

“Palmer Digital Group provides a solution that talks to our point-of-sale system, which makes it easy for us to change menu layouts, link items, and adjustment prices,” Kearins added. “New content can be on the screen within minutes and at no tangible expense. There is no more scrambling to create content, and no chance of an expensive mistake such as a static board misprint that costs about $1,500 per location.”

wireless connections, strengthening their control of the classroom. The prior whiteboard solution allowed any wireless device to override teachers’ connections, which presented an opportunity for students to interrupt lessons and disrupt class.

“When we talk about an entire school district, the effects cannot be overstated,” said Simon Hangaard Hansen, vice president of product, Airtame. “Thanks to the addition of Airtame to every classroom, all of Warren County Public Schools’ TVs are now scheduled to turn on and off at specific times each day and around vacation days, so teachers don’t have to worry about it. This saves electricity, time, and frustration, allowing teachers to focus on their lessons and students rather than troubleshooting or technology procedures.”

Unlike the independently operated whiteboards, the Airtame platform allows administrators at the school or district level to treat every TV as an endpoint in a consolidated digital signage network. They can present messages, announcements, notes of recognition, and other info to specific classrooms or schools—or across the entire district. Beyond the classroom, this has enabled the school to easily deploy digital menu boards for cafeterias, among other usage scenarios. Spaces with multiple Airtame-powered TVs also offer teachers the option to stream simultaneously to multiple displays, which was not previously possible.

Since Airtame wirelessly mirrors the user’s entire screen, and doesn’t require using a specific app or device, teachers can use content from a wide variety of sources without changing any settings or remembering any specific procedures. The new system also eliminates the need for teachers to sign in.

Following a successful deployment in Valparaiso, IN, Buona is adding outdoor digital menu boards at most of its locations.

Airtame allows teachers to walk into any classroom in the Warren County Public Schools and share their laptop screen.

PAMA Talks 5G Impact on Pro Audio

In a recent survey conducted by the Professional Audio Manufacturers Alliance (PAMA), professional audio companies ranked 5G capabilities as offering “good potential” in terms of enabling high-resolution audio content for streaming and cloud-based storage, with “some potential” indicated for cloud-based production, lowlatency distance collaboration, and their companies to enhance products with 5G access and complementary features. However, many concerns were raised that need resolution before 5G’s potential can be effectively realized in workflow and products.

“Currently, the biggest challenge is for 5G to meet latency requirements for pro live audio productions,” explained Prakash Moorut, senior director of spectrum and regulatory affairs, Shure. “Furthermore, it is no guaran-

tee that mobile network operators employ chipsets in their devices that cater to our internal guidelines. If these issues can be effectively solved, then 5G can play a much bigger role in the development of future products.”

Dennis Stegemerten, solution architect at Sennheiser, agreed. “5G offers a lot of potential, but currently latencies are still very high,” he noted. “A lot of work has to be done before it can really enhance a brand’s product portfolio. There are also uncertainties about the performance of public 5G networks and the ease of use of private 5G networks.”

“Some concern” was the overall response to the question of how 5G (and evolving RF spectrum

considerations) may affect users of wireless microphone, instrument, and IEM systems. 5G does not currently fulfill the requirements of most of the Sennheiser product line, and Stegemerten said any further widespread re-allocation of spectrum space may adversely affect the operation of the brand’s established wireless solutions. However, he said Sennheiser is active in several European and international working groups around the 5G topic.

According to Chris Regan, co-founder and president of RF Venue and current chair of PAMA’s Board of Directors, the 5G spectrum re-allocation that took place a few years ago has required manufacturers to troubleshoot and uncover new solutions. “Some of these mobile providers operate right ‘next door’ to wireless mics and in-ears, and that has caused interference in concentrated population centers,” he said. “So far, it’s been manageable, but there is certainly the possibility for some problematic times ahead if the spectrum keeps getting chipped away for 5G and its successors. Overall, I am optimistic. 5G audience interaction is an interesting area in development, where people will be able to use their phones to access various parts of an audio mix or stream content related to the live performance.”

From left: Prakash Moorut, Dennis Stegemerten, and Chris Regan

SCN Unveils Installation Product Awards at InfoComm 2023

Innovative Products Across 14 Categories Celebrated at Ceremony

During a ceremony on June 13 at InfoComm 2023 in Orlando, FL, the winners of the Systems Contractor News 2023 Installation Product Awards were revealed. Winning products were recognized across 14 categories, including two new categories: Most Innovative App and Most Innovative Sustainable Product Strategy.

“Our SCN Installation Product Awards continue to shine a spotlight on innovation in the Pro AV industry. Congratulations to all our 2023 winners,” said Mark J. Pescatore, content director, Systems Contractor News. “I was particularly excited to see a healthy number of companies submit their solutions for the new categories. We want to make sure sustainability is more than just a buzzword in Pro AV, so we were happy to shine the spotlight on companies working hard to make great products and make a difference.”

And the winners are:

Most Innovative App

• 22Miles: Sky Reserve (SkyCenter One)

• Sennheiser: MobileConnect App

Most Innovative Audio Hardware

• Blaze Audio: PowerZone Connect 2U Series

• Shure: Microflex Advance MXA920 Ceiling Array Microphone

• Vaddio: EasyIP CeilingMIC/AMP D

Most Innovative AV Installation Accessory

• Airtame: Airtame Hub

• Eaton: 4x4 HDMI over Cat6 Matrix Switch Kit

• Epson America: PixAlign ELPEC01 Camera

Most Innovative AV-Over-IP Solution

• Audinate: Dante AV-H

• Aurora Multimeda: IPX-UC1 ULTRA

Most Innovative Collaboration Product

• Middle Atlantic a Brand of Legrand | AV: Forum Collaboration Suite

• Samsung Electronics: WAC Interactive Display

• ViewSonic: ViewBoard IFP105S-5K Interactive Display

Most Innovative Digital Signage Product

• Absen: CL Series

• BrightSign: XD5 Digital Signage Player

• Nanolumens: NanoSuite

Most Innovative Emerging Technology

• C2G: Thunderbolt 4 USB-C 10-in-1 Dual Display Docking Station

• Crestron Electronics: Crestron Sightline

Most Innovative Mounting Solution

• Chief: Voyager Mobile Cart (LSCU)

• Eaton: Pop-Out Video Wall Mount

Most Innovative Signal Management Product

• VuWall: TRx Video Wall Management Platform 3.5

Most Innovative Streaming Product

• BZBGEAR: BG-ADAMO-4K PTZ Camera

• JVC Professional Video: KM-IP8 vMix Studio Switcher

Most Innovative Sustainable Product Strategy

• PPDS: Philips Tableaux

• Samsung Electronics: Samsung Environmental Strategy

Most Innovative Videoconferencing Product

• Avocor: CollabTouch

• Bose Professional: Videobar VB-S

Most Innovative Video Display

• Christie: MicroTiles LED 1.0mm

• LG Business Solutions USA: LG MAGNIT Micro LED Display

• MAXHUB: 105-Inch Non-Touch Panel

Most Innovative Video Projection Solution

• Digital Projection: HIGHlite Satellite MLS Reference

• Sony Electronics: VPL-PHZ61 / VPL-PHZ51

Each of the nominated products were submitted by their respective manufacturers. Winners were chosen by industry professionals through a ballot accessed through avnetwork.com. Up to three winners were selected in each category, based on number of entries. The nominated product must have first shipped between January 1, 2022, and March 20, 2023. Products that won in last year’s awards program were not eligible in any category this year.

Amelia

Museum Takes Flight

After acquiring Muriel—the world’s last remaining Lockheed Electra 10-E and identical model to the plane Amelia Earhart piloted on her final flight—the Atchison Amelia Earhart Foundation’s longtime vision for a first-ofits-kind museum took flight in April with integrator Dimensional Innovations (DI) in the pilot’s seat. Foundation stakeholders turned to DI and DI Build, as well as content partners Turnkey Education and Museum EXP, to create the Amelia Earhart Hangar Museum (AEHM), a tech-focused, inspirational exhibit inside the Amelia Earhart Memorial Airport (K59) in Atchison, KS.

Utilizing virtual reality, hands-on learning, interactive games, and more, the museum’s blend of immersive exhibits transcends the typical educational experience. Decorated in the nostalgic art deco style from the early years of flight, AEHM draws visitors into Earhart’s bold world of exploration, curiosity, and wonder.

“When we plan to integrate any AV components within a museum or cultural setting, we always consider the purpose that technology will serve and how it further enhances the museum-goer’s experience,”

noted Weston Owen, senior PR and communications manager, Dimensional Innovations. “It’s become second nature to want integrated technology, but we’re very conscious of its functionality—specifically, how an interactive educates or enlightens and if it is approachable. Regardless of age or ability, everyone should be able to learn and enjoy an experience, so that is always assessed early in the development process.”

Careers and Constellations

Inside the gallery, the journey begins where Earhart began hers—as a young girl with a pioneering spirit and hunger for adventure. Real-life stories, audio interactives, digital kiosks, and imagery tell the story of Earhart’s curious youth. Visitors can flip through a digital scrapbook, listen to accounts of Earhart’s relatives using an antique telephone, or read what some of her most famous friends had to say about the aviation pioneer. DI used products and solutions from several manufacturers throughout the museum, including SnapAV power management, Crestron video transport, LG displays, QSC audio, and TSItouch touchscreens.

After a young Amelia was told she couldn’t ride a roller coaster, she went home and built her own.

Always seeking another thrilling adventure, Earhart experimented with her homemade roller coaster, making the appropriate adjustments to achieve a longer ride. A modern roller coaster sits on the gallery floor; visitors are encouraged to manually crank the cars up the track and watch them glide down and around for a visual lesson in physics and mechanics.

The interactive, augmented reality (AR) “Careers” invites visitors to visualize themselves in numerous historical and modern-day professions that Earhart employed to support her passion for flying. Whether choosing a pilot, nurse, fashion designer, or mechanic, participants step in front of a gesture-reactive screen. Then, a digital image of their face is overlaid on a lifelike avatar that not only mirrors their movements but shows how they’d look in the uniform of their career choice.

The hangar’s mezzanine puts visitors among the stars for further exploration through digital, visual, and hands-on interactives. “Amelia’s Guiding Lights” unveils how Amelia’s navigator, Fred Noonan, used constellations and celestial cues to navigate flight paths. Visitors can learn and practice celestial navigation using a replica sextant, analyze different cloud and atmospheric layers, and get an up-close look at some of the authentic tech and tools of her time.

“We created a ‘constellation cloud,’ or a very large light pan showing several stars and constellations. “From a button panel below, visitors can select their favorite constellations, which are then displayed on a screen to educate the user about their origin and place in the night sky. Then, as they look up, an animation of their chosen constellation is illuminated in the LED light stars above,” explained Chris Riebschlager, director of creative technology, Dimensional Innovations. “The scale and complexity of this light setup were very challenging for the team, but it looks incredible and functions perfectly. Hopefully it inspires young and old to gaze into the night sky and find the constellations for themselves.”

A comprehensive timeline wall and 3D holograms illustrate the evolution and mechanical innovation of flight, all in comparison to Earhart’s life. Visitors can explore two aircraft engines through a capacitive display. When participants touch one of the mounted engine pieces, an animated illustration will appear on the screen above to showcase how it functions. Ready to see it all in action? Press the button to watch and hear the engines roar.

