Systems Contractor News - April 2024

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SYSTEMS CHECK

Digital Signage: It’s (Almost) All Good News

Just a couple of years ago, industry experts reported that digital signage was slightly underperforming when compared to the overall Pro AV industry. But that news is so 2022. Today, digital signage is outpacing the field.

For the numbers, let’s go to the experts. As explained in AVIXA’s 2023 Industry Outlook and Trends Analysis (IOTA), digital signage is currently a $39.7 billion solution area, with a compound annual growth rate (CAGR) of 6.2%. According to a June 2023 report published by MarketsandMarkets, which focuses on B2B research, the global digital signage market should reach $26.1 billion by 2028, up from $18.7 billion in 2023 (CAGR 6.9%). And there are encouraging numbers from the International Market Analysis Research and Consulting (IMARC) Group: The global digital signage market, which hit $26.9 billion last year, is expected to reach $45.5 billion by 2032, with a CAGR of 5.8% during that stretch.

Estimates vary, of course, because methodologies vary, but researchers seem universally convinced that digital signage is a healthy, growing segment of Pro AV. While North America had the highest market share in 2022, MarketsandMarkets indicated that the Asia Pacific (APAC) region will be the top digital signage market by 2028.

It’s not just the researchers; manufacturers are also bullish on digital signage possibilities. I talked with Steve Durkee, CEO of BrightSign, at ISE 2024 in Barcelona. His company, known for its digital media players, is now focused on solutions, specifically on “experiences we can create and problems we can solve.”

To that end, BrightSign announced Bright Alliance, a comprehensive global support effort for its content management system (CMS) partners, at the show. Durkee also said he is having a lot more discussions about interactivity and immersion for digital signage installations, with the ultimate goal of delivering personalized experiences. “The sophistication is going to increase,” he added. “You can see that trend for sure.”

Not every digital signage vertical market is thriving equally. While digital signage can be part of improving the work experience and return-to-office efforts, enterprise and higher education are “taking a breather,” according to Sean Wargo, AVIXA’s VP of market insight. During the pandemic, these markets made significant investments that cut across solution areas, not just conferencing and collaboration technologies. Spending has slowed down in these areas, but Wargo expects increased activity when inflation comes down and recession fears recede.

IMARC identified retail as exhibiting a “clear dominance in the market.” While AVIXA doesn’t generally separate data by market, Wargo said it’s safe to say retail will continue to see the lion’s share of digital signage purchases. “Customers are spending,” he explained, “even in the face of inflation and interest rates. “Shoppers are trying to find the products they are looking for. Digital signage helps them do that.”

If you’re looking for a thriving digital signage vertical, head over to your local quick-serve restaurant (QSR), because digital menu boards are poised for big growth. CapEx costs are always challenging, but Wargo said it makes sense to deploy digital menu board systems for upsell opportunities, pricing flexibility, and clarity of offerings. “And the prices are conducive, too,” he added.

The integrator channel can benefit from a managed services offering to help QSRs use digital menu boards more effectively and avoid the pitfalls of poorly designed (read: do-it-yourself) systems. Speaking of managed services, this potential revenue stream for integrators is growing faster in digital signage than in any other service area, Wargo reported. Customers can benefit from remote monitoring and content updates, as well as potential equipment leasing and maintenance programs.

CONTENT

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

Senior Content Manager Wayne Cavadi

Contributors David Albright, James Careless, Chuck Gloman, Jennifer Guhl, Peter Hansen, Carolyn Heinze, Robert Trebus

Art Editor Rob Crossland

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SMPTE Opens Call for Papers

SMPTE has announced its call for technical papers for the SMPTE 2024 Media Technology Summit, which will be held Oct. 21-24 at the Loews Hollywood Hotel in Hollywood, CA. Submitted abstracts should be 300-400 words and will be accepted until May 30.

The program will aim to present the latest innovative tools, workflows, and various other initiatives driving the industry forward. Original, unpublished manuscripts aligning with these goals will undergo multi-peer review. Previously published, product-specific, or promotional papers will not be considered, but student papers are strongly encouraged.

Authors of selected papers will be granted the opportunity to present at the SMPTE 2024 Media

Shure Expands Manufacturing in Juárez

Members of Shure’s board of directors and executive staff traveled to Juárez, Mexico, to formally open the company’s second manufacturing facility in the city. The new facility allows for even greater product manufacturing capability, and is expected to add up to 500 new associates within the next decade.

Jamie Griffin, SVP and chief supply chain officer, emphasized the importance of this facility and its impact on the company and to the region. “We have a long and successful history here and we want to continue to leverage this legacy as we support our customers,” said Griffin. “The team in Juárez is an incredibly important part of the Shure family and with the addition of this new facility, the Shure story will continue here for many years to come.”

In the 1980s, founder S.N. Shure personally selected the Juárez as the location of Shure’s first manufacturing facility in Mexico. Production began in 1984 with only 10 associates in a rented building. Shure moved its operations to a new Shure-owned facility in 1990, which was expanded in 2004 and 2006.

Technology Summit, and their manuscripts will automatically be considered for publication in the SMPTE Motion Imaging Journal. Paper topics can include, but are not limited to, AI and machine learning, cloud media, design and integration, display technology, immersive media, and workflows. Get more info and submit abstracts at smpte.org.

Upscale Dining, Upscale Audio

LPM Restaurant & Bar, an upscale French and Mediterranean restaurant in the heart of London’s Mayfair area, recently upgraded its audio system to 1 SOUND. It’s 1 SOUND’s first U.K. -based installation and follows a previous installation in LPM’s Miami-based location. The design challenge was to create evenly distributed audio in a main dining area that has an unusual triangular shape. Installer Middlesex Sound & Lighting hung 16 5-inch Cannon C5i loudspeakers, which were combined with six compact FSUB45 floor subwoofers. The loudspeakers are driven using Powersoft amplifiers and BSS Audio DSP with iOS control.

RGB Spectrum, Russ Bassett Focus on Utility Industry Solutions

RGB Spectrum and Russ Bassett have partnered to enhance the utility industry’s control room landscape. The two companies will unveil new products and technologies specifically designed for energy and utility environments, enabling operators to navigate complex environments confidently and precisely.

Recently, the focus has been on the operator console. RGB Spectrum offers its scalable XtendPoint KVM-over-IP solution, expanding the possibilities for sharing data and work output over networks and allowing for removing computers from the console and into IT spaces. The system further replaces the clutter of a multitude of

single-use monitors with typically two multiviewers, and all inputs are controllable by a single keyboard and mouse, resulting in better operator focus. To further enhance the user experience, RGB is debuting 43-inch curved monitors for a unified, wraparound display surface.

Attention to ergonomics is critical—and for this purpose, RGB Spectrum recently teamed up with Russ Bassett for its control consoles to enhance operator comfort and efficiency. With adjustable surfaces and monitor heights, Russ Bassett’s consoles provide operators with optimal viewing positions, minimizing strain and fatigue during extended shifts.

Shure officials opened the company’s second manufacturing facility in Juárez, Mexico, in February.

RGB Spectrum is enhancing the control room experience for utility companies.

Panasonic Delivers Next-Level Projection Mapping at Napa Festival

By Wayne Cavadi

The Napa Lighted Art Festival, which took place in downtown Napa, CA, from Jan. 20-Feb. 18, celebrated creative arts, bright lights, and the technology that brings it altogether. The first nine nights of the festival saw three Napa buildings— First Presbyterian Church, Historic Napa County Court House, and Native Sons—become canvases for artists’ creativity. To project their creations onto the iconic buildings, A3 Visual turned to Panasonic projectors.

“It’s an outdoor projection mapping festival that they do every year in Napa,” explained Tim Morin, strategic account manager, live entertainment for Panasonic Connect. “They bring in artists from around the country and around the world to project on historic buildings. It really brings the community together, especially in Napa. While it’s already such a tight-knit community, this event gives them some of the cultural exposure typically reserved for big cities.”

Panasonic Connect is no stranger to the Napa Lighted Art Festival, nor working with A3 Visual. Known for its event production and immersive services with locations in Los Angeles, San Francisco, and Miami, A3 Visual recently teamed with Morin on the “Let’s Glow SF” holiday event in December. And much like that event, the Napa Lighted Art Festival was illuminated by Panasonic PT-RQ35KU 4K laser projectors, which offer 30,000-lumen brightness.

“We all have our strong points, but some of the key factors that differentiate Panasonic projectors from other manufacturers are their reliability, clarity, and quality,” Morin said. “So, when it comes to outdoor projection mapping, just the image you get from a unit like the RQ35 or RQ50 does set it apart from other projector models.”

The projectors—which produce highquality images and colors while simplifying the projection of artwork onto the twists and

turns of large, city buildings—were double stacked for each of the three buildings, allowing artists to create content that illuminates the entire building and bring stagnant architecture to life in an all-new light. One of the challenges with the setup was that there was no way to use a typical outdoor enclosure, so A3 Visual used a couple of Conex containers.