While she may look like the real deal, an onsite lifelike portrayal of Earhart took more than 1,000 combined hours of extensive research, AI technology, and computation to create. To bring the unique experience to life, the DI team used innovative technology that combines archival photos and videos with human talent to ensure the animated portrayal of Earhart was as charismatic, authentic, and realistic as possible.

Flying Lessons

Visitors can also crouch into the pilot’s seat inside an imitation Muriel cockpit equipped with flight controls to get a real sense of Amelia’s cramped flying

The “Amelia’s Guiding Lights” exhibit uses LEDs to illuminate constellations for visitors.

Museum visitors can put their flying skills to the test in a VR flight experience.

Earhart Hanger

quarters. Outside the flight deck is a real-life Garmin G1000 avionics suite and touchscreen dashboard, where visitors can see the advancements since Amelia’s era. The nearby “Feminine Feats” section features women in aviation who continue to prove their passion and conviction for flight.

Guests can also put their precision and mechanical eye to the test in an interactive quest to restore Muriel. Players must use the prop rivet gun to hover over each blue “ice box rivet” until it turns white before moving to the next. Whoever secures the most rivets with the most precision wins.

The mezzanine also explores the age-old question: What happened to Amelia Earhart on that fateful flight? Popular theories of her mysterious disappearance line

the wall, ultimately leaving visitors to vote using the touchscreen monitor on which theory they believe.

Plus, visitors can put their flying skills to the test in a virtual reality (VR) flight experience. Each station is equipped with two steering yokes and VR headsets. Players embark on a digital yet lifelike flight path of Earhart’s, piloting to either land successfully in Paris or reroute to Derry, Ireland.

“One of our challenges was creating an incredibly durable, headset-based virtual reality flight simulation. Knowing this activation was public-facing, we had to be mindful of developing a remarkable experience that was also resistant to the wear and tear from the end user,” recalled Riebschlager. “Extending the connections to the headset was not an option,

so the PCs driving this experience had to be local to the exhibit. This means we had to create a vented and secure home for the PC and other equipment in the ‘nose cone’ of the plane we built for this installation.”

The journey concludes inside the museum’s mini theater, with a closing video that emphasizes the museum’s key message of inspiration, dedication, and perseverance. Visitors of all ages and backgrounds are encouraged to dream big, challenge the status quo, and reach for the sky, just as Earhart did.

Every element of the museum is designed to be a fun academic experience that takes students’ knowledge of flight to new heights—an opportunity they can’t get inside the classroom. DI wanted the museum not only to be innovative and inspiring, but also historically accurate and educational with an emphasis on STEM disciplines.

DI worked alongside Turnkey Education to collaborate with student and teacher focus groups to better understand how the museum could engage students of all ages, particularly those in remote, rural communities, while meeting national, Kansas, and Missouri educational standards. “Partnering with DI on this state-of-the-art history and STEM museum, we’ll be able to help give a glimpse into her life in a way never before experienced,” said Karen Seaberg, AHEM founder and president.

The Amelia Earhart Hangar Museum opened in April and features several exhibits.

LEA Restores Musical ‘Vibe’ of Beach Resort

Atreasure hunt on an island might sound like a new blockbuster movie. For K Systems, it became a real-life experience when the JW Marriott Marco Island Beach Resort needed to upgrade its Florida property’s audio system.

Situated along three miles of private beaches on the Gulf of Mexico, the resort is expansive with 12 restaurants, two championship golf courses, a fitness center, spa, and multiple meeting and conference facilities. For some time, the resort had been battling with an audio system that was fragmented and a challenge to operate and keep maintained. While different engineers had fixed issues over the years, their “band-aid” solutions had only aggravated the problems.

Understanding they needed a more sophisticated solution to provide guests with a sensational sound experience that would match the luxuriousness of the resort, management contacted K Systems and owner Mitchell Piper. Piper led K Systems on what he called a “treasure hunt” of the property’s needs.

“When we began the ‘treasure hunt,’ we started with the mechanical elements,” said Piper. “Where is

all the equipment? What speakers are working, what speakers aren’t working? And that level of discovery takes a long time. That’s just how these properties work, because there’s no institutional knowledge. Eventually a pattern emerges where you can really see the overarching concerns.”

From this level of discovery, Piper was met with two main problems: a mechanical problem and, as Piper described it, a “vibe” problem. In terms of the mechanical issues, there was a severe lack of understanding as to how many of the systems of the property operated. On top of this, many of the current systems needed to be constantly rebooted.

Piper realized the resort needed a system that could be centrally controlled through the cloud and be reliable enough that there would be no need for continuous rebooting. If all these things were in place, he was confident he could restore the musical experience for guests and ultimately fix the vibe. The K Systems team ended up gutting the entire system and designing a complete redo.

LEA Professional Dante Connect Series ticked all the boxes. With a choice of two, four, and eight-channel systems, these Dante-ready amplifiers feature direct HiZ (70V or 100V) or LoZ, selectable by channel. In addition, the LEA Professional Cloud Platform allows users to securely access and control individual amplifiers or entire venues of amps from anywhere in the world without the need to VPN into a LAN.

K Systems installed 28 LEA Professional Dante Connect Series amplifiers for maximum coverage, a mixture of 354D, 704D, 84D and 702D models. “I was pleasantly surprised by just how simple the set up was,” recalled Piper. “We’re a small business, so each member of the team wears a lot of different hats. Frankly, we do not have time for complexity when it comes to install protocol. When we went to install the LEA amp, I think it took me maybe five minutes to connect it to the cloud.”

All LEA Professional amplifiers leverage the built-in Amazon Web Services (AWS) IoT Core. The cloud platform allows integrators to control and

Radiant Helps Boost Airport Passenger Experience

Ohio’s Columbus Regional Airport Authority (CRAA), which sees millions of passengers each year at the airports it serves, had an issue with Transportation Security Administration scheduling at John Glenn Columbus International Airport (CMH). Without real-time knowledge of cancellations and delays, TSA supervisors had no reason to extend shifts. As a result, some travelers had a negative experience.

An automated solution, created by Radiant Technology, was integrated into the CRAA’s managed

services platform to send real-time alerts to TSA supervisors about departures delayed outside of normal hours. Radiant Pulse sends notifications of outlying flights to a set distribution list, resulting in agents being present to process passengers for off-hour flights. This has created smarter workflows and gives TSA greater visibility to appropriately plan staffing and resources.

“We value the digital expertise Radiant Technology provides, in this case, using data to create better workflows behind the scenes, which ultimately

monitor critical operational data points that are integral to maintaining system health securely and remotely. The capability delivers greater visibility and response time, which enhances preventative maintenance, simplifies troubleshooting, and cuts down or even eliminates on-site maintenance requirements.

Not only did the resort benefit from the cloud platform but it also saved rack space by utilizing the unobtrusive design of the Connect Series, a plus since equipment footprint was a major consideration for the project. The spa alone at the property had 50 audio zones between its 24 treatment rooms, nine wet rooms, and 12 common spaces.

“In the spa area, I didn’t need a lot of energy, I just needed a lot of independent zones,” said Piper. “So, in five or six rack units with a few network cables routed into a switch, I could completely wire the space. I had a tiny rack space to contend with, so having that much power available to me in a limited space was also an important consideration.”

Overall, the resort’s management has been extremely impressed with its upgraded audio system—and, according to Piper, the positive musical vibe has been restored. “The technology I provide gives people joy,” he added, “and I need partners like LEA who can help me get there.”

translates to a better passenger experience,” said Angie Tabor, CRAA senior manager, customer experience and marketing, communications and public affairs.

Radiant Technology’s Radiant Pulse platform is helping to reduce TSA scheduling conflicts.

LEA Professional’s Connect Series helped restore the musical “vibe” of the JW Marriott Marco Island Beach Resort.

The compact LEA Professional Dante Connect Series saved equipment space while providing cloud-based monitoring of the resort’s sound system.

No Bull: Riedel Intercoms Deliver at The American Rodeo

OSA International deployed a Riedel Artist digital matrix intercom system and Bolero wireless intercom system in March to support all behind-the-scenes communications for Teton Ridge’s The American Rodeo at Texas Rangers Stadium. Produced by Executive Visions for a live audience and for streaming and broadcast, the event featured competition in 11 Western sporting disciplines and four nights of music entertainment.

“OSA has trusted Riedel ever since we started working with the company’s intercom systems for the Red Bull Air Race World Championship and ESPN X Games,” said Carmen P. Educate, executive vice president at OSA. “For this project, we knew that Riedel’s products would provide the performance and versatility we needed to support all areas of production. We were able to augment the

stadium’s existing infrastructure with a more robust backbone, and that gave us 100% flexibility in placing panels and positions as needed.”

Three Artist nodes and additional Bolero antennas and beltpacks supplied by OSA facilitated communications across the venue during production. With Artist as the backbone of communications across the stadium, OSA could connect different lines at a moment’s notice by deploying panels in different positions. Integrating smoothly with the existing antenna infrastructure, Bolero added more range to the venue’s overall communications. Together, they enabled a cohesive workflow that involved all broadcast and venue entities, and allowed teams to communicate using the same infrastructure.

As both a rodeo and a concert, the four-day event hosted performances by artists including Sheryl Crow and Darius Rucker. Riedel’s Artist and

Bolero systems helped more than 50 users communicate during the concerts, allowing performers and crews to stay in sync, facilitating the movement of performers through different green rooms, and ensuring timely movement of production elements around the venue. Setup of the rig and overall deployment took four days.

“OSA has been a great partner over the years, and it was fantastic to step into this project for Executive Visions and Teton Ridge’s The American Rodeo together,” said Joyce Bente, president and CEO, The Americas at Riedel Communications. “The event is an American cultural touchstone, and its unique combination of fast-paced competition and live entertainment made it the perfect fit for our Artist and Bolero intercom systems.”

Reidel and Bolero intercom systems supported communications for rodeo and concert performances at Texas Rangers Stadium in March.

PEOPLE EXECUTIVE Q&A

Complex Systems, Simple Operations

Lightware CEO Tirado Celebrates 25 Years of Pro AV Signal Management

By Mark J. Pescatore

: How long have you been with this company, and what are your responsibilities?

Jason Tirado: I joined Lightware Visual Engineering over six years ago, and my responsibilities are to manage day-to-day operations for the Americas, including North America and South America. After previously serving as president of Lightware North America, I was named CEO of Lightware US on June 9.

: How is Lightware celebrating its 25th anniversary?

JT: We celebrated our 25th anniversary at InfoComm 2023 with a special birthday party. We also hosted a party during ISE 2023, and it was a huge success.

: What made you decide to open training hubs (Experience Centers) in Las Vegas and London, and how have your customers responded?

JT: We opened the Lightware Discovery Center in Las Vegas because we have a strong presence in the area. Lightware is behind the scenes in many well-known shows, such as Cirque du Soleil and Blue Man Group, and other experiences, like Illuminarium and Worre Studios. Lightware has a focused presence in the large display industry, and Las Vegas is one of the best places in the world to experience state-of-the-art visual displays. Las Vegas has a concentration of the specific applications that we’re specialists in. We felt Las Vegas was a natural place for individuals to experience Lightware.

Additionally, we opened the Lightware Discovery Center in London because it is a big hub for Lightware. We have a customer base throughout Europe, and it allows us to reach our customers more closely. We have key decision makers in London, so it was a natural fit.

: What are the short and long-term goals for your company?