“They double stacked shipping containers,” Morin explained. “They had all the power distros and everything there because that’s the only way they could do it safely.”

A3 Visual also had one other enclosure that was large enough to handle two projectors. “So, they had that outdoor enclosure for one of the other buildings, and the third one was ground supported Connex container as well,” Morin added. “[Outdoor projection] is not typically designed to have three-phase power sitting there or to have proper pathways for cables. You have to makeshift what you’re going to do. And a Conex container makes it kind of easy—you can run all the cables in there, you can run the projectors in there. They’re large enough for venting, so it is a nice, secure way to do it.”

The Conex containers eliminated concern of poor weather, since everything from the projectors to the

power to the distribution was consolidated to one sheltered space. Of course, Mother Nature has other obstacles than the weather … like trees.

Morin explained how the projectors seemingly dodged trees that they couldn’t simply chop down for one event. “It’ll be the blending. We calculate our overlap, and then we do some geometry management to it, and we square it back off,” he said. “It’s challenging, but the ability to blend the way Panasonic projection does is second to none. When you start doing stuff like that and you’re blending on a building around a tree, we have that ability that separates us.”

The artists used Modulo Pi media servers and are very involved with how the content is displayed. A3 Visual provided a template, and the artists created the content based off that. They can dictate brightness or when to dim colors, playing an interactive role with the producers to bring everything together.

Speaking of interactive, one of the more memorable projections was one that visitors could have some connection with themselves. “One of the buildings had a very cool installation where there was a QR code,” Morin recalled. “You could take your phone, scan the QR code, you’d put in a message, and it would turn [that message] into virtual flowers. The different type of virtual flowers would create this collage and this mosaic on the building. So, every time someone came up and just put in a different phrase, it would change. It was very interactive and unique.”

This was Morin’s first trip to the Napa Lighted Arts Festival since joining Panasonic Connect just over a year ago. Like many of the spectators, he was blown away. “The emotional connection you get when you see a building like that,” Morin reflected. “You see it every day and it’s just a big slab of brick. But then you walk by it the next night, and it just takes your breath away because you’re like, ‘I didn’t even know this was there.’ You start getting a new appreciation for your town.”

The use of multiple projectors and blending technology allowed A3 Visual to create complete visuals around trees and other obstacles.

Panasonic 4K projectors bring artists’ content to life on the historic buildings of the city of Napa.

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BOB MCCLENAHAN

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Walla Walla University Goes Virtual W

alla Walla University, a private Adventist university with four campuses located throughout the Pacific Northwest, offers a hands-on, deep dive into the cinematic world through its film, TV, and media degree program. To bring the virtual production technology to its students, WWU turned to Scalable Display Technologies software to automatically blend two projectors across a cyc to create one seamless display.

“There’s a significant barrier to entry with LED displays because of the price point,” explained Jerry Hartman, professor of film, TV, and media for WWU. “Adopting these technologies is incredibly expensive, but we’ve found that projection is a very reliable alternative. We have a green screen cyclorama, which we repainted white, that we utilize to project content onto. We’ve incorporated Unreal Engine, an advanced real-time 3D creation tool for visuals and immersive experiences, and two projectors on the cyclorama to create our production stage.”

Hartman, who spearheaded the effort to create an immersive virtual production system, said the result has been successful at all levels. “I’ve talked with many studios—and each of them has started their virtual production practice with projection and have built up to full LED displays. Scalable’s software has been straightforward to integrate and provided efficient, quick, and simple results,” he added. “Scalable has enabled us to introduce virtual production to our students at a cost-effective price point. It’s easy for students to grasp the technology while providing them with the hands-on experience they will likely require.”

Blaze Audio Helps Bring Clarity to Wake Chapel Church Congregation

With two locations in the greater Raleigh, NC, area, Wake Chapel Church is a caring community where help, hope, and healing reside. One of its churches, which has a 3,000-seat sanctuary, recently installed a new sound reinforcement system featuring Blaze Audio Constant Curvature Array (CCA) loudspeakers (see photo right) to deliver articulate speech and equally impressive music reproduction.

Hi Tech Electronics of Greenville, NC, an AV integration firm focused primarily on the house of worship and education markets, designed and deployed the new sound system at Wake Chapel. “The sanctuary at Wake Chapel is a large space that measures 187 feet wide with a room depth of 137 feet from the front of the stage to the rear wall,” explained David Williams, president of Hi Tech Electronics. “To properly address a congregation of roughly 3,000 people in a space this wide and deep, we needed loudspeakers capable of delivering wide horizontal dispersion in addition to significant throw. Equally important, we wanted to maintain a clear line of sight to the stage area from the entire seating area.”

Initially, Williams expected to fly as many as 36 line array enclosures deployed in three hangs of 12 (left, center, right) across the front of the stage area, but this would have impaired visibility. Instead, Williams and his installation crew deployed three hangs at the front edge of the stage area, with each loudspeaker cluster containing four CCA10i enclosures. There is also a delay system located 90 feet from the front edge of the stage that includes three hangs, with each loudspeaker cluster containing three CCA10i enclosures.

The CCA10i is a compact, 3-way arrayable point source loudspeaker designed for medium-sized venues. Mounted horizontally with tight acoustic centers to minimize comb filtering, each CCA10i enclosure provides a fixed 20-degree vertical coverage pattern and can be flown with additional enclosures in vertical arrays.

“The difference between using the Blaze Audio CCA10i loudspeakers as opposed to more traditional line array enclosures is huge,” Williams said. “By

eliminating these large loudspeaker clusters across the front of the stage area, people can see the activity on stage better—and this goes a long way toward keeping the congregation engaged.”

To help the church contain costs on the project, Williams elected to reuse four existing WorxAudio subwoofers for low frequency support. Two subwoofers were flown 5 feet behind the left and right loudspeaker clusters over the front stage, while two other enclosures were placed on the floor to the left and right sides of the stage.

Wake Chapel is also using 12 Blaze Audio PowerZone Connect 3004 Class-D amplifiers. For system control, Hi Tech contracted with Selah Media Productions of Mount Holly, NC, which supplied a Symetrix Prism 16x16 for the main array and a Prism 8x8 for the delay loudspeaker system to accomplish the necessary DSP in the space. Using Symetrix Composer software, a custom DSP platform was programmed into the Symetrix units, supplying all the matrix, gain, EQ, and delay needed to tune the system. Blaze Audio’s Hugh Sarvis and Buck Roberts, president of Selah Media, were both onsite to tune and commission the system.

The installation of the new sound system began in November 2022 and was placed into service in March 2023. Since that time, the system has been receiving positive reviews. “I’ve received compliments from both church management and congregation members alike,” Williams added. “Everyone comments about the clear and easy to understand speech and the equally impressive music reproduction. It’s been very gratifying.”

Steven Petersen, lead audio engineer at Wake Chapel, is also enthusiastic about the new sound system. “The system’s speech intelligibility is better than it’s ever been,” he noted, “and this is crucial, as it enables people to gain the most out of what’s being said. Likewise, music reproduction is terrific. Music sounds more natural and has more presence than we’ve ever had. Equally important, the system doesn’t visually distract from what’s taking place on stage—and that enables everyone to be more engaged.”

Scalable Display Technologies has helped Walla Walla University incorporate virtual production technology into its curriculum.

Wake Chapel has improved the audio at one of its churches with new Blaze Audio loudspeakers.

By Mark J. Pescatore

i5LED is helping the recently rebranded Todd Haimes Theatre stand out a little more in New York City’s crowded Theater District with new signage. The display upgrade, which was completed on Feb. 21, swapped out aging LED and LCD screens with new dvLED displays for higher resolution and a fresher look for the Broadway theater.

On 42nd Street, the main entrance now features a 6.6mm pixel pitch marquee, along with new displays (in 1.8mm and 4mm pixel pitches) over the doors and to the side of the main entrance. The rear of the theatre, on 43rd Street, has a large 6.6mm pixel pitch billboard display with a custom LED border, plus its

Todd Haimes Theatre Upgrades Outdoor Displays with i5LED

own 6.6mm pixel pitch marquee—complete with a border featuring real chasing light bulbs—above the doors.

According to Alan Kauffman, director of technology services at the Todd Haimes Theatre, the existing signage, installed in 2014, was at its end of life, with significant degradation of the quality of the displays. Replacing the displays coincided with renaming the theater after Todd Haimes, who served as CEO and artistic director of Roundabout Theatre Company until his death in April 2023. The not-forprofit institution spotlights classics from the past, cultivates new works of the present, and educates minds for the future.

The installation was spread out across seven weeks and included upgrading the front-end control

system. i5LED, which manufactured the dvLEDs displays and control system, managed the front-end upgrade, while American/Interstate SignCrafters handled the display installation.