JT: Our goal is to take care of employees and our customers. We want to continue to listen, invent, and deliver. Our philosophy is quite unique. We recognize that we have very valuable professionals at Lightware. We want to take care of them and give them the resources to succeed. It gives us the energy to continue listening, inventing, and delivering.

Jason Tirado

Position: CEO

Company: Lightware Visual Engineering

Overtime: My wife has a passion for planting native pollinator friendly plants. We are frequently planting new native plants in our local community, so I spend my free time digging in the dirt.

corporate or educational environment, the users don’t have to control cameras much anymore because the cameras have developed enough to control themselves. As a result, simplified control is a fundamental part of corporate and education spaces. Users want the displays to operate on a schedule and control the volume. Most rooms will be satisfied with a simplified level of control.

: While we’re still in the meeting room, how important is USB-C for the future of Pro AV connectivity?

: Your company has described LARA as futureproof room automation. What makes this software unique?

JT: LARA is unique because it is generic since we’re using JavaScript. JavaScript is a really great thing because it’s a well-known proprietary software language. We’re tapping into a wealth of resources, experienced programmers, modules, and knowledge that’s already been developed. It doesn’t require anyone to learn a proprietary language or method of thinking. We’re harnessing a standardized language to create a simplified experience.

: How important is room control for corporate and/or education spaces?

JT: Simplified room control is incredibly important for corporate and education spaces. The key is that control systems and interfaces used to be quite complex because rooms were more complex and had more devices in them. Today, these rooms include a monitor, a DSP, and a microphone. Whether it’s a

JT: A lot of sources have adopted USB-C, including phones, so it’s going to be very important for the future of professional AV connectivity. It’s not just laptops anymore. In fact, at a recent Taurus demonstration, a participant used their Android device to plug in their phone using a USB-C source. They didn’t have to bring their laptop. They were able to use the keyboard and mouse function to control their phone through a desktop feature. USB-C is becoming more and more important for BYOM devices.

: Lightware has an extensive catalog of AVoIP solutions for 1 GigE and 10 GigE networks. How can customers determine which network they need?

JT: Customers can determine the type of network they need based on the signal format they’re trying to send. For users in an environment where every pixel is important—such as esports, movie production, or entertainment—a lot of hours, time, and money have been spent creating vivid colors and wonderful images. Every pixel is important. For environments with static images—PowerPoints, Excel, and documents—not every pixel is important, and it can be easier to get away with a lower bandwidth solution.

: What’s the next big thing for the Pro AV industry?

JT: The merging of Ethernet and USB topology is going to be the next big thing for the next several years. USB-C is taking over the topology of phones, and Ethernet is going to be around for a while. The combination of USB and Ethernet is going to be a driving force for the professional AV industry.

Simplified room control is incredibly important for corporate and education spaces.

EXECUTIVE Q&A PEOPLE

‘Changing the Topology of AV’

Aurora CEO/CTO Harris Looks to Reinvent Conference Room Control

By Mark J. Pescatore

: How long have you been with this company, and what are your responsibilities?

Paul Harris: I have been with the company since its inception 25 years ago. My responsibilities as CEO/ CTO are the growth of the company and development of new products.

: What makes Aurora different from other manufacturers?

PH: We do not copy what every other manufacturer does. Everything we develop is to find a better way that solves the needs and takes it a step beyond. For us, it is looking at the topology and shaking it up; that’s why our slogan is “Changing the Topology of AV.” We also build many of our products in-house in our New Jersey headquarters, as we have our own pick-and-place electronic assembly line. Most everything you see from us is not only developed by Aurora but produced by Aurora.

even access audio hearing assist. That said, we will continue to radically redefine the norms of conference room technology with interesting ways of doing cameras, sound reproduction, and more.

: When it comes to control solutions, what are the important features customers need to consider?

PH: These days, thanks to supply chain issues, it’s availability. Generally, though, control systems should be intuitive, powerful, and standards-based— like our ReAX. It must have a variety of interfaces and control boxes to accommodate the unique needs of each customer.

: You’ve developed some very sophisticated touchpanel controllers, but you also offer the comparatively simple DXB-8i wall panel. Why would anyone go basic when they could have something like the RXT-4WM?

Paul Harris

Position: CEO/CTO

Company: Aurora

Multimedia

Overtime: I enjoy practicing Krav Maga and other martial arts. Going to a good concert here and there never hurts, either.

simultaneous encode/decode, so one cable can deliver both directions, and the ability to do two different bandwidths at the same time for near-end and far-end operation over the same session.

: You’ve been vocal in the past about the various AVoIP standards. Any new developments out there that have caught your interest?

PH: There are new developments. On a selfish note, our VPX 1G technology using our Mimix codec not only delivers stunning quality at 4K60 4:4:4, but can do it with zero frames of latency (1.78ms). Additionally, I do know of things being developed that unfortunately I cannot go into detail. Rest assured there are silicon vendors working on some very exciting technologies that are only a few years away.

: How is Aurora celebrating its 25th anniversary?

PH: We threw the Aurora 25th Anniversary Bitchin’ Bacon Party during InfoComm to celebrate this milestone with all our friends. It is not just about our anniversary; it is a reflection on our success in growth, technologies, partnerships, and most importantly our employees, who make much of this possible.

: What new initiatives are we likely to see from your company?

PH: We have been reinventing conference room control this year. After 30 years of everyone doing the same old thing, we’re showing there is a better way. For example, currently the solution from most companies is to have a large touchpanel to control the room. Basically, the end user is paying a lot for a fancy remote control. Our new RXT-4D touch controller with beamforming Dante microphone changes all that, as everyone has their own small , 4-inch touchpanel at their seating location. Now, anyone can control the room as needed with the ability to vote, book seating assignments, indicate a raised hand, and

PH: Sometimes, it comes down to price. That said, some customers have very simplistic systems, and a button panel can get the job done very effectively. However, even our more sophisticated touchpanels are very affordable compared to other brands and technologies. Sometimes pricing can be deceiving, as you need to look at the total solution. In the case of our RXT-4WM, it is not just the interface but the control system unit all in one. If you break it down, it can be less and give more than the competition.

: What does the industry continue to get wrong about AVoIP?

PH: The industry focuses on either a specific market segment or bandwidth versus image quality. The reality is, to have a true standard, all bandwidth must be considered from 10/100 to 10G and beyond. One protocol and baseline set of capabilities the industry now expects, such as seamless switching, less than one frame of latency, preview, videowall modes, windowing, EPG, and more. Proper security along with the standard control ports (USB, Serial, IR, CEC) is important as well. There’s also

: Aurora offers 1G and 10G solutions—how do you decide which option is the right one for your application?

PH: We listen to the customer’s needs and budget. 1G typically is less expensive but can handle most applications with excellent quality and no latency. 10G is best for broadcast, medical, esports, and large LED walls.

: What’s next for the Pro AV industry?

PH: AV-over-IP will continue to progress in the fight for standardization and capability. You will see the SDVoE Alliance, IPMX, Dante, and others try to win the standards war. AI will continue to play more of a role in our industry in a variety of ways—for example, camera tracking, audio filtering, video clarity, and much more. Display technology will continue to advance to find the replacement for the projector that can deliver the size without the cost. For control, Aurora will be continuing with our ReAX technology and trying to ultimately make it an industry standard, as it is based on Javascript and HTML.

RXT-4D Controller

PEOPLE NEWSMAKERS

AIRTAME had added DAN DEEM as vice president of sales (Americas) and PETER KRISTENSEN as vice president of sales (EMEA). Deem, a U.S. Navy combat veteran, has more than 35 years of sales experience, and has held leadership roles at major technology companies including Panasonic, Apple, and Oracle. Kristensen comes to Airtame with more than 25 years of experience in the IT and technology industries, having worked in multiple positions at major companies including HP, Acer, and Panasonic. Kristensen will work collaboratively with the entire Airtame team, with a specific focus on leading and growing the partner distribution network across the EMEA region. The new hires follow Airtame’s recent investment round, which will support the company’s ongoing transformation and global market expansion.

There are two new regional sales managers for BLAZE AUDIO. JILL LEVINE, based near Salt Lake City, is the regional sales manager, West. Her territory encompasses everything from the Rocky Mountains westward. Previously, Levine served as a regional sales manager for TeachLogic of Longmont, CO, and spent 20 years in multiple roles with a SoundTube/MSE.

RICHARD WALLACE in Pensacola, FL, assumes the position of Southeast regional sales manager. His domain includes Florida, Alabama, Georgia, Mississippi, Tennessee, South Carolina, and North Carolina. Wallace’s previous industry stops included Pro Sound & Video, ID Systems, Avid Technology, and Sound Bridge Acoustic Labs. In their new roles, Levine and Wallace are responsible for building new and maintaining previously established long-term relationships with dealers, consultants, and end users.

As it continues to grow its sales, business development, and advanced engineering capacities, DENSITRON has added three senior appointments. ALLAN DELAURIER has joined as vice president of sales, Americas, while CHRIS STRELLIS is director of advanced engineering and TAKAO OKADA is business development manager, HMI products. Based in the United States, Delaurier has had senior

roles at Glookast, TVU Networks, Avid, and Grass Valley. U.K.-based Strellis has worked in the broadcast industry for more than 25 years, most recently as engineering manager at Grass Valley. Okada, based in Japan, previously served as business development specialist at URANO and general manager of product development for TouchPanel Laboratories.

DIGITAL PROJECTION has strengthened its U.S. sales team with four new regional reps: ALAN DAVIES, TOLA (Texas, Oklahoma, Louisiana, Arkansas) region; ANDY TOWERS, Pacific Coast region; BRIAN SCHUMACKER, Mid-West region; and DAMON ALFORD, Southeast region. With more than 20 years in sales management in several fast-growing markets, Davies will bring more dealer business to DP. Towers joins DP with more than 20 years of sales and international business development experience. Knowledge of and a passion for the AV industry runs deep in Schumacker, who been in the AV market for more than 25 years including positions within sales, manufacturing, distribution, and integration. Adding a unique perspective to the sales team is Alford, who is a former sales director, account manager, and project manager at several respected systems integration firms.

I5LED has added industry veteran LYNN WANG as global head of business development. She previously served as an executive at Leyard American Coporation, where she coordinated the successful merger of Planar and Leyard in 2015. Wang will collaborate closely with i5LED’s North American and international sales teams to create strategic programs that will generate long-term business growth.

QSC has promoted LINDA LEE to vice president operations and supply chain. Rejoining the company in 2022, Lee previously worked at HID Global, Lantronix, and most recently Indentiv, where she served as senior director of global supply chain and operations. Meanwhile, the Q-SYS division of QSC has welcomed

Rep Report

CAD Distribution, which represents six commercial AV manufacturers in North America, has announced that JURUS TECHNOLOGY GROUP has joined CAD as manufacturer representatives for the New England market in Maine, Vermont, New Hampshire, Massachusetts, Connecticut, Rhode Island, and upstate New York. Jurus Technology Group has more than 13 years in the video industry. Also, MUSICPRO MARKETING will join CAD as manufacturer representatives for the Mid-Atlantic territory including South New Jersey, Eastern Pennsylvania, Delaware, Washington, DC, Maryland, and Virginia.

VIDEO MOUNT PRODUCTS has named SOUTHEAST SECURITY PRODUCTS as its new manufacturer’s representative serving the North Carolina, South Carolina, Georgia, Tennessee, southern Virginia, Florida, Puerto Rico, and Caribbean territories. Southeast Security Products specializes in direct and indirect sales growth, dealer development and management, low voltage products, electronic security, program promotion and management, integrator and distributor training, distributor relationship management, and push-pull marketing.

NSIGN.TV has appointed STRATECH, a Mexican company specializing in developing personalized sensory marketing strategies, as the exclusive distributor in Mexico for its digital signage platform. Stratech has been a DIAMOND partner of nsign.tv since early 2019, and will now exclusively market the brand’s smart digital signage software in Mexico, mainly in projects focused on the retail, restaurant, hotel, entertainment, and corporate industries.

CHRISTOPHER JAYNES as senior vice president of software technologies. He will lead Q-SYS software engineering as well as advanced research and technologies including artificial intelligence/machine learning, cloud, and data. Jaynes founded Mersive Technologies in 2006. His work has led to more than 100 published scientific articles and more than 30 patents.

Dan Deem

Christopher Jaynes

Peter Kristensen

Jill Levine

Alan Davies

Andy Towers

Brain Schumacker

Damon Alford

Lynn Wang

Linda Lee

Richard Wallace

From left: Chris Strellis, Allan Delaurier, and Takao Okada

From left, Albert Baranera of nsign.tv, Alexander Cohen, David Saad, and Julio Bross of Stratech, and Toni Viñals of nsign.tv.

PEOPLE BEYOND THE TECH

The Cost of Doing Business

How to Make Sure Your Equipment Markups Are Fair

By Douglas Kleeger

Irecently had a discussion with a colleague about the topic of equipment markup related to what is—dare I say the word—fair. What is the correct margin for marking up equipment that you sell to your clients? If something costs $100, do you sell it for $150, $250, $1,000? Are there any limits? Is being fair a part of business?

I remember walking a house on Long Island in the 1980s. It was on the bay and worth more than $1 million. Back then, I did a lot of residential work mixed with commercial. I was there with another integrator I was partnering with on some projects. This was a referral from one of his clients, so he was the lead. I watched and listened.

There was a room where he suggested ceiling loudspeakers. These were typical, coaxial Quam 8-inch speakers. They cost about $20 each, with good sound but not high end. They walked the room, he gave his thoughts on quantity and placement, and they decided on two.

When the client asked about pricing, the integrator said about $750 each, which did not include installation. The client didn’t flinch—I did, on the inside—and we moved to the next room.

At that time, I was charging $75 for the same loudspeaker, including installation. I felt that was fair. To me, charging $750 for a $20 loudspeaker was nothing short of unethical. What do you think?

On a side note, that should have been a red flag for me as to this guy’s business ethic. Later, I did a church project with him. I was able to get $15,000 worth of equipment on my credit line. After we finished the job, I kept asking when I would get paid (for the equipment and my labor). After a few months, I finally went to meet with the pastor, and it turned out he had paid the other integrator months ago. I got stuck with the entire bill. Ouch.

Price Sheets and Probable Cost

Here is another example. While working as an AV consultant for a firm that also did security, a visiting rep was explaining why we should specify their products. After his presentation, I asked for him to send me their dealer price sheet, just like I did with all manufacturers. He looked at me like I had three heads and refused. When I asked how I could specify a product when I didn’t know the cost, and further explained that I could just use another manufacturer,

he went to my boss and complained.

Having been an integrator for many years, when I did a cost workup for a project, I used dealer prices. Back then, and even now, many consultants don’t bother with cost pricing; they use list price for their estimate of probable cost for a project. It’s quicker, but I found that method to be highly inaccurate.

I would look at each section of my cost workup, such as audio, video, control, infrastructure, etc. For each item, I would put a markup, say, 20%, 35%, 50%, etc. This way, I could have different markups for different sections, even different markups in the same section, and an overall markup for the entire project.

This takes more time, but it’s more accurate—and I like more accurate. In fact, on a more than $1 million courthouse project I did using this method, the mid-level bid was within $35,000 of my estimate of probable cost. Pretty good work, if I say so myself.

I never did get the cost of the security equipment, but not long after, I had an issue with my garage door and security system. I needed a new sensor at the top of the door. I called my security contractor; they said $75 for the part, plus $75 for the install and connection to my system.

On a whim, I called the alarm distributor we worked with and asked if I could buy the part from him. It cost me $8. My first thought was wondering if I was in the wrong business. Systems contractors fight to the death over a couple of points, while this neighboring industry gets an 850% markup without question? Hmm.

Meanwhile, on the opposite side of the spectrum, when I was the regional engineer for XeroxAV, I can remember a proposal for some education work. The county demanded that if we bid on the project, we had to provide our dealer cost for every item and then mark it up 8%.

Avoid Itemized Listings

We are all over the place here, from 8% to 850% markup. What is fair to charge a customer? Here is what I do (and recommend) for current AV clients. When I work with an integrator and price projects out, we start at 50% on equipment and 100% on labor cost, and adjust accordingly to the particular client and project.

How can I do that, you may ask. After all, the displays are at Best Buy for 30% less. I can do this because the proposals I write do not have line itemized equipment listings or prices. I have a section I call

“Equipment Highlights,” and never list pricing or even model numbers.

Sure, you can’t do that for some government work, but with most private sector work, you can. Of course, your account manager needs to be able to sell your company and your value, not sell by price.

For example, I may quote 48 JBL ceiling loudspeakers, six Crown power amplifiers, one Biamp DSP, and two Middle Atlantic racks. We sell systems, not equipment. I despise (and I do not use that word often) when a client looks at your equipment list, shops it, and even starts to redesign your system!

Either they trust you or they don’t. How many times are there equipment delays or changes in model numbers? Why stress about it if you don’t have to? You aren’t really selling equipment and model numbers, anyway—you’re selling an experience, the ability to press a button or two and power up a complete AV system. They’ll get the model numbers with their warranty paperwork when the final installation is done.

I believe that you don’t charge whatever you can because you can. You charge what is fair (there’s that word again). At some point, gouging your customers can and will come back and haunt you, and that’s not for me. I don’t let others gouge me, and in turn don’t gouge others—which is the definition of fair in my book.

Doug

Kleeger,

CTS-D, DMC-E/S, XTP-E, KCD, is the founder of AudioVisual Consulting Services. Contact him with questions, comments, or your own experiences at doug@avcs.us.

Go Big or Go Home

By Wayne Cavadi

It is rumored among the interwebs that the idiom “go big or go home” was conceived in the 1990s by a Southern California motorcycle parts company that was packaging oversized Harley Davidson pipes. Since its conception, the phrase has been used for story and song titles and has found its way to the Urban Dictionary. For Messianic Vision, a Charlotte, NC, production studio for Sid Roth Ministries that installed a monstrous 92-foot Neoti dvLED video wall, it is their mantra.

According to Joel Nori, COO at Messianic Vision, the idea to change the way the privately owned studio produced its shows began prior to the pandemic, with talks starting as early as 2018. There was an initial plan, which revolved around a more virtual set for productions, to have six freestanding walls that were all separated in space and could display different images.

“Meanwhile, we had started using large 85-inch studio monitors stacked together to create different environments,” Nori explained. “We started testing out the idea of using graphical backgrounds with physical elements in the forefront to change up set designs and get different looks without having to have hardscape sets for everything.”

Why the change? Messianic Vision was producing more than 30 shows, and from 2011 to about 2019, Nori said they were building different sets for each program the studio produced, from teaching shows

for its ministry to late-night talk shows. The various sets took up not only a lot of space, but quite a bit of the budget as well. After a few years of experimenting with freestanding display walls and meeting with several integrators, it became time to ask: Why not build one seamless, concave-like display that could showcase all different types of programs?

Fully Operational

The new set with the enormous dvLED display began operating in November 2022, but wasn’t fully operational until January 2023. “It’s kind of like the Death Star from Star Wars—it blew up a planet, but it didn’t look pretty doing it,” Nori said jokingly of the November launch.

How did the studio land on Neoti for the installation? Systems integrator Solutionz brought several manufacturers to Messianic Vision to see which was the best fit.

“Primarily, it was related to the color reproductive brightness, especially at low brightness levels,” explained Aaron Kipfer, CTO for Neoti. “The marrying of our product using precise componentry and our specialty control system made the difference. We were the last group at the 11th hour, and so they had already seen what everything else was capable of.”

The installation itself was completed in about four days, quicker than expected. The LED screen has a 1.8 mm pixel pitch, which Kipfer said was the largest pixel pitch that would not cause moiré issues on camera.

Neoti went to work installing the 92-foot wall,

which can be expanded to a whopping 104 feet due to additional, batch-matched product purchased for future expansion or auxiliary displays. The display and mounting solution were designed with simplicity in mind to maximize the space in the studio.

Kipfer explained it was a relatively simple pole mount attached to the building structure. “The overall size was one of the largest we had installed in a studio, but really, it’s no different than other projects, just bigger,” he added. “One of the challenges, not necessarily from a mounting perspective, but the wall that this display is on is already a curved wall, so we had to match the architecture.”

“The Neoti team was awesome when they came here,” said Nori. “I’m a planner. I wanted to know: What do you guys need us to have ready for you? What do you need on site? How much space do we need to stage everything? And we went through all the Ps and Qs, and when they got here, it was an absolute seamless installation. We couldn’t have asked for a better partner.”

Let There Be (Not Too Much) Light

While the dvLED wall operates on low brightness, what about the other lighting in the studio? With more than 90 feet of screens, you would think there would be a lot of glare or shadows to work around. But, after some initial adjustments, the Messianic Vision lighting team has adapted well.

“It definitely pushed our lighting guys to the limit because they were not used to lighting that style,”

Sid Roth Ministries Invests in Expandable VR Environment

Messianic Vision is producing a variety of programs using its 92-foot dvLED video wall.

Nori recalled. “But this LED wall doesn’t have plexiglass in front of it, it’s just the exposed diodes and then a matte black material in between the diodes. So, whenever you shoot it with light, if you’re getting any type of washout on the wall, you just bump up the brightness on the wall. It makes lighting a lot easier.”

Nori said the biggest hurdle for the lighting team was no longer needing strong backlights—because the lighting came from the video wall. “It comes off the wall so we can go a lot brighter, and then it just becomes a lot different and richer than typical,” Nori explained. “If the camera operators were saying it was too bright, you turn the iris down on the camera. You don’t have to make the background look perfect to the human eye. It just has to look right on camera. It was a lot of things that were counterintuitive for traditional television or traditional production mindsets, overcoming a lot of those sacred cows.”

“With LED or LCD monitor walls, there is always a shiny surface to deal with,” Kipfer added. “With direct-view LED, in general, there is no shine. The customer doesn’t have to worry about reflections. It just blends in—the customer can shine the light directly on it if they want to for added effect.”

To Infinity and Beyond

All in all, it has been an overwhelming success and exciting start. Of the six or seven shows produced with the video wall backdrop, no set has been the same. And while Messianic Vision has not yet been expanded the wall to its full 104-foot spread, have no fear: It will be relatively hassle-free when they choose to do so. According to Kipfer, it’s just a matter of adding additional columns.

“Simply put, they ordered more spares than they needed. So, they could create columns, or they could create smaller displays within the space that they could build and then tear apart as needed for different applications,” Kipfer explained. “And even though it is expandable, it’s more about what else they can use these for in this space and even in other spaces. If

they have another smaller studio, they could potentially even use some of it in there.”