The upgrade did not involve implementing a new design, which avoided the time and expense of fabricating new structures. “i5LED was able to supply LED modules that fit our existing cabinetry,” Kauffman explained. “This allowed us to avoid a lot of structural work and resulted in much lower cost for the project than other organizations were proposing. The new displays are higher resolution with greatly improved control software. The staff, donors and audience members were all enthusiastic about how the displays look and highlight the new branding of the theater.”

New

Nutmeg TV Elevates Community Engagement with Broadcast Pix

Earlier this year, Nutmeg TV, the primary local public television channel based in Farmington, CT, embarked on a collaboration with Broadcast Pix to overhaul its studio capabilities. The objective was clear: Enhance the quality of productions and deliver an outstanding experience for community members, all while navigating the challenges of a smaller team and limited budget.

The need to upgrade studio equipment became evident in 2023 as Nutmeg TV sought to streamline its production processes. With a lean staff, Chris Bennett, Nutmeg TV’s director of technology and production services, set out to find a solution that would eliminate reliance on third-party applications like Zoom and Skype for remote interviews while maintaining high production standards.

“We needed an all-in-one live production system,” said Bennett. “I reached out to Broadcast Pix to explore if the GX Hybrid could create a virtual space for our shows to bring in remote guests. Fortunately, they had the perfect solution: GuestPix.”

Diversified, which has offices in North Haven, CT, played a crucial role in installing the new Broadcast

Pix system with GuestPix, which enables Nutmeg TV to seamlessly incorporate remote guests into shows without additional subscriptions or external devices. In January, Nutmeg TV hosted the channel’s inaugural GuestPix production, featuring an interview with Connecticut Speaker of the House Matthew Ritter. “The show and the response from the viewers have been wonderful,” said Joanie Wedler, executive director and CEO of Nutmeg TV.

In addition to the GX Hybrid, Nutmeg TV integrated seven Canon PTZ cameras, further

enhancing its production capabilities. The strategic move provided comprehensive camera control and scalability for various productions.

“The studio upgrade has vastly improved Nutmeg TV’s production capabilities, enabling them to produce high-quality content with unparalleled ease and efficiency,” Bennett added. “The reliability of the Broadcast Pix system ensures uninterrupted operation, offering peace of mind to the production team.”

Bennett commended the system’s reliability and user-friendly interface, highlighting its ability to streamline production workflows and elevate the overall quality of their shows. The inclusion of the NewBlue animated graphics engine further raised the bar for productions, enabling dynamic content creation directly within the Broadcast Pix system.

Public, education, and government (PEG) channels and community media centers like Nutmeg TV play a pivotal role in fostering community engagement and communication. By harnessing advanced production technologies from Broadcast Pix, Nutmeg TV is empowering community members to share their stories and enrich the public television experience for all. As a result, Nutmeg TV is reaping the rewards of its investment with higher engagement numbers.

“We don’t receive viewership numbers from cable companies, but we do track online metrics,” Bennett said. “Recently, I discovered that we’ve reached 1 million YouTube impressions over the past year— quite an achievement for a PEG access facility in Connecticut. This demonstrates our outreach and the support from our viewers and users. Managing 500 shows a year with a production team of only three is no small feat. Despite the challenges, we handle it exceptionally well here at Nutmeg TV. Our producers are comfortable with our setup, and we have a fantastic team.”

Navigating the realm of PEG channels poses challenges in delivering vital local programming to communities. Adequate funding is crucial for these channels and community media centers to flourish, serving as hubs for communication training, higher production standards, cable distribution, and community connectivity. Nutmeg TV stands as a testament to the transformative power of strategic decisions and innovative broadcasting solutions.

“It’s about having a long-term vision that you can gradually realize over time, ensuring you can evolve alongside advancements in technology,” Bennett said. “This way, as technology advances, you can adapt and expand your setup while staying within your budget. It’s amazing what type of outreach you can do when you have really good cameras and a really good switcher system.”

Nutmeg TV’s updated studio includes a new Broadcast Pix GX Hybrid and Canon PTZ cameras.

Chris Bennett

Nutmeg TV used its new Broadcast Pix system with GuestPix to conduct a remote interview with Connecticut Speaker of the House Matthew Ritter.

Chapel Hill Library Enhances Meeting Spaces with Extron

North Carolina’s Chapel Hill Public Library, a massive, 80,000-square-foot facility, is about much more than books. It also acts as a hub of activity for the town’s residents and the surrounding communities. To update the facility’s four public use meeting rooms, KONTEK Systems, an integrator based in nearby Durham, NC, designed and integrated Extron switching, audio, streaming, and control systems to support each meeting space, and installed a NAV Pro AV over IP system to link the four rooms.

The library’s meeting rooms are in constant use and often reserved months in advance. With room for 84 and 162 people, respectively, the two larger rooms are flexible event spaces, each equipped with a projector, wall-mounted displays, whiteboard, and portable lectern. The two smaller rooms, which accommodate 26 and 12 people, respectively, are set up in boardroom style for event planning and other meetings. Each smaller room features a conference table and chairs, plus a whiteboard and wall-mounted display.

“To bring the library’s meeting rooms into what they termed as the ‘modern age,’ the new, more robust AV systems needed to be linked, and Extron’s NAV Pro AV over IP was the best solution,” said Mike Werner, director of UX design and technology, KONTEK.

The NAV Pro AV over IP system creates flexible integration across all four rooms, with multiple NAV encoders and decoders creating an IP-based video and audio switching matrix. Any room can serve as overflow for another. Each room uses a similar AV system design that is scaled to the space and includes AV connectivity for HDMI and USB devices. PTZ cameras, microphones, and ceiling-mounted Extron Sound Field speakers also support the videoconferencing systems that are linked by the NAV system.

To operate a room’s AV system, the design includes an Extron IP Link Pro control processor and TouchLink Pro touchpanel with a custom GUI, which was created using Extron’s GUI Designer software.

The intuitive nature of the installation allows the library patrons who reserve a room to take full advantage of the hybrid AV systems with virtually no assistance from the library staff.

“We had many discussions involving the best ways to create user-friendly environments that maintained some sort of conformity,” said Ryan Chamberlain, library experiences technician at Chapel Hill Public Library. “The patrons who had reserved the rooms as soon as they were available jumped right in and took full advantage of the hybrid capabilities, which was exciting to see. Members of the community immediately understood how to operate the Extron systems, making the transition straightforward and relatively painless for everyone.”

Each room has a TouchLink Pro touchpanel with custom GUI for easy control of the room’s AV components.

Four meeting rooms at Chapel Hill Public Library have been upgraded with Extron gear.

Digital Signage In Play at New Las Vegas Golf Attraction

If you’re planning to swing the sticks while at the 2024 NAB Show in Las Vegas, there’s a new place to play—and an expansive digital signage system is part of the appeal. LG Global Solutions has announced a partnership with Atomic Golf, which opened on March 22, to outfit every step of the customer journey, from the parking lot to the tee line, with digital experiences.

Located next to The STRAT Hotel, Casino & Tower, Atomic Golf offers an immersive, technology-enhanced experience through game play and entertainment. The four-story venue spans nearly seven acres and hosts 103 separate hitting bays. It also includes four bars, two meeting spaces, and a 12,000-square-foot arcade. According to Brian Birckbichler, Atomic Golf’s SVP of golf entertainment, the digital signage network will be a core element of the guest experience.

“From the moment guests arrive at Atomic Golf, they will be surrounded by vibrant LG digital displays showing live sports events, messaging, wayfinding, promotions, welcome messages for groups and real-time game information in every hitting bay,” Birckbichler said. “As a tech-forward cashless venue in the convention capital of the world, competition is fierce, and

experiences are always evolving to impress guests and create excitement. Working with LG allowed us to leverage their vast product catalog and robust digital signage capabilities to create a property-wide network that enhances engagement while providing simple system control and maintenance to ensure reliable daily operations.”

The project utilizes LG’s webOS operating system to manage the digital signage network, with SAVI Controls software delivering content to the LCD displays over a single Media-over-IP (MoIP) cable. Atomic Golf can show broadcast programs, in-house content, and marketing messages on any display at any time. The staff’s job is made as simple as

possible, too, with the ability to turn the entire digital signage network on and off with a single button, eliminating the hassle and time involved in individually managing more than 250 displays.

Simply Connected is the integration firm responsible for installation and ongoing maintenance of the signage network’s displays along with the property’s audio components, wiring, video distribution, control system, networking equipment, security, and surveillance. Jones Sign was responsible for installing the property’s dvLED displays, which guests first encounter at the entrance. A broad range of indoor and outdoor LG dvLED products are installed throughout the property, with pixel pitches ranging from 10mm outdoor displays to the 0.7mm LG MAGNIT display.