Expansion isn’t the only thing the Charlotte studio is looking forward to in the future. The possibility of a more virtual production or XR set may be on the horizon very soon. “We’ve already started

compiling the hardware necessary for integrating Unreal Engine and motion capture and cameras to do scripted dramas or more complex productions— instead of having to go out on location to do stuff in studio, but making it look like you were really on a location,” Nori said.

The massive video wall has a relatively simple mounting system.

Pro AV Labor Pains

Why Is It So Hard to Find Good Help These Days?

By Carolyn Heinze

When it comes to labor in general, employers are all too aware that it’s a buyer’s market. Companies in every industry are struggling to fill gaps in the workforce, and Pro AV is no exception.

Recently, SCN sat down with companies that offer AV integration, managed services, and live event production to gain an understanding of how difficult finding the right talent is. Needless to say, the struggle is real in every area. Here are some of their observations and potential solutions.

Integration and Managed Services

As we all know, the pandemic taught people they could work remotely—and, in many cases, on a flexible schedule. Dave Van Hoy, president of Advanced Systems Group (ASG), an AV design, integration, and managed services firm headquartered in Emeryville, CA, said many workers are reluctant to give this up. “That’s definitely one of the challenges, a high degree of resistance to people returning, physically, to where they once were,” he explained.

Coupled with this is a shortage of younger talent.

ASG, which supports a strong list of clients in the broadcast market, has trouble finding young people with these skills. “There is only a handful of schools in the United States today that turn out people with actual broadcast engineering as either a degree or part of their degree,” he noted.

On the managed services side of the spectrum, meeting support resources are hard to source. Chris Jamison, director of the managed services practice at AVI Systems, an AV design, integration, and managed services firm headquartered in Eden Prairie, MN, believes this is due to two things: Customers are downsizing their internal AV/IT teams, and an increasing number of the firm’s clients are bringing employees back to the office.

“It’s really creating this need for meeting support and training and adoption,” Jamison said. “For the most part, customers are asking for full-time [managed services staff], but there are some that are exploring part-time options to fill gaps in their workplace.”

Chance Turner, director of recruiting at AVI Systems, explained that the company strives to attract and retain talent by offering a healthy work

environment. The firm’s Employee Stock Ownership Program (ESOP) is also appealing. “There’s a lot of value in the company being 100% employee-owned,” he said. “I think driving a positive company culture in which people know they’re valued for their contributions is extremely important.”

Live Events

Arguably, live event production houses have faced the most challenges when it comes to hiring talent these days. At the height of the pandemic, there was no work, either driving people to seek out other employment opportunities in AV or leave the industry outright. Now, with live events back in full force, there aren’t enough skilled professionals to go around, especially in the freelance pool.

Mario Educate is president and CEO of OSA International, a live production and AV integration firm headquartered in Wood Dale, IL. He said his company’s biggest challenge right now is securing freelancers to support live events.

“Corporations or producers will delay getting the information out there, which makes it harder for all of us to lock in crews,” he explained. This leads to a

SAM RICHWOOD

BUSINESS LABOR ISSUES

scramble for local talent or an investment in airfare and accommodations to bring people to a job. “We’re running up against what everybody else is: finding talent that is available,” he added. “And the better they are, the less they’re available.”

“If you’re really good at what you do and you’re very skilled, you have something squared away— either five companies that you work for all the time, or maybe a full-time gig—so those people are taken out of the realm,” explained Mel Baglio, director of operations at AV Chicago, a Chicago-based AV production and event management firm. As a result, she said companies have to seek out people with less experience and teach them the skills they need. “We’re trying to reinvent how to get people to come on board with us, how to train them, and how to get them up to speed so that they can start working with us more consistently.”

AV Chicago is partnering with schools to develop a new talent pool, and is seeking out training opportunities from manufacturers. For example, the company will send people for training at Shure’s nearby headquarters. Baglio said the firm will also approach those with transferrable skills, such as recording engineers or theater techs.

In general, referrals from employees and freelancers produce the most success. “I think that almost half of our company has been hired by word of mouth,” Baglio added. “We call it unicorn farming—finding those people that are fantastic, that fit with your dynamic, that fit with your culture and your team.”

What Workers Want

“It is a good time to be an AV professional and a challenging time to be an AV integrator,” noted Peter Hansen, economist at AVIXA.

While there is much discussion around the desire for flexibility (usually through hybrid or remote work) and the chance to work for an organization that aligns

with their values, AVIXA’s research shows that earning a good salary remains the highest priority for job candidates. “Salary is the first reason we work— it’s the core of the equation,” Hansen said. “It’s the number one thing businesses should be thinking about. If you’re struggling to hire, think about your pay first. If you’re having retention issues, think about your pay first.”

That said, candidates are also seeking organizations that offer development opportunities and the chance for advancement. “If you’re a company that’s struggling to hire, and you’re maxing out the compensation that you can absolutely manage, the next place that I would think about are promotion pathways and really making that clear,” Hansen offered. In AV, he noted, a young professional can realistically

envision being in the C-suite at some point, and integrators should make them aware of this.

And while it may not be the highest priority, many professionals want the ability to work remotely. In AV, of course, not all job roles allow for this, but Van Hoy said ASG is offering more flexibility than it did before the pandemic. He admitted this is a significant challenge, but one considerable benefit is that remote work expands the talent base.

“If the position can be remote, that means our pool of applicants can be much larger—we’re not limited to a certain geography,” Van Hoy said. However, he underlined, this depends on the specific role. “Some positions really can be done from home, as long as you have the right tools and procedures. Others really can’t.”

Talent Development (and Awareness)

To fulfill the need for talent, many AV companies are focusing on upskilling their labor force. Tom LeBlanc, executive director of the NSCA (National Systems Contractors Association) in Cedar Rapids, IA, cites IoT-driven tech as a key opportunity for AV integrators, but not all of them have the necessary skills to take advantage of this.

“Integrators are well-positioned to be at the epicenter of an IoT device explosion,” LeBlanc said. “The labor-related question the integration company leaders are asking themselves is: Are we ready for this IP endpoint environment? Are [our] people skilled for what we need today and tomorrow?”

If the answer is “no,” he said, integrators will lose out. “The industry and demand are moving ahead regardless of who is ready and who isn’t,” he noted.

According to LeBlanc, one of the biggest recruitment-related challenges AV integrators face is that people outside of the industry don’t know it exists.

From Top Left: Peter Hansen, Dave Van Hoy, Chris Jamison, Chance Turner, Mel Baglio, Mario Educate, Tom LeBlanc, and Mike Abernathy

Companies are struggling to secure talented freelancers to support live events.

“It’s like we’re in a bubble,” he said. “We aren’t on the radar of the young professionals we want most.”

This was driving factor behind the NSCA’s launch of its Ignite program. Designed to create industry awareness, Ignite provides resources to AV integrators to help them educate potential candidates about the careers that exist within the realm of Pro AV. “They can be the boots on the ground at career fairs, technical schools, and universities, casting a wider net and helping the industry to burst through the bubble,” he explained.

In conjunction with these efforts, AV firms should also solicit tech talent from related professions. “They need to be looking in the IT and MSP space and other adjacent technologies/industries,” said Mike Abernathy, director of business resources at the NSCA. “These candidates have the networking certifications and experience integrators need to install and manage the mission critical systems.”

Because good help is so hard to find, it’s wise for AV integration firms to concentrate on keeping the

Skills in Demand

Some skills are harder to find than others. According to our experts, here are what Pro AV firms are struggling to find right now:

Live Events

• LED engineers

• Media server technicians

• PTZ camera operators

• vMix engineers

“You could have 150 stage hands on your roster, but you probably only have 7-10 really solid LED techs that exist in the city alone. And we’re not the only company in town, and other people have video walls,” said AV Chicago’s Mel Baglio. “We actually have to go out of city [or] out of state to bring people in, because that’s the only way that we can continue to do work for some of these bigger, heavy-hitting shows that we have.”

Integration and Managed Services

• Design engineers

• Field engineers

• IT skills

• Meeting services positions

• Networking skills

• Programmers

• Skilled installation technicians

“If you want to watch a system integrator’s eyes roll, just say, ‘Crestron programmer,’ and they’ll lay on the ground in a fetal position and cry,” said ASG’s Dave Van Hoy. “I don’t know how the market ended up this way, but there certainly aren’t enough of them. And the variation in skill is wide, and it’s hard to judge without seeing somebody actually do some work.”

employees they already have. One way to achieve this is by providing them with the chance to grow their skill sets. Some organizations may do this by developing their own internal training programs, while others can take advantage of the courses offered by trade organizations and schools.

“It’s important to focus on how they can keep people interested and motivated,” Van Hoy said. “Pay for people’s time for them to go to junior colleges or trade schools to pick up relevant skills. We find that those are some of the things that have helped with retention the most.”

Ready for Takeoff

New Kansas City International Airport Terminal Features Expansive Ticket Counter dvLED

computer-driven digital signs, rather than separate monitors provisioned by each individual airline, was made to provide KCI with the most flexible signage solution possible. “In an effort to make this space functional and customizable, an LED wall solution was chosen to future-proof this area and enable it to be updated and modified as necessary,” said Riebschlager.

The choice of dvLED video walls for this space was also very deliberate. “Direct-view LED was specified to fit architectural parameters of the facility and provide current tech/longevity for their new terminal,” said Scott Kehoe, tvONE’s regional manager.

By James Careless

Opened on Feb. 28, the new terminal at Kansas City International Airport (KCI) is gaining rave reviews. Part of what makes this terminal so futuristic is a Nanolumens Nixel Series dvLED video wall with 2.5mm pixel pitch that spans the airport check-in counter area. With more than 18 million pixels, the backwall includes 15 separate displays in seven different sizes to make up one large digital canvas.

The backwall provides check-in and drop-off agents with the ability to boldly display airline logos, lane queuing, and flight information data, plus update any other vital information as needed. A smaller Nanolumens Nixel Series 1.5mm dvLED video display, which measures almost 15 feet long and more than 5 feet tall, is positioned in the Arrivals area at the information desk.

“The architect and interior design teams were clear in their desire to have the backwall displays be a very specific size in order to fit their ticket counter plans and aesthetic,” said Geoff Berkeley, South Central regional sales manager, Nanolumens. “They were looking to have these displays fit flush to the wall but also into a particular size opening. A standard LED cabinet solution was not going to be able to meet their needs. Our Nanolumens Nixel Series can be completely customized to fit specific size requirements to provide for the design team’s intentions.”

Meanwhile, curbside arrival signage was provided by Nanolumens in partnership with Sign Resource. Ten 5.9mm Performance Series double-sided displays, measuring almost 6 feet wide and more than 3 feet tall, were also installed on posts to direct

travelers to the correct airline’s check-in location.

All interior displays were installed by Dimensional Innovations of Overland Park, KS. In addition to the Nanolumens displays, the company provided three tvONE Green Hippo Boreal+ MK2 media servers to drive video content to both internal areas. The primary server delivers content to the ticket backwalls and Arrivals info desk displays. A second system is on standby as a backup to the primary server for the backwall, while a third is on backup for the info desk.

Flexible Approach

To put it mildly, the ticketing area’s backwall signage is big, spanning the entire length of the ticketing counters of the airport terminal. The backwall is physically broken into seven sections by vertical pillars in the ticketing counter area, although electronically they function as a single, 102-foot display. This requires the Green Hippo Boreal+ MK2 server to serve specific areas of the video wall with different “status messages” (content) all at the same time.