After collaborating to design the layout and construction of the hitting bays, Simply Connected outfitted each one with a custom-designed ball dispenser that features a 49-inch, vertically mounted LG outdoor display to deliver high brightness and excellent resilience in all types of weather. LG’s webOS platform and software from SAVI make the vertical displays highly customizable, with options for split-pane, dual-source content, and other advanced capabilities. Each tee line cabana also houses a 55-inch LG display for guest-controlled TV programming. Plus, the luxury suites include 110-inch and 136-inch screens for sports and entertainment viewing, while the Cosmic Lounge features LG displays on the ceilings and floors.

Avocor Displays Enhance New Experience Center

With offices across the Carolinas, PMC Commercial Interiors designs and supplies commercial interior design and workplace technology. In a new development with A.Visual, its in-house integration division, the company opened an experience center earlier this year in its Raleigh, NC, office to showcase workspaces that enhance the way people and organizations collaborate through technology. A variety of Avocor displays have been used throughout the venue to create an immersive and interactive experience for visitors.

The first point of contact for visitors is the reception area, which serves both as an introduction to the experience center and welcome zone. Further areas include huddle rooms, cellular offices, work pods, conference and meeting rooms,

and a variety of open-plan executive-style spaces. Each space features bespoke furniture and technology designed to demonstrate how these elements can combine to create functional workspaces to meet the unique and diverse needs of individuals, teams, and groups of people.

Avocor displays are being used at the experience center in different scenarios. For example, an L Series 21:9 aspect display is installed in the main showroom to demonstrate the latest Microsoft Teams Room functionality and illustrate the benefits of the ultra-wide aspect ratio. A G Series 75-inch wall-mounted display is installed with a Neat Bar in a conference room for interactive presentations and videoconferencing sessions. In a training room, an E-Series 55-inch display combines with a Heckler Cart and Mersive Solstice

pod to fully demonstrate how technology can enhance interactive learning and training sessions.

“I’ve known Avocor many years and my experience has always been positive,” said Kevin Case, director at A.Visual. “When we were putting our plans together with the variety of needs and requirements for each zone, it was clear that Avocor was the obvious choice for us, both for the versatility and functionality of its displays combined with the market leading service and support the company offers.”

LG displays enhance the immersive experience at Atomic Golf.

Avocor displays at PMC’s new experience center help showcase workplace technology.

February Pro AV Growth Disappoints

By Peter Hansen

After a positive start to 2024, the February Pro AV Business Sales Index (AVI-S) delivered disappointing news. Growth continued, but the level—53.4—represents the slowest rate since January 2021 and 7.3 points lower than the January mark.

The underlying data for the AVI-S reflects three categories of responses about month-to-month revenue change: increase, no change, and decrease. What stands out about this slow growth result is that it reflects an exceptionally high level of respondents reporting no change, at 59.7%. By comparison, in

January 2021 when the AVI-S was 52.0, the percentage of respondent reporting no change was just 48.5%. In fact, the 59.7% no-change figure is the second-highest ever no-change level in the sevenyear history of the index.

So, the current low growth figure represents stability more than negativity. Unsurprisingly, comments from survey respondents were a mixed bag: some disappointment over slow growth, some happy with good growth, and a lot saying not much changed. Two areas of consensus were improving supply and that hiring is not easy (though relatively few companies are seeking new workers).

Entering 2023, there were strong fears of a widespread recession, especially in Europe. Thankfully, those fears were largely avoided. GDP even grew strongly in the United States. But unfortunately, recession does appear to have hit some economies.

The Bundesbank announced in February that Germany was likely in recession, and Britain recorded back-to-back quarters of GDP contraction to close out 2023. Initial numbers suggested Japan had also recorded back-to-back GDP contractions in 2023, though subsequent revisions contradicted the early reports. The news isn’t excessively negative: There is no global recession, and Britain already appears to be growing comfortably again. But this economic

weakness can’t be ignored when we assess the state of AV and wonder why the AVI-S showed such slow growth in February.

Because the AVI-S and the AVI-E (the AV Employment Index) rarely diverge too far, it’s unsurprising to see the AVI-E also come in low. The February mark of 53.8 is not quite as much of an outlier as the AVI-S (it’s only 3.3 points lower than the January mark, less than half the drop of the AVI-E), but it’s still the lowest figure since early 2021.

Weakness in Pro AV job gains is a contrast to the wider economy, where labor markets continue to be a bright spot. The latest U.S. Bureau of Labor Statistics report showed an increase of 275,000 jobs in February, a mark that is ahead of both pre-pandemic norms and many other months in the past year. Wages also increased 4.3% year-on-year, faster than inflation. It will be interesting to watch how recession pressures in Britain and Germany percolate out through the rest of the world and through the labor market.

The Pro AV Business Index report is derived from a monthly survey of the AVIXA Insights Community, a research community of industry members that tracks business trends in commercial AV. For more information about joining the AVIXA Insights Community, visit www.avixa.org/AVIP.

Peter Hansen is an economist at AVIXA.

PEOPLE NEWSMAKERS

ACT Entertainment Launches Professional Audio Division

ACT ENTERTAINMENT enhanced its professional live sound division with the appointment of several new industry experts. Included among them is RALPH MASTRANGELO, who takes on the role of director of sales: live sound, as well as RICHARD “RICK” COLEMAN, who serves as outside sales representative: live sound, and JOE LANGHOLT, as product specialist: live sound.

Mastrangelo has spent his entire life working in the live event industry. He is a touring and live sound engineer and production manager who has toured globally with the likes of Guns N’ Roses and Dwight Yoakam, among others. He spent more than 20 years with Clair Global (formerly Clair Brothers), most recently as senior director of touring.

Coleman began his Pro AV career with his own sound and production company in Central Florida, ultimately selling the venture. He later joined Meyer Sound for a 24-year tenure.

An accomplished sound engineer, Langholt has spent the past 20 years working with production companies while simultaneously filling his passport touring with major artists like Journey and Neil Young.

Also, MILES DUDGEON recently joined ACT Entertainment as New York City Metro regional salesperson. Dudgeon brings extensive industry experience and knowledge of the eastern U.S. sales market to his new post. Recently, he served as a marketing consultant for Show and Design Group (SDG), an event lighting production company and owner of the MA Lounge in Las Vegas.

Industry veteran JOHN MILLER has joined AJA VIDEO SYSTEMS as VP of global sales. In the role, Miller guides international sales teams across the AJA product lines, leveraging three decades of experience growing revenue for software as a service, media asset management, and integrated hardware and software development companies like Vizrt Group, BeBop, Brightcove, Avid, and Autodesk.

ANTHONY JAMES PARTNERS

(AJP) hired AJ FAXEL as EVP of business development. Faxel brings nearly three decades of industry experience related to all technology disciplines in sports, entertainment districts and live events. In his new role, Faxel is working to expand AJP’s partner network and optimize the company’s growing presence in the architectural community. Prior to joining AJP, Faxel was director of sports sales for SNA Displays.

ADVANCED SYSTEMS GROUP

(ASG) has appointed JIMMY BIRO as a senior account executive to support the company’s accelerated growth in the Southern California postproduction market. In his new role, Biro will provide clients with complete solutions featuring technology, products, and services. A 30-year industry veteran, Biro started his career as a technology advisor in the media and entertainment industry when editors were moving away from linear tape-to-tape editing and DI didn’t exist.

ATLASIED welcomed SIMON GODFREY as director of sales for the EMEA region. With more than 20 years of sales experience in audio and entertainment, Godfrey possesses a wealth of experience in account management of European customers. In a newly created role, Godfrey is responsible for sales of all AtlasIED product lines in the three regions, including loudspeakers, the AtlasIED Atmosphere audio processing and control system, the GLOBALCOM enterprise communications platform, and the AtlasIED IPX Series of audio and visual IP endpoints.

AVPro Global appointed of JAMES TRUMPER as VP of international sales. Trumper will report to Jeff Murray, AVPro founder and CEO, and oversee AVPro’s international business development initiatives. He

brings considerable sales expertise from AV connectivity and financial organizations including OneAV (UK), HDANYWHERE, and HSBC.

BLUEFIN INTERNATIONAL welcomes TIM BAILEY as its new chief operating 0fficer (COO). Bailey brings 20 years of AV industry experience and expertise to Bluefin, having previously held key leadership roles at Waveguide with a proven track record of successfully overseeing operations and engineering. He is poised to play a pivotal role in advancing Bluefin’s position as a market leader in display technology.

D&B GROUP appointed ANDREAS (ANDI) GALL as its new chief digital officer (CDO). Gall is an accomplished chief technology, digital, and innovation officer with more than three decades of success across the media and entertainment industry. As a seasoned C-level leader, he brings extensive experience in spearheading various digital transformation programs, media productions, innovation, and startup projects.