“The content shown is a mix of airline branding as well as customizable banners to denote the different functions of ticketing stations,” explained Chris Riebschlager, director of creative technology with Dimensional Innovations. “We used the TouchDesigner plugin to render these status messages as a web page, which is then sliced up with tvONE’s Hippotizer VideoMapper and placed in each mix.”

The airline ticket counter staff can also trigger different presets in Hippotizer’s content management system. “A locally hosted web service relays these content management system changes to Hippotizer over the REST API interface, which we are taking full advantage of,” Riebschlager added.

Dimensional Innovations’ selection of integrated,

“What we’re seeing here is the use of direct-view LED technology as a dynamic material finish in an environment designed and built around the need for dynamic messaging capability, as opposed to the more typical scenario where display technologies are added after the primary design is complete,” said Dan Rossborough, director of strategic projects, Nanolumens Special Projects Group. “The outcome can be witnessed as an intentional and aesthetically flawless agglomeration of static and dynamic surfaces.”

A desire for content flexibility drove the decision to use tvONE media servers and software. “The Green Hippo servers provide the playback of pre-rendered content as well as compositing the customizable banners above the video content,” Riebschlager explained. “The Green Hippo provides four 4K outputs, which are routed with the Nanolumens video hardware to the appropriate screen segments.”

“The three Boreal+ MK2 servers are providing playback of content being triggered by airport staff,” noted Kehoe. “Each Boreal+ MK2 server comes standard with two 10Gb NICs [network interface controllers]. An additional 10Gb NIC card was added to each server for additional data transfer. “Also, the bundled Hippotizer software incorporates TouchDesigner, which allows content to be overlaid on the screens. The Green Hippo server configuration for this application is quite capable of delivering additional performance as the demand for visual content becomes more sophisticated.”

Minimal Challenges

By its sheer scale, the KCI digital signage project would seem to be daunting by nature. However, the actual installation was far less challenging than one might have expected.

“Initially, airport data integration and content requirements were two unknowns, as not much information was defined,” Kehoe said. “But as the project came to fruition, the flexibility and capability of the Hippotizer software enabled the integra-

The new Kansas City International Airport terminal features a 102-foot dvLED screen in the ticketing area.

DIGITAL SIGNAGE BUSINESS

tion team to adapt gracefully. Feedback about the system has been nothing short of fantastic.”

“This was our first Green Hippo installation, so there was a slight learning curve,” added Riebschlager. “But with some help from the Green Hippo team, we were able to quickly ramp up the system and have it perform precisely how we needed it to.”

It helps that Nanolumens knows the airport market very well. “We understand the high level of coordination and critical nature of these environments in which our displays need to perform,” said Todd Alan Green, global manager of airports and transportation, Nanolumens. “We provided a very high level of experience to the project team, which helped to minimize the risk involved in bringing these critical facilities to completion. At the end of the day, our goal is to help our clients deliver the best customer experience.”

Today, the digital signage system is on duty 24/7 at the new terminal and working as planned, which is important because “it’s such a crucial element to travelers coming through KCI,” Riebschlager said. “The integration with a content management system we created allows the airport to change messaging on the fly, offering much-needed flexibility with delivery and customization.”

A separate dvLED video display was installed in the Arrivals area at the information desk.

AVoIP or IPTV?

Consider the Costs and Benefits of Video Distribution Options

By Michael Chorpash

With more organizations adopting IP-based solutions to handle video distribution, there is often confusion about the difference between AV-over-IP and IPTV technologies. This is not surprising, given that both are IP-based video technologies with the primary goal of distributing video signals over a network to enable playback, be that external television streams, internal video streams, digital signage content, or other sources.

Much has been said about the capabilities of AVoIP as an emerging option in recent years, while IPTV is a more established technology within the marketplace. There are, however, distinctions in the way the two technologies operate, which leads to variations in the potential costs involved in an installation, as well as the functionality available to end users. So, what are the key differences between AVoIP and IPTV, and what considerations should an integrator have in mind when specifying a system?

Compression Considerations

The network is the foundation of both systems, so the first aspect to consider is the network to be used. An

IPTV signal uses roughly between 3-15 Mbps of bandwidth for a video. For reference, an HD stream uses approximately 3-6 Mbps, while a 4K stream could be in the region of roughly 15 Mbps or more.

With AVoIP signals, this is more likely to be measured in gigabits per second (Gbps), placing significantly more burden on the network. For an HD signal, it could be in the region of 800 Mbps-1 Gbps; a 4K signal could be up to 6 Gbps (or more).

As a result, an AVoIP solution requires significant bandwidth to display streams, which may overwhelm an existing network and require additional network

infrastructure investment from the start. In contrast, IPTV systems can generally run on an existing network.

To counter network congestion, IPTV reduces the size of video with high levels of compression. The misnomer is that with high compression you get less quality, but there is so much information in a digital video stream that it can maintain very high quality. For example, broadcasters are compressing H.264 and MPEG-2 video over 200 times, but it is still suitable to broadcast for high-quality viewing. In many instances, there is a negligible visible impact, especially given recent advancements in compression.

AVoIP employs very little compression—or none in some cases—which ensures a high-quality signal. Of course, this also explains why its bit rate is so high.

Playback and Latency

IPTV uses ISO industry standard formats, such as

IPTV systems can distribute feeds from cable systems without re-encoding them.

For esports and other use cases where low latency is critical, AVoIP is likely the best option.

MPEG-1, MPEG-2, MPEG-4/ H.264, and HEVC, which allows playback on TVs, computers, and mobile devices. By using these industry standards, IPTV also allows the mixing and matching of products together. It’s possible to use a different manufacturer’s encoder in an IPTV system, for example, which can give integrators more flexibility.

AVoIP devices can only play on a monitor, which requires a proprietary hardware decoder with an HDMI out. And because AVoIP is proprietary, there is a tendency to be locked into a specific manufacturer, which could cause additional issues when looking to scale up a system.

However, AVoIP is known for having excellent low latency, essentially real time from encoder to decoder. With no compression, no heavy calculations must be made by the encoder and the decoder. There are some projects—such as a surgical application or competitive esports gaming—where this extremely low latency is vital to ensure exacting movements are timed with the image.

Many applications, however, suffer no issues with the minimal latency (~350ms) introduced by compression in an IPTV system. There are also IPTV solutions that deliver sub-frame latency, glass-toglass real time, with very minimal delay.

If a facility wants to take in entertainment channels from a cable system or DirecTV, those feeds are already compressed in industry standard formats. An IPTV solution can take these feeds as they are and distribute them; all it takes is a gateway to receive and send the video out over a network. With AVoIP, a set-top box is needed that sends HDMI to an encoder in every case. All sources need to be re-encoded.

Make Your Choice

Need to record video? IPTV solutions will record in a native format, but AVoIP requires a third-party product to achieve this functionality. Plus, if a company wants to reach out to remote sites over the internet (via WAN streaming), this is not possible with AVoIP. With IPTV, as an industry standard supporting low bit rates, it’s very simple to stream to remote sites or mobile devices.

Before specifying an AVoIP solution, which can involve significant expenditure, planning, and infrastructure upgrades, it is worth looking to see if an IPTV system can fulfill the use case required. Effective IPTV solutions have been implemented in many verticals, including corporate, healthcare, transportation, education, hospitality, and sports venues.

There are some scenarios where a zero-latency, low-compression solution is critical—and in such cases, an AVoIP solution is likely the best option. However, many installations are suited to IPTV, which offers additional benefits such as “time shifting,” which allows the ability to pause streams on an individual device without pausing them across the entire network. IPTV offers further options to deliver an enhanced, customized experience for both manage-

ment and end users, with the ability to stream to various devices including computer desktops, mobile devices, set-top boxes, and directly to SmartTVs.

IPTV can also be a more cost-efficient solution, with an existing IP network likely capable of handling streams, instead of requiring significant network

upgrades. Choosing an experienced integrator partner with understanding of the respective technologies will help to deliver the right technology for the application at hand.

Michael Chorpash is vice president of sales, enterprise, VITEC.

TECHNOLOGY CLOUD POWER

Decisions, Decisions

What’s Important When Contemplating Your Cloud-Based AV Infrastructure?

By Dave Van Hoy

As I’m writing this, I’ve just returned from the whirlwind of the NAB Show. “Should I go to the cloud?” was a question often heard echoing throughout the halls of the Las Vegas Convention Center. I‘d like to press pause on that conversation for just a moment to talk about the many considerations that go into the initial part of that decision. If not carefully thought through, these issues can sabotage efforts during the next phase.

It’s very easy to get to the point where you don’t have the right steering wheel to drive the car you’ve built. Let’s discuss the major decisions that need to be determined before making this determination.

Perhaps the biggest underlying question is: What’s driving you? It’s important not to make a dogmatic decision when it comes to designing a public cloud workflow. Just because you can, doesn’t mean you should.

Even if upper management decides they want to move everything to the cloud it doesn’t mean it’s a

good decision for your part of operations or your bottom line. The decision points for the IT organization, for example, are very different from a media firm or any company producing and delivering real-time audio and video. Even in terms of storage alone, an IT organization’s general needs are vastly different than a media workstream.

It’s the same type of decision process when you’re using an existing IT infrastructure, be it on-prem or in the cloud, to produce a special project or handle a workflow that it wasn’t designed for initially. The data points other parts of your organization base their cloud decisions on are not going to be the same data points you use.

Critical Points

Some of the overall questions we start with are: Why do something in cloud as opposed to on premise? What is your goal? Is it financial? Do you require location diversity? Is it because you don’t have a place on prem to build a server room? What is the real driving force behind this?

Those answers will drive the use case and become

the matrix of what’s possible and what’s not. Once you’ve established the use case, then you conduct an analysis, which is similar to what you’d look at when starting the design development process for an on-premise model.

What drives the next decision point is the location of your physical audience. In today’s world, our biggest challenge in cloud is not compute power or storage capacity, but bandwidth and latency in signal transport from your premise to the cloud and from the cloud to the delivery point of production. That point of production may or may not be a room in the same building you’re in. Of the two issues, latency is the more troubling. Bandwidth can always be increased; it’s a matter of cost.

Latency, on the other hand, is a matter of physics. If the entire signal arrives milliseconds after it was sent for delivery from the origination point, that doesn’t matter to the viewer—as long as the audio and video are synchronous. But if I’m handling I-MAG in a venue or playing back videos, graphics, and audio in real time, any inability to have audio and video synchronous with the physical interaction in the room is a potential showstopper.

CLOUD POWER TECHNOLOGY

Live, on-premise audio and video can be synchronized using delays. However, I cannot control the time difference between the latency to go to cloud, signal processing, signal return, and the amount of time it takes for the photons that reflect off the human on the stage for the viewer to see. It’s a very unpleasant experience to have the I-MAG or the audio be milliseconds behind.

The signal could be traveling to a data center across the country and coming back, which is a very big travel difference when compared with a server room 50 feet away from the venue. The question becomes: What can I do to minimize travel and latency that could make it acceptable to go down that path? If video quality can’t be delivered at an acceptable threshold, a public cloud infrastructure is off the table.

Hybrid Infrastructure

Latency on premise is controllable. Latency in the cloud is not. If I’m originating content that’s good enough to be sent to viewers, latency and distance are not an issue.