DBTECHNOLOGIES named COLIN STUDYBAKER president of dBTech USA. In his new role, Studybaker is continuing to grow and expand the dBTech USA team, as well as the warehouse, service and support systems serving the United States. Studybaker has served as VP of sales for the dBTech USA team ever since dBTechnologies opened its U.S. headquarters in Miami. A former recording engineer and musician, Studybaker worked at American Music and Sound managing several major brands.

DIGITAL PROJECTION welcomed JARAD FLAX and PAT HART to its sales team. Flax takes on the role of regional market development manager of the Southeast Region. Flax joins with over 10 years of experience in Pro AV and in-depth knowledge of digital signage and the dealer channel. He will be covering the Carolinas, Georgia, Florida, Tennessee, Alabama, and Mississippi. Hart joins the team as regional market development manager for the West Coast and Rockies. He has spent more than 25 years in the industry, most of which as a senior executive.

John Miller

Tim Bailey

Andreas (Andi) Gall

Colin Studybaker

Jarad Flax

Pat Hart

AJ Faxel

Jimmy Biro

Simon Godfrey

James Trumper

From Top Left, Ralph Mastrangelo, Richard “Rick” Coleman, Joe Langholt, and Miles Dudgeon

NEWSMAKERS PEOPLE

ELECTROSONIC has appointed MARC JOURLAIT as chairperson of the board of directors. Having originally joined Electrosonic’s board in 2021, Jourlait’s career has spanned more than three decades leading innovationdriven technology companies. This appointment comes as Lori Cross steps down from the chairperson role. Jourlait will guide the company’s global vision of delivering innovative experiential technology solutions, while providing strategic oversight, governance, and operational guidance.

PAM HOPPEL has been named president of LEGRAND | AV for North and Central America. She is driving all aspects of the AV business, including increasing customer satisfaction, operational excellence, sales, and market share growth. Prior to joining Legrand, Hoppel held various leadership positions at Delta Faucet Company, most recently as VP of trade. She was also president and general manager for Kidde.

MACNICA AMERICAS appointed SEBASTIEN DIGNARD as president. Dignard will sharpen Macnica’s vertical focus across key North American businesses including AV, broadcast, AI, automotive, industrial applications, and security, with an emphasis on building a stronger foundation for overall business growth. Dignard joins Macnica Americas with more than 20 years of experience as a growth-focused executive and business leader, most recently leading iENSO’s global activities in embedded and AI-enabled imaging as president.

Newly appointed associate VP SEAN BOWMAN is leading SHURE’s North America sales. Bowman joined Shure as senior sales manager in 2016, leading retail sales for the former U.S., Canada, Australia, and New Zealand region, taking on responsibility for regional sales, market development, and regional marketing team leadership. In his new role, Bowman will focus on building Shure’s go-to-market structure.

THOMAS NELSON has been promoted to global VP of key accounts at VIZRT. With a firm focus on expanding the Americas’ market, Nelson is responsible for key accounts as well as business development. Nelson has more than 20 years of experience within the media tech market, including the past 15 years at Vizrt. Beginning his career at TV 2 Norway in sports production, he moved to Vizrt Australia in 2008 and since has held senior leadership positions in Asia Pacific and Europe.

ZTRANSFORM welcomed PAUL CATTERSON to the role of general manager. In this elevated position, Catterson is responsible for the development and execution of company initiatives and the management of project operations toward the successful completion of all client engagements. Catterson joined ZTransform in early 2023 as VP of strategy to focus on market expansion and growth of the organization’s existing verticals, as well as overseeing the company rebrand.

Marc Jourlait

Sean Bowman

Thomas Nelson

Paul Catterson

Pam Hoppel

Sebastien Dignard

Something for Everyone

ACT Entertainment’s Seabaugh Explains the Benefits of a Multi-Brand Strategy

By Mark J. Pescatore

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

Darius Seabaugh: I joined the company in 1987, when it was still RapcoHorizon. I’m responsible for all marketing and advertising initiatives for every brand in the company, such as ProCo Sound, MA Lighting, Ayrton, Robert Juliat, Lava Cable, etc.

SCN: Live events exploded following the pandemic. Has the market settled down or is it continuing to surge?

DS: I don’t know if it has settled down, but things have definitely leveled off. While the market is settling back into some old habits, there has also been a lot of demand for new products and solutions, and buying habits have changed as a result. There was always a bit of a “Well, I can do that bigger and better” mentality in live entertainment and that swelled after the pandemic. After months of creative backlog, artists and designers came out of the gates swinging with incredible new ideas. That will continue to drive a lot of investment and growth in the market for some time to come.

SCN: How has lighting evolved for live events over the past few years?

DS: One of the more significant trends recently is the increased need for traditionally discrete mediums— lighting, audio, video, tracking, automation, etc.—to be seamlessly interconnected and in real-time communication with each other. Where once there were human operators creating the necessary links, there are now networked systems for managed control. This really expands the creative possibilities of a production but also necessitates new tools, skills, and knowledge to pull it off successfully.

Darius Seabaugh

SVP of Marketing

ACT Entertainment

In my spare time, I play guitar occasionally. I also play golf and spend time with my grandkids.

package of high-quality AV solutions to our customer base without having to re-invent already stellar products. Companies like MA Lighting and Ayrton are well established and offer the opportunity for us to deliver top-end products to our customers.

SCN: How do your recent acquisitions fit into the company’s long-term goals?

SCN: What are some of the unique Pro AV considerations in worship environments?

DS: The number one thing that we think makes the house of worship environment different is the user story. In worship settings, you often have technical teams made up of a mix of professionals and volunteers with varying levels of experience, and those volunteers tend to be a bit more transient overall. Many churches also have limited budgets to consider. As a result, the products and systems deployed in these spaces need to be cost-effective, user-friendly, customizable, and rock-solid stable to allow services to go forward each week, in a way that isn’t totally time consuming for all involved. It’s a challenge to manufacturers of AV and lighting equipment to bear in mind that “professional” doesn’t have to mean “complex.”

SCN: Your ProCo brand offers a variety of cables— what’s something about cables that customers often fail to consider or don’t realize?

DS: People neglect to account for the importance of shielding to preserve the purity of the signal and length determinations on unbalanced cables and end up with signal degradation as they integrate longer cabling runs. People also often don’t recognize how valuable networking is to audio. They tend to continue to choose traditional analog audio solutions when they should be using Dante digital networking.

SCN: Beyond your own product lines, you also distribute gear from other companies. What’s the thinking behind that strategy?

DS: We represent 14 total brands, and we manufacture seven of those brands. Our seven distribution brands provide us with the opportunity to deliver an entire

DS: This is a similar answer as above in that the acquisitions give us the ability to funnel a lot more top-tier products into our customer base through the channels that we already use. It also enables us to open up some new channels and enter into different markets through distribution. tvONE is a little bit of a different scenario, though—that brand is still going to run separately. But it does still allow us to enter into a new market and start to grow our customer base into the video sector.

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

DS: More acquisitions and more distribution products. There’s plenty in the works right now. We also just rebranded ACT Entertainment with a new logo and a forthcoming website that will bring all our brands into one domain and make it easier to showcase our complete system solutions to our customers.

SCN: What’s next for the Pro AV industry?

DS: I see the reach for higher efficiency to continue to grow. For example, look at the PK sound multi-axis robotic line arrays. The ability to fly a line array rig vertically and then articulate it in the air from your computer on the ground provides an expedited workflow and allows the engineer to dial in a balanced mix with precision. This is by far the most efficient way to deploy a line array system.

SCN: How can systems contractors better position themselves to profit from products and/or services you have to offer?

DS: I think it would be to their benefit to invest in on-hand inventories so they can more quickly deploy solutions for customers as needs arise. This is in contrast to serving as a secondary source and instead relying on the manufacturers to be the primary source for inventory, which would alleviate a lot of the distribution challenges we’ve seen over the past few years.

ACT Entertainment represents 14 total brands, including its ProCo brand of audio interface products.

Evolution of a Sports Network

Student Brings Cloud-Based Production to Rochester University

Daniel Higgins was hired by Chyron as an operations specialist for the company’s cloud-based live video production platform, Chyron LIVE, in 2023. The previous year, he graduated from Rochester University in Rochester Hills, MI—but not before literally creating the Rochester Sports Network (RSN), which provides livestream coverage of the school’s various sports teams. Here’s how he developed the idea and eventually migrated to a cloud-based production workflow.

SCN: You started a student-run sports network at your university? How did that happen?

Daniel Higgins: My interest in broadcast started in high school, and going into college at Rochester University, I wanted to continue pursuing that passion. In the spring semester of my freshman year, I started poking at the athletic department to see if they wanted to livestream sports. They weren’t doing it at the time. It’s a small college with just 1,600 enrollments, so things like that tend to be student-run.

I made my case to the athletic director and sports information director, explaining that I had production experience not only in high school but also through a summer internship with the Battle Creek Bombers, a collegiate baseball team playing in the Northwoods League. I said, “I can do that for you,” with a little help.

They handed me a budget of $750 and told me to buy equipment and get started. I did more research than I ever had into equipment because I had to make the most of it, and I had to explain why every piece of gear mattered. I’d present $5,000 mock budgets, and they just couldn’t understand the upfront cost of acquiring new equipment and starting up production. It was the first of many times I’ve had that kind of conversation. Lucky for me, it paid off.

SCN: How you were able to run the network on your own?

DH: The sports information director expected live streaming, and it was up to me to create it. Using my graphic design background, I worked on the branding of the broadcast, so it aligned with the university but also was its own unique thing. The first broadcast was Oct. 13, 2018. I started with men’s and women’s basketball the first year, and the second year they asked me to do volleyball and wrestling—and liked what I did so much that they offered me a scholarship. Larger schools in our conference had larger

production teams and setups than RSN did as a student-run operation, but we managed to build a following of nearly 2,000 subscribers—more than our student base—over the years.

SCN: At some point you switched from a conventional production setup to a cloud-based live production platform. Why did you make the jump?

DH: I had gone through the Chyron Academy to build the skills I’d need as a PRIME CG operator, so I had connections within Chyron already and was able to get a look at Chyron LIVE shortly after it was first released. As a cloud-based solution, it seemed really cool. And after seeing a demo, I offered to put it through its paces for RSN.

Putting new equipment into sports production or any fast-paced environment is tough, and sometimes it’s a trial by fire. I suggested using LIVE for a couple of upcoming basketball games and got my sports information director on board. We rented a couple of Panasonic SDI cameras and ran them into a Matrox Monarch Edge encoder, which synchronized the camera feeds and streamed them to Chyron LIVE via SRT. I just used my personal PC to access the platform.

I was able to train the student-athlete volunteers who showed up just hours before the game, and suddenly—for the first time—I had camera operators and a replay operator. We had one tight shot and one game shot, both run by athletes who only needed to be told, “Follow the ball, just like in the NBA.” Chyron provided support and feedback throughout.

That first live production was a huge learning experience, not just because I was new to LIVE, but also because I had so many more tools than I had before. The system I’d been using previously only allowed for static, predefined 2D visual overlays. With Chyron LIVE, I was able to incorporate custom real-time motion graphics that had the look and feel of graphics on major sports networks, but with unique RSN branding elements. Streaming itself is simple because the platform supports most streaming protocols and provides a direct connection to major streaming platforms such as YouTube, Facebook Live, and Twitch.

SCN: How did the move to a cloud-based production system benefit the university?

DH: With some knowledge and work on graphics, we were able to create live streams with a distinctive look rather than the stock template look you see if you’ve watched a lot of college sports broadcasts. With LIVE, the production team (no matter how large or small) has control over the look and can even create themes around special events.

As a result, productions with LIVE can become promotional and recruitment tools, which makes it an investment that brings back a return, be it student-athletes more interested in participating in sports at the university or journalism students and others who want to train in broadcasting.

LIVE provides access to a robust set of tools that are easy to use, and the nature of the system allows a team to scale up to take full advantage of those tools. The challenge lies in building the team to use them and make those possibilities a reality. Simply by adding a commentator, telestrator, and an additional camera operator, you create a pretty sizeable product and a better-than-average production. In short, LIVE made professional production values accessible and affordable, and we had the freedom to do as much with the platform as our team could manage.

Before he became an operations specialist for Chyron LIVE, Daniel Higgins used the system at Rochester Sports Network.

THE INTEGRATION GUIDE TO CONTENT PRODUCTION AND DISTRIBUTION

Corporate Events and AV Infrastructures

How to Design Spaces that Deliver Easier Workflows for Temporary Productions

By James Careless

Corporate AV-reinforced events are commonly staged in auditoriums, ballrooms, and large offices that have basic AV infrastructures in place. But since those infrastructures are basic, they typically have to be supplemented by video cameras, displays and/or projections screens, speakers, microphones, and lighting.

This begs the question: How can spaces that host temporary AV-reinforced events be designed to make the setup and operation of those events faster and more painless? To find out, SCN spoke to Dan Abrams, Aspire Technology’s practice director for digital workplace and physical security; Joshua Greenstein, president of the 2twelve Consulting Group; and Kevin Henneman, president of KMH Integration.

SCN: What sort of roadblocks do integrators run into when they are designing (or retrofitting) spaces that were never intended to be used for video production— and what can they do to clear them?

Dan Abrams: There is a myriad of potential challenges that could arise when integrators are designing or retrofitting spaces that weren’t originally intended for video production purposes. Lighting, acoustics, sightlines, power, connectivity, infrastructure, accessibility, and many more could all make the project a nightmare.

Kevin Henneman: Advances in AV-over-IP protocols have created more options for offering lower latency and higher-resolution compression engines. With the current streaming technology and protocols, you can build a system that is fully

IP-based and allows scalable control from a single platform. The acceleration of new IP protocols, including SRT, NDI, and IPMX, are enabling a real melding of AV with broadcast.

Joshua Greenstein: There are intelligent design decisions that really show forethought in putting together a design that’s going to be scalable easily. For instance, on the streaming side, the key is access to reliable internet.

SCN: How can integrators better design basic AV systems that host temporary events to make them easier to use by production crews?

Henneman: Whether it’s employees plugging into a conference room’s AV system or a broadcast video crew setting up a temporary location shoot for a corporate event, it all comes down to delivering a high-quality, plug-and-play experience. That’s all based on designing rooms and public spaces for maximum flexibility and optimal performance. And at the same time that you’re creating a true plug-and-play environment for broadcast crews, you’re also enabling a flexible Bring Your Own Device [BYOD] experience for corporate employees during the workday.

Greenstein: They should begin by having a complete

understanding of the type of events most commonly held or that the space is marketed for. Overbuilding unnecessary infrastructure for one-off events can be expensive and increase the complexity of the system without ever truly being leveraged. Design and build for what will actually be used and allow the true one-off uses to be unique and less reliant on integrated infrastructure.

Abrams: Having really good conversations upfront with stakeholders who understand how that space is used is really important. As well, identify consultants and other people who use this space to find out how they want to interface with a “blank canvas” of a space.

SCN: What can be done to create better lighting in these spaces without a grid? What type of audio equipment (mics and speakers) should be standard? And when it comes to streaming, what do these crews need as far as a “foundation” for effective distribution?

Abrams: Lots to unpack in this question! Let’s take one thing at a time. We’ll start with lighting: If you’re not going to have a grid, portable lights are a necessity. But portable doesn’t have to always mean tripods. It could be a small portable truss system or similar variant. Success in streaming is directly tied to a strong IT infrastructure designed to have connectivity available in proper locations in and around production areas within the given space.

Audio equipment truly depends on the space. Speaker selection, configuration, and deployment is a function of the architectural environment and type of reinforcement they are meant to provide. So, there isn’t a standard answer when it comes to speakers. Microphones are a little easier. Having an

From Left, Dan Abrams, Joshua Greenstein, and Kevin Henneman

appropriate quantity of wireless channels available with options for handheld, lavaliere, or head-worn mics is essential. Strategically located inputs for wired microphones is also very beneficial as well.

Henneman: Corporate users can build temporary grids with lights on floor stands or clamp lights to existing infrastructure, such as Kindorf or Unistrut components. There are also lighting systems that are Wi-Fi or Bluetooth controllable, so you don’t have to run wires to every light. This makes installation easier and doesn’t clutter the event floor space as much.

Greenstein: Depending on the space and size of the room, lighting trees that are either in temporary fixed locations or come in on an as-needed basis for any show are most useful. If you’re going to be installing audio or wireless mics that are going to permanently live in a space, you want to go with top-of-the-line equipment because you want it to be versatile.

SCN: Finally, what is the best advice you can offer to integrators for designing spaces that are optimized for AV?

Greenstein: I think flexibility, scalability, and versatility are the three things that are really going to make an AV space work, especially in a corporate setting.

Henneman: People can view high-quality video on their 65-inch TVs, streaming services, tablets, and phones. As a result, corporate audiences now expect that same level of quality in the workplace, on their laptops, Zoom or Teams meetings, on the video displays used in multi-purpose areas and during every presentation.

Abrams: Ask lots of questions to the client and define in writing exactly what the goals of the system are, then set realistic expectations regarding challenges that are outside of your control. And remember: You’re better off doing a few things great rather than an OK job at everything.

Flexible AV and IP inputs:

Rich outputs including RTMP and

At Issue

How do you decide which video transport solution is the best choice for a production infrastructure?

Dan Holland Marketing Manager, IHSE USA

With the need for Pro AV installers to provide the most cost-effective solution possible, the challenges to find the right video transport solution to support specific digital video formats while maintaining a path for crossover SDI or IP becomes increasingly difficult. The integrator must determine what formats to support, what cabling systems to support, what kind of display technology to use, and finally, what kind of resolutions to support. Today’s high-speed video design engineers are faced with significant challenges in addressing digital IP and interface requirements that provide high-performance, cost-effective solutions for both broadcast and computer video.