This can lead to the possibility of a hybrid infrastructure. For example, if you’re doing a corporate production with an audience of several hundred people and you’re streaming the show, you’ll generally have two infrastructures. One will be focused on the in-room experience, with the other on creating content for the broadcast audience (whether that’s a stream, television, or videoconference).

You can split your infrastructure between on-prem and cloud. Often, that’s a very viable use case. If you’re looking at it as a venue that you’re producing content from, there’s always an audience in the room. That’s a constant. What might change is the complexity of the broadcast, depending upon the content of the show.

Determine who is your viewing audience and where they are located. Is the audience larger in the room or for the broadcast/stream? How large is the remote audience?

When the audience is larger for the streamed program, that’s a key decision point. If only 50% of the shows are streamed to say 15,000 employees worldwide, perhaps you can use a public cloud infrastructure. Or you may not want to take up the physical space a production control room requires. The streamed show could be run by a virtual production team working from their homes or other buildings.

Power and Cost Considerations

It’s also critically important to know what your computing requirements are so you can engage the best cloud vendor for your application. Otherwise, down the line you may discover the only way to make the system work is to pay the cloud vendor more than your budget allows for a 100 GB line. At that point, you will have wasted money designing a cloud-based system that may perform technically—but is not the best use of your budget.

Once you’ve done the analysis of latency and other requirements for content production, then you can begin to analyze the cost. Without those requirements, you don’t know what you’re charging.

In my next column, we’ll look at how to analyze what’s financially best for your organization. We’ll

breakdown the cost of building a cloud, on-prem, or hybrid system and the varying costs of operation. Because how a system is initially designed directly affects how it’s managed for many years to come.

Dave Van Hoy is the president of Advanced Systems Group, LLC. Contact him at dvh@asgllc.com

TECHNOLOGY PRODUCT REVIEW

Read the Room

Built-In Features Deliver Strong Videoconferencing Performance for Biamp Parlé VBC 2500 Video Bar

By Chuck Gloman

Having video options combined with a soundbar is still a relatively new (and welcome) development. Small or mediumsized conference rooms never looked or sounded so good before the Biamp Parlé VBC 2500 conferencing video bar, which is p art of Biamp’s Parlé family of products that also includes ceiling, tabletop, and pendant microphones.

The particulars of this video bar begin with a centrally located 4K ePTZ camera with a 120-degree, wide-angle lens that sees everything. Auto-framing technology allows focusing on specific participants, as well as pan, tilt, and zoom control.

With 27 microphones and beam-tracking technology, the VBC 2500 also tracks and mixes sound sources. Two of the speakers are “smart” in that the algorithm reproduces clearer voices with

deep learning noise reduction, courtesy of dynamic bass enhancement and distortion compensation.

A white LED above the camera illuminates, as do the green (on) and red (mute) microphone LEDs that border the camera. Shutters block the camera if the video stream is inactive, and a motion sensor is housed to the left and a light sensor to the right of the lens. A thin, red rubber strip is also visible on the bottom of the base.

Beneath the rear’s back panel cover on the left is the DC power in, USB-C input, and LED power indicator. Further to the left above the stand is the power/launch button. The unit comes with the AC power adapter as well as a USB-C cable, which was suited to my MacBook Pro inputs.

The VBC 2500 can be mounted on a wall, monitor, or tabletop and has a pickup range of up to 23 feet. Its 12-megapixel sensor captures images at 30 fps in either HD (720 or 1080) or 4K. Weighing in at almost 10 pounds, it’s just over 3 feet long and

almost 4 inches high, but it can blend in with the room surprisingly well.

Prepare for Launch

The first step in the VBC 2500 operation is to download and install Biamp Camera Controller software for your PC or Mac. Once the software is up and running, a screen appears with video and settings options across the top of the screen. It defaults with auto framing selected, so you’ll need to deselect this feature if you want to manually change the positioning of the camera or zoom.

Settings options include backlight comp, which turns your backlight compensation on or off; mirror, which reverses the image; flip, which rotates the image 180 degrees; microphone, which can be turned on or off; and the Hertz rate, which you set to 50 or 60, depending on your region. UC Profile is where you’ll find your streaming options. You can choose between generic UC, Google Meet, Microsoft Teams, and Zoom, plus designate your camera zoom options.

Biamp Launch allows the video bar to automatically acclimate itself to your room’s acoustics with one touch. When I first pressed the button, I jumped three feet because a loud tone erupted as the bar came to life. “Welcome to Biamp Launch,” a female voice said. “We will now start the launch process.

My college freshmen gave the Parlé VBC 2500 a real test for its noise reduction capabilities.

Please remain quiet.” Terrified to say or do anything, I followed her instructions as various tests were performed. Basically, the female voice alerts you what test will be performed and then the test happens.

My first real test of the unit was a brief Zoom meeting from my office to a student in his classroom. My office at the time was very quiet with no aural distractions. The student could see me and hear me clearly, and his voice came booming through the VBC 2500’s speakers as if he were part of a movie theater surround-sound soundtrack.

The Biamp folks said I should use the VBC 2500 as a speaker to listen to MP3s. As they told me, the music never sounded so good. Not only was the stereo separation incredible, the sound presence rivaled my home system, and it was considerably better than my MacBook Pro’s speakers. Carrying the Parlé on my shoulder isn’t an option, but I do prefer it over my car’s upgraded sound system.

The auto-framing feature works, but it’s slow and usually after the fact. The camera waits a moment or two before refocusing on the speaker. If a student slowly got up from his seat and walked to our whiteboard, the camera would catch up and frame him after he arrived at the board. It’s almost as if a sleepy camera operator realizes that his target has moved then corrects the mistake. Even with the momentary lag, I am still amazed with the technology.

PRODUCT REVIEW TECHNOLOGY

Make Some Noise

To test the VBC 2500’s noise reduction capabilities, I brought it to my freshmen classroom to see how a Zoom meeting originating in a noisy classroom worked. To be fair, this was a large classroom, and the VBC 2500 is meant for a small or medium-sized room. That said, I figured if it could work in my classroom, it could work in any location. During a normal class, the coughs, sniffles, sneezes, and shifting of chairs is much like being in the Typhoid ward at the local hospital. Where the VBC 2500 really did amazing work was with noise masking. After an initial setup where it analyzed the room, the students did all they could to create noises and distractions (often going overboard). A student slid a metal chair across the floor— the sound was totally masked. Another crinkled paper: masked. Cough: masked.

If an objectionable sound occurred next to dialog, part of the dialog was slightly muffled. But nothing I’ve ever used has done a better job of masking than the VBC 2500. Again, my tests were extreme, nothing like what would normally happen. It was probably the greatest test I could give the VBC 2500—a roomful of 18-year-olds!

Even with the extra rowdiness of my class to test its limits, the Parlé

VBC 2500 passed, which means this video bar is up to the task in any meeting environment. Normal presentations are tracked, and the audio is free from distractions. The VBC 2500 will make your meeting the best it can be—all you need to do is prepare your presentation.

Chuck Gloman is an associate professor of the TV/Film Department at DeSales University. Contact him at chuck.gloman@desales.edu.

The Parlé VBC 2500 video bar includes a 4K ePTZ camera with auto tracking capabilities.

With 27 microphones and beam-tracking technology, the Biamp Parlé VBC 2500 tracks and intelligently mixes conversations.

Audio-Technica Targets Streaming Production

New StreamSet Headset Offers Smart Features for Podcasters

By Mark J. Pescatore

During my podcasting days, the AudioTechnica AT2020 USB microphone was one of my go-to choices. So, earlier this year, when the company introduced its ATH-M50xSTS StreamSet headsets, which were specifically designed for streaming production and incorporate technology from its 20 Series mics, I was excited to give try them.

Audio-Technica sent me the USB version of the StreamSet to review. It has an integrated, 6.5-foot cord with a USB-A plug and ships with a USB-C adapter, so you have connectivity options. Another version, the ATH-M50xSTS, offers analog connectivity with an XLR mic output and 1/4-inch headphone input (with 1/8-inch adapter).

As the name strongly suggests, the headphones use the same technology as Audio-Technica’s ATH-M50x monitor headphones, which include a 45mm driver with a 15-28,000Hz frequency response. With a cardioid

pickup pattern, the condenser microphone offers a 50-20,000Hz frequency response (at 3 cm), and supports 44.1, 48, 88.2, and 96kHz sampling rates as well as 16 or 24-bit depth.

The StreamSet performed as a true plug-and-play device on my Windows-based laptops. From the padded headband to the mic’s flexible boom arm, the build quality is excellent. That’s important, because we all know that boom arm is going to be twisted, adjusted, and manhandled with reckless abandon.

I’m a sucker for smart features, and the StreamSet has two that impressed me, as well as a nice bonus. First, I like to hear my own voice in my headset during production. This is for quality control, not my ego. However, there are some people out there who simply don’t want to hear themselves during production. A monitor dial on the back of the left earcup allows you to turn monitoring of your voice on or off. Plus, the StreamSet takes it a step further, allowing you to adjust the volume of your voice in the headset.

Second, no cough button? No problem. Flip the StreamSet’s boom arm all the way up and your mic is muted. You will likely hear the rustling of the mic during recording, but that’s probably better than the alternative. Also, if you’re wearing glasses, be aware of your mic placement before

you attempt to mute.

The bonus is that Audio-Technica ships the headset with two sets of earpads. One pair is designed for breathability and comfort, with mesh fabric touching your ears. The other set, made of the same synthetic leather found on some car seats, is designed for high fidelity and isolation. They felt like leather to me, and the leatherette earpads did a better job blocking out exterior sounds, but the mesh earpads were more comfortable.

During my testing, audio was clear with minimal “pops.” Just be careful when you take a deep breath or smack your lips because the microphone will pick it up. Also, this is not a discreet headset, so while it sounds great, it may not be your best choice visually for on-camera work.

Priced at around $229 ($199 for the analog version), I’ll grant you the StreamSet might be a hard sell for K-12 production bids. However, for corporate podcasts where an elaborate studio setup is simply impractical, the StreamSet will go a long way toward producing professional results. This is also a smart solution for a house-of-worship audio podcast.

OK, so you can’t “flip” the headset and use the microphone on your right side; the cable and monitor dial are in the way. And I would have probably placed the shiny “L” and “R” indicators only on the back, not in camera view on the front. As far as criticisms go, that’s about it. The ATH-M50xSTS-USB offers a solid build, useful features, very clear audio monitoring, and an excellent microphone for the spoken word.

The StreamSet incorporates technology from Audio-Technica's ATH-M50x headphones and 20 Series mics.

Don’t have an elaborate studio setup in your office? The StreamSet can go a long way toward producing professional audio results.

TECHNOLOGY NEW PRODUCTS

Sony ELF-SR2

At 27 inches, the new model in Sony’s Spatial Reality Display portfolio provides highly realistic, 3D content without the use of special glasses or VR headsets. Highlights of the new, larger 4K offering include an upgraded high-speed vision sensor, image quality enhancing technologies, and installation flexibility. The ELF-SR2 also enables more robust functionality through its support of applications and development. It is optimized for signage, retail, industrial design, surgical planning, architecture, engineering, construction, software/application development, game developers, and entertainment applications. The ELF-SR2’s enhanced facial tracking and recognition senses a viewer’s eyes to provide a natural and comfortable visual experience, while the wide viewing angle enables consistency and accuracy from numerous vantage points. With support for leading SDKs including Unity and Unreal Engine, it also allows for development with Open GL, DirectX11/12, and Open XR (coming later this year).