Nick Ma CEO and CTO, Magewell

While IP is now the preferred choice for most “greenfield” installations, SDI still has advantages where the workflow will involve more existing SDI-based equipment than new IP-based gear. For example, if the customer wants to keep using existing SDI switchers and cameras, deploying an SDI infrastructure may minimize conversions to/from IP. SDI can also be simpler for small-scale, one-way, point-to-point transport. For most other projects the agility, bi-directional communication, one-to-many efficiency, and scalability of IP networks make IP the best choice. Media connectivity technologies like NDI, which have lower networking requirements than SMPTE-2110, also make IP more cost-effective for many projects.

Intuitive touchscreen interface and companion mobile app

Sustainability: A Pro AV Progress Report

Industry Is Adopting Strategies, But There’s More to be Done

By Jennifer Guhl

Along with broader global efforts to achieve sustainability and reduce carbon emissions, the Pro AV industry is making the effort to conserve resources and minimize long-term environmental impacts. In fact, many industry members are setting action-orientated goals and implementing sustainable practices across its business and supply chains.

Keeping Up with SDGs

“Sustainability is important in Pro AV because we are a multi-billion-dollar industry that grows larger by the year—and consequently has a progressively greater impact on sustainability,” said Christina De Bono, founder and president for Sustainability in AV (SAVe). “Each year, we’re in a progressively stronger position to make things worse or make them

better. So far, our industry doesn’t have a lot of positive achievements to show for itself.”

Led by industry volunteers, SAVe hopes to inspire the AV industry to develop strategies to achieve the 17 Sustainable Development Goals (SDGs) as outlined by the United Nations in the 2030 Agenda for Sustainable Development. “Like every industry, ours is a significant contributor to the problems we face,” said De Bono. “But it’s also in a position to significantly advance positive change. The SDGs are not some pie-in-the-sky fantasy. They are the product of a massive global effort—endorsed in 2015 by every member of the United Nations—to identify not just what needs to be done but how to achieve them.”

With the United States being one of the few nations failing to report on SDG progress and the general public’s lack of awareness, SAVe hopes to change that within the AV industry. “We already have a critical mass who favor sustainable development,” added De Bono. “SAVe is committed to empowering them with

information and resources to act.”

After serving as the official sustainability partner for in 2023 and 2024, SAVe was inspired to launch SAVe 2024, a sustainability conference in mid-March that brought AV leaders from around the globe together in Los Angeles to collaborate, learn, and connect. SAVe also offers several programs and initiatives, including SAVe: A Second Life, helping to support responsible recycling by ensuring usable equipment is kept in a cycle of use rather than entering the waste stream.

SAVe certification workshops can help organizations identify ways they can make an impact on sustainability issues by developing actionable steps toward progress. Once an official plan is developed, an organization can submit it to SAVe to be granted SAVe Certification, demonstrating to all stakeholders that they are serious about sustainability. “SAVe Certification workshops are important because they provide a rapid, adoptable, easy-to-maintain way to incorporate sustainability-advancing behaviors and practices into an organization,” said De Bono.

Products and Solutions

“Pro AV business leaders have two roles in impacting climate change,” said Michael Boettcher, president of Edge, which is a consortium of AV integrators. “The first is to move as fast as possible to reduce greenhouse gas emissions from their operations and supply chains. Secondly, business activities can also contribute to

LED Studio, which recently expanded its EDGE Series with 54 and 65-inch models, is committed to delivering more sustainable display options.

innovation and solutions to prevent, mitigate, and adapt to climate change and its adverse impacts on the planet.”

LED Studio is taking steps to eliminate “throwaway culture” with its V1 Architecture, a proprietary infrastructure designed to accommodate evolving pixel technologies, within its EDGE Series of displays. The company launched the 54-inch EDGE Pro and the 65-inch EDGE earlier this year.

Considered a direct replacement for LCD video wall panels, the EDGE Series offers simplified installation for integrators. The 54-inch EDGE Pro has fewer internal components than traditional LED display cabinets, reduces the amount of raw materials used during manufacturing, and features Chip on Board (COB) MicroLED pixel technology that can deliver substantial energy savings versus LCD for customers, which improves ROI.

“Enhancing sustainability and removing the complexity associated with LED display installations is at the heart of everything we do,” said Rob Bint, CEO, LED Studio. “Our ability to present an LED display with

the option to choose from three advanced manufacturing technologies and various pixel pitches is a massive evolution in the LED industry. It is a significant turning point in a move towards a more sustainable display industry by protecting initial investments, reducing waste, and supporting technology progression.”

One SAVe 2024 sponsor, Sony Electronics, enacted an environment plan called “Road to Zero,” which is built on goals concerning four environmental perspectives: curbing climate change, conserving resources, controlling chemical substances, and promoting biodiversity. With this in mind, the company has moved forward with initiatives like being engaged as an EPA SmartWay Shipper for transportation sustainability and freight efficiency, as well as leveraging recycled material, SORPLAS (sustainable orientated recycled plastics), for parts. Its San Diego headquarters was awarded the LEED gold certification in 2010 and procured 100% renewable energy by purchasing renewable energy certificates.

“We would like to emphasize the importance of

Vantage Lighting Controls Contribute to Sustainability Effort in New Luxury Hotel

Hotel Verdant, a new five-story boutique hotel in Racine, WI, is redefining sustainability in the luxury hospitality market. As the hotel strives for LEED Gold certification, every aspect of the property was meticulously examined, with lighting being a pivotal component. AV integrator Digital Living selected Legrand’s Vantage lighting controls, which integrate the hotel’s many lighting fixtures, motion detectors, and daylight sensors to achieve lighting that automatically adjusts based on time of day, amount of sunlight, and occupancy.

After labor, energy consumption is the second largest cost for hotels. Lighting, space heating, and water heating represent close to 60% of total electricity use. Energy costs typically range from 4-6% percent of hotel costs, but for historic and luxury properties such as Hotel Verdant, the number can climb to 10% or more.

Recognizing lighting control as a key avenue for efficiency, Hotel Verdant sought ways to reduce

transparency in sustainability efforts,” said Kanaru Fukushima, senior manager, marketing for Sony Electronics. “Our commitment to sustainability is not just a checkbox; it’s an ongoing journey that requires continuous improvement. We encourage open dialogue with our stakeholders to foster accountability and transparency, driving positive change across the industry.”

PPDS North America introduced modularity in its Philips Signage 4000 Series (D-Line), allowing the potential for repairs and renovation of displays, and introduced the first PPDS EcoDesign displays, which use less than half the energy of their direct competitors and have been recognized with the EPEAT Silver Climate+, an ecolabel from the nonprofit Global Electronics Council (GEC).

“For us, the greatest thing is being transparent about our efforts and making the information our system integration partners and customers need about the sustainability of Philips Professional Displays readily available,” said Nick Beglaries, commercial vice president, professional displays, PPDS North America.

waste while showcasing sustainability to guests. “The hotel industry is all about creature comforts, which can create a lot of unintentional waste,” explained Michael Godfrey, CFO of Hotel Verdant.

“For example, the hallways that lead to guest rooms traditionally stay at full brightness 24/7, whether or not there are occupants. We wanted to explore how our lighting could be deployed in such a way that it would not only conserve energy but also show guests what sustainability looks like as part of their experience.”

Working with Digital Living and Ring & DuChateau, an engineering consulting firm, Hotel Verdant’s goal was to create a much greener lighting design, with intelligent lighting in its lobby, hallways, gym, administrative offices, and other areas. A significant challenge was ensuring the lighting design complemented the architecture and décor while reflecting the hotel’s unique modern style and Danish heritage. The installation was completed last July in time for the hotel’s grand opening on Aug. 1 (its restaurant and rooftop bar opened on Aug. 7).

Vantage lighting control was selected based on its flexibility and optimal control. “I’ve used Vantage for

From Left: Christina De Bono, Michael Boettcher, Rob Bint, Kanaru Fukushima, Nick Beglaries, Ed Qualls, Samantha Buchanan, Kathryn Gaskell, and Philippe Wetzel

Sensors work with the Vantage lighting controls to dim hallway lighting when no one is present.

COURTESY OF HOTEL VERDANT

“Last year, we introduced a toolkit for our SIs, enabling them with all the information, regularly updated, all in one place.”

A Package Deal

Many industry members, including representatives from Sony Electronics and PPDS North America, commented on the importance of sustainable packaging and shipping. Just Add Power has moved to 100% recyclable material over the past five years. It even uses an independent cardboard recycling pickup for large packaging that its facilities can’t reuse. “We specify that our manufacturing partners use recycled materials in manufacturing when available, like the steel for our cases,” said Ed Qualls, CEO, Just Add Power.