Software, which enables integrators to provide a more flexible system that supports a broader range of devices while eliminating the need for adapters and (in some cases) multiple cables. Integrators can also add AV Bridging (with an optional feature license) to extend the device’s functionality to support full UC Platform bridging capabilities. Its compact design and reduced I/O make the NV-21-HU ideal for supporting meeting rooms, learning spaces, hospitality, and entertainment installations.

Extron MGP 641xi

The new MGP 641 xi multi-window processors are used for scaling and presenting up to four 4K/60 source signals on a single canvas using Extron’s exclusive Vector 4K scaling engine. It is ideal for presenting multiple HDMI sources on a single display, and the MGP 641 xi SDI model includes four 12G-SDI inputs for additional flexibility. Its powerful scaling engine, rack-mountable form factor, and wide variety of presentation and transition effects combine to create a flexible signal processing solution for corporate boardrooms, training rooms, and live environments such as public auditoriums. It is equally effective in mission-critical venues that require display of live information. In addition to four HDMI inputs that support data rates up to 18 Gbps, the HDCP 2.3-compliant processors include an HDMI background input for presenting live, non-scaled content behind the source windows.

Sonnet MacCuff Studio

Sonnet’s MacCuff Studio heavy-gauge steel security mounting bracket for Apple Mac Studio computers enables users to move their computers off the desktop, secure them in place under a desk, shelf, or table—or to a wall—and have easy access to their ports and power switch. The included locking bar offers theft deterrence without blocking the computer’s use in any way, and supports the use of a padlock or Kensington lock.

Q-SYS NV-21-HU

The new NV Series NV-21-HU is a two-input, one-output endpoint with support for HDMI and USB-C. The NV-21-HU simplifies installation with a single-cable solution for video distribution, AV bridging, and device charging via USB-C. As a software-configurable solution, the NV-21-HU can be defined as an encoder or decoder in Q-SYS Design

Ophit OMCC

Ophit’s OMCC is a compact, lightweight 4K multiformat cross-converter capable of converting HDMI or DisplayPort signals to SDI 12G, 6G, and 3G, creating HD signals through the SDI bypass function without compromising video signal quality. It converts DisplayPort and SDI signals into HDMI output, as well as HDMI and DisplayPort into SDI output, producing a maximum resolution of up to 4K@60Hz. Plus, one of the unique feature characteristics of the OMCC is the option of selecting the input video format using the Tact switch and the output video format using the Slide switch. This feature is compatible with various professional broadcast equipment, allowing easy integration into existing installation setups.

A new vandal-resistant horn, the System 36VPS, is a high-performance loudspeaker that is ideal for safety applications where high sound output and reliable operation are of critical importance. In the event of an emergency, the System 36VPS can be used to broadcast emergency messages, warnings, and instructions. It’s also applicable in non-emergency situations for public address announcements, such as in sporting events, concerts, transportation hubs, and other public gatherings. The System 36VPS is intended for either indoor or outdoor use, and can be easily installed vertically or horizontally. Designed to withstand physical abuse, vandalism, and harsh environmental conditions, the powder coated, stainless steel System 36VPS features tamper-resistant hardware and a rugged housing as well as an integrated 16W 25/70V, multi-tap transformer.

Obsidian Control Systems Netron RP2

The RP2 is an intelligent two-way DMX power relay that serves as a protective device for lighting fixtures. It helps to increase efficiency by reducing power consumption, protecting sensitive equipment, and prolonging the longevity of lighting systems. It is configurable via an integrated OLED display and encoder with real-time status and power consumption feedback. Optional smart power sequencing and DMX traffic detection allow complete automation of fixture power based on DMX status. Simply turn the console on or off, and the system will follow along. An internal clock allows for independent standalone operation, or it can automate the power outputs to specific days and times. Two independent power outputs are controlled by high-current dual pole relays, ensuring complete removal of power from the circuit. Plus, the compact RP2 can monitor power consumption of each output on its display.

Planar UltraRes W Series

Optimized for next-generation collaboration for today’s modern hybrid workforce, the Planar UltraRes W Series provides customers with a secure, 105-inch, 21:9 ultra-wide format LCD display that is ideally sized to suit the most popular UC and video collaboration platforms including Microsoft Teams. Planar UltraRes W Series also features brighter, wider color gamut panels with local dimming. It combines a wide color gamut 5K HDR display with a commercial grade 24/7 fanless industrial design. The Planar UltraRes W Series is available in both non-touch and optically bonded 50-point projected capacitive touch technology.

FIBER CABLES

NEW PRODUCTS TECHNOLOGY

Boom Collaboration Boom GEMINI

design and built-in handle allows teachers and students to move the document camera around the classroom. Wireless screensharing capabilities eliminate the need to run back and forth between a display and the document camera. The DC-30 also integrates with current Epson BrightLink interactive projector setups and Easy Interactive Tools (EIT) software for convenient control and operation. Plus, its built-in microphone with one-touch AV control makes it simple to record lessons directly to a USB drive, so teachers can share presentations with students outside the classroom. Other features include HDMI I/O, mini-USB and USB-A connectivity, and a Kensington lock slot.

A wireless and expandable audio solution for smarter and more flexible meeting experiences, the portable Boom GEMINI is a dual unit system. Each device features four omnidirectional microphones, each with an impressive reach of up to 26 feet. Dynamic noise reduction and automatic echo cancellation are combined with wideband audio for plug-and-play performance. The main unit features five control buttons and can be connected via daisy chain to its “twin” for expandable audio. It provides the ability to double the audio and microphone capacity for medium to large meeting rooms, as well as more adaptable spaces. The Boom GEMINI boasts 10 hours talk time plus 90 days in standby. It charges over USB and can also connect and call over USB as an alternative to the battery. Bluetooth 5.0 comes with a BT dongle for easy pairing.

MODULAR FLOOR BOXES

FLYPACKS & ROAD CASES

FURNITURE

Pioneering the Future of AVoIP

From the Broadcast Industry to Pro AV, It’s Been a Long Journey for IPMX

By John Mailhot

To understand the development of Internet Protocol Media Experience (IPMX)—a set of open standards and specifications for AV-over-IP deployments—we must first delve into the broadcast industry and the implementation of SMPTE ST 2110.

The story starts about a decade ago, when it became clear that an IP infrastructure would not only be viable for television broadcasting, it would be the preferred platform. After all, 10 Gb datacenter-scale internet switches were readily available and offered ample bandwidth. Furthermore, following Moore’s Law, high-bandwidth switch ports would continue to improve at a rapid pace, and they would become less expensive as they did. This technology trajectory sparked SMPTE, in addition to vendors and other relevant organizations, to explore and advance the use of IP technology in the broadcast industry.

First Steps

For guidance, the informal consortium closely observed the transition that occurred in the audio industry, which began its shift toward IP-based production around 2010. What they found is that every vendor initially developed its own proprietary solution, which led to a market full of incompatible audio-over-IP systems.

The situation was far from ideal; it didn’t favor the vendors who built the systems, nor was it advantageous for customers who wanted to integrate equipment from different manufacturers. The result was the creation of a chaotic environment that took the audio industry a considerable amount of time to untangle.

To avoid a similar scenario, leading standards bodies in the broadcast industry sought a different approach toward IP-based systems: Establish a common, industry-wide technical roadmap leveraging off-the-shelf commercial networking technologies. This would allow end users to select switches, cameras, multiviewers, replay systems, and other equipment from various manufacturers and seamlessly integrate it into comprehensive systems. To achieve this goal, a group of broadcast engineers, technologists, vendors, business executives, and others founded the Alliance for IP Media Solutions (AIMS), a trade organization dedicated to fostering the adoption of industry standards to help facilitate the broadcast and media industry’s transition from SDI to IP.

AIMS was instrumental in promoting the adoption of SMPTE ST 2110—a suite of standards for transporting digital video, audio, and metadata over IP—the Advanced Media Workflow Association’s (AMWA) NMOS specification for networked media, the AES67 standard for audio IP, and other related technologies in the marketplace. Through the work of AIMS, SMPTE, AMWA, the Video Services Forum (VSF), and others, the broadcast industry was remarkably successful in establishing a common ground based on these standards. Today, virtually every new project utilizes and builds on these technologies, fostering a more comprehensive and interoperable broadcast ecosystem.

been a significant area of focus and development for IPMX. In addition, high-bandwidth digital content protection (HDCP) is essential for HDMI applications, but isn’t typically employed in traditional SDI broadcasts. By ensuring the secure handling of protected content, HDCP support holds great significance within the IPMX framework, and was a key priority in establishing a robust and comprehensive standard.

To overcome these technical hurdles, they were parceled out to individual standards groups and trade associations based on their knowledge and experience in certain domains. For example, AMWA was tasked with addressing EDID negotiations and facilitating format chats and negotiations throughout the entire workflow. And within the VSF, an IPMX working group addressed the intricate aspects of signal-level details, which encompassed crucial areas such as the functioning of HDCP negotiations and the mapping of formats into the SMPTE ST 2110 standard. Through such advancements and augmentations, IPMX has evolved as a comprehensive solution that expands on existing standards to ensure seamless interoperability and efficient format negotiations within the IPMX ecosystem.

Final Destination

Next Stop: Pro AV

With broadcasters now fully embracing Video-overIP, AIMS set its sights on the Pro AV industry, which like the audio industry before it, began its journey to an IP infrastructure with proprietary solutions. To address the industry’s need for a common set of standards and protocols in the transition to AV-overIP—ensuring interoperability across a diverse range of applications, from enterprise conference rooms to digital signage systems in football stadiums—the organization began development of IPMX.

Fortunately, AIMS had a running start in its creation. Not only do Pro AV applications share many of the same requirements as broadcasting, but with the successful establishment of a multi-vendor, interoperable ecosystem in the television broadcast domain, AIMS had a clear path to follow. Established technologies including SMPTE ST 2110, AMWA NMOS IS-04 and IS-05, and others would serve as the foundation within the IPMX framework for the packaging and organization of video content.

However, while the broadcast and Pro AV industries have many requirements in common, Pro AV environments do present some additional ones, and accommodating them has been at the core of IPMX’s development. For example, facilitating extended display identification data (EDID) negotiations over IP networks when connecting displays to sources has

The standard has made significant progress since AIMS began its work. Approximately two-thirds to three-quarters of the components comprising IPMX have already been published, including the initial drafts of VSF’s TR-10 suite of Technical Recommendations, which recently became available for download on VSF’s website. The TR-10 suite outlines the differences between SMPTE ST 2110 and IPMX, with documents covering everything from system time and definitions, to using AMWA NMOS APIs, to the transparent transport of AES3 audio using the RTP protocol.

In addition, ongoing studies are being conducted to determine optimal profiles and levels for specific codecs in various applications. The current focus is primarily on establishing market-facing profiles and levels, and specifying the mandatory and optional features that vendors must adhere to in order to obtain IPMX certification.

The primary goal of AIMS and its members is to ensure that IPMX attains the same level of adoption and widespread implementation in the Pro AV industry as SMPTE ST 2110 has in broadcasting. Currently, IPMX is following a trajectory similar to that of SMPTE ST 2110, and is expected to reach a comparable level of market acceptance in the near future. And as the final stages of standardization are completed, a surge of IPMX-certified products is expected to hit the market, marking a new era of AV-over-IP deployments.

John Mailhot is the CTO Networking and Infrastructure for Imagine Communications, as well as the Working Group Chairman for AIMS.