Just Add Power has even found various efficiencies within its building, including utilizing a solar array to provide 90% of its annual energy requirements. “Since the installation in November 2023, we have already reduced our carbon footprint by over 11 tons,” said Qualls. The company even thinks of sustainability

regarding plants on their property, using self-pruning trees like foxtail palms and peanut flowers for ground cover, allowing them to forgo gas or electric-powered garden tools to maintain them.

At the center of WyreStorm’s sustainability drive is the transition to eco-friendly paper materials, a departure from traditional plastic-based packaging that helps reduce its impact and align with consumer preference for eco-conscious products. “Two-thirds of our packaging, even more so now, is filled with paper instead of plastics,” explained Samantha Buchanan, marketing and administrative manager with WyreStorm. “All of our packaging is cardboard—and whenever we ship anything, whether to a show or our customers, we try to use paper products over any Styrofoam or bubble materials unless necessary.”

Legrand | AV is dedicated to eco-conscious practices at every product lifecycle stage and is in the last year of its fifth sustainability roadmap. “We’re actively developing our sixth roadmap, which would be from 2025 to 2027, but our goal is to be net neutral for carbon by 2050 and reduce single-use plastics by 2030,” said Kathryn Gaskell, director of eco-design and regulatory.

over a decade,” said Shireesh Reddy, president of Digital Living. “What sets Vantage apart is that it’s mindful not only of the control and integration experience but also design. It offers the freedom of design, scalability, and intelligence that modern lighting design projects need. I can program all sorts of sequences to fit any desired experience, and it fits a much greater load—48—in one enclosure compared to other controllers that only do 36, which was a must

For those claiming higher costs hold them back from sustainability initiatives, Gaskell feels this is a common misnomer within the industry. “We assumed we’d have to go up in cost because the sustainable

for Hotel Verdant.”

Vantage partners with fixture manufacturers as part of its Fixture Alliance, including Tech Lighting, one of the 20 fixture manufacturers used in Hotel Verdant. The partnership ensures interoperability and provides integrators with preconfigured profiles, which are available within Vantage’s Design Center software and help speed up programming.

Hotel Verdant achieved a luxurious lighting experience that seamlessly blends sustainability with style. The Vantage system, integrating more than 100 motion and daylight sensors, features more than 20 programming sequences. In the hallways, administrative offices, and other work areas, the motion sensors detect when someone is present and raise the lighting level; when no one is detected, they

solution we found would be more expensive. We were surprised in a great way that it wasn’t,” she noted. “It may be a wash, it may be a little less … when you’re looking at it, I think you should assume it’s the right decision, and luckily, our company leans into the right decision versus the cost.”

With a focus on improving technology resource utilization, VITEC modified its entire product design process to minimize the environmental impact and optimize energy consumption for all solutions, leveraging renewable energy strategies like including photovoltaic panels and heat pumps to power facilities across the globe. The company also looks at sustainability opportunities within its logistics, reducing travel between its manufacturing site and customers. In 2022, VITEC launched the GreenPEG initiative to measure, reduce, and compensate for all carbon emissions, including everything from raw material extraction to final recycling.

“There is a growing sense that eco-friendly design and sustainability practices in enterprise video applications are not just good for the planet, but also business,” said Phillippe Wetzel, CEO, VITEC. “Effectively implemented, these strategies streamline the processes; they reduce waste, cut costs, and reduce enterprise video’s environmental impact.”

Real change doesn’t happen alone. De Bono hopes the groundswell of interest in sustainability is gaining momentum—and that events like SAVe 2024 can be a starting place for impactful, long-lasting partnerships. “Partnerships are nothing less than force multipliers,” said De Bono. “They are essential to creating the groundswell of support we need to effect real and lasting change.”

automatically dim, cutting down on energy use. Vantage EasyTouch Glass keypads and third-party touchscreens were also selected for the project.

The hotel bar, Eave, takes advantage of Vantage’s astronomical clock, which automates the bar’s lighting. Ten minutes before closing time, the system flashes the lights to notify occupants that the lighting will be powering down.

In the lobby, which is surrounded by windows, daylight sensors automatically detect when there is greater amount of sunlight in the room and adjust the lighting accordingly (though the system can also be controlled manually via keypads). In this way, Vantage provides both a more energy-efficient and human-centric lighting control experience.

“Most people are used to walking into overly lit rooms and hallways,” explained Reddy. “Vantage helps to craft lighting that looks and feels different. This is a very unique way to operate a hotel that is part of the Hotel Verdant experience.”

“Sustainable solutions such as Vantage add immense value,” added Godfrey. “It’s part of our vision, saves money and energy, and showcases to guests what’s possible in their own homes.”

Eave, the bar at Hotel Verdant, has automated lighting that reduces energy use.

COURTESY OF HOTEL VERDANT

Pro Audio Meets ESG Strategies

How to Build a Sustainable Loudspeaker System

By Robert Trebus

Society’s trend toward sustainability is becoming increasingly relevant in the event industry. Consequently, manufacturers of audio, video, and lighting equipment are delving more deeply into the idea of sustainable products, aligning their offerings with the growing demand for eco-friendly solutions.

For businesses, sustainability combines responsible incremental improvement across three central pillars: environmental, social, and governance (ESG). The concept goes beyond minimizing environmental damage, with global frameworks such as the United Nations’ Sustainable Development Goals providing a basis for developing responsible production practices, climate action policies, and promoting an equitable approach to work, among many other priorities. The products we make and bring to market are also measured against these criteria, reflecting our commitment to integrating sustainable practices throughout our operations and product development.

It Starts with Design

It’s essential that the consideration of sustainability be deeply integrated into a manufacturer’s design process because, as all responsible producers should recognize, more than 80% of a product’s environmental impact is determined at this stage. And wherever possible, that focus should extend beyond functionality to consider end-of-life scenarios, emphasizing measures such as recycling and remanufacturing to minimize waste. By

collaborating closely with suppliers, a responsible manufacturer can ensure that its materials and processes meet high sustainability standards.

We believe that environmental responsibility is crucial, both for a business’s long-term success and for the well-being of the human race. With this in mind, we have aimed to set new standards for this industry. In practical terms, the impact of this approach can be profound, with high-profile examples such as Coldplay’s adoption of energyefficient audio systems illustrating significant energy and CO2 footprint savings of up to 50%.

their chosen supplier is not only taking tangible steps toward reducing their overall environmental footprint, but also that by choosing that supplier’s products, they are themselves contributing to a more responsible and sustainable future.

Material Concerns

When it comes to products’ end-of-life scenarios, our Certified Pre-Owned (CPO) system has been a pioneering measure for the pro audio industry, introducing a clear understanding of circular economy principles. For our CPO product, we hold a BSI Remanufacturing certification, which is publicly accessible on our website.

Thanks to this key remanufacturing measure, each CPO system can save up to 80% in CO2 emissions, keeping many valuable raw materials in circulation. This initiative not only highlights a commitment to sustainability, but also sets a benchmark for environmental responsibility in the industry, demonstrating a determination to reduce the ecological footprint of products while maintaining high-quality audio performance.

Our ESG strategy propels us toward continuous innovation. We ensure transparency in our sustainable practices, so they are clearly visible and understandable for our customers, demonstrating a commitment not only to environmental stewardship but also to fostering trust and accountability in our industry. Pro audio customers worldwide need to be able to recognize that

Making sustainable loudspeaker systems requires extensive use of recycled and renewable materials. For instance, metals with high secondary content help minimize raw resource extraction, while FSC certification tracks timber origins from sustainable harvesting. Increased deployment of recyclable materials also aids end-of-life recovery and reuse.

The quest for sustainability drives innovation: More efficient amplifiers and lighter system components lower transport costs and associated carbon emissions while retaining acoustic quality. However, quantifying the benefits of sustainable audio technology using KPIs such as power consumption is vital, particularly because it helps track progress and communicates the advantages of sustainable practices to consumers and stakeholders.

All manufacturers should be seen to embed sustainable practices for continuous improvement within their business practices, including partnering with suppliers who prioritize secondary raw materials. What’s more, that dedication should be transparently evident; a sustainability report, for example, should detail the manufacturer’s efforts to reduce its environmental footprint and improve product sustainability. Such a commitment underscores a deep belief in responsible stewardship in the business world, highlighting a dedication to environmental responsibility and sustainability in all

Sustainable loudspeaker systems rely on recycled and renewable materials.

Certified pre-owned systems can offer significant savings in CO2 emissions by keeping raw materials in circulation.

aspects of operation.

For any responsible manufacturer developing premium products, it’s crucial to rely on industry standards. By comparing the standards for quality management with those for sustainability management, one can discover their core similarities.

At its heart, sustainability management is quality management. It is good to be renowned for the quality and durability of the loudspeaker systems or any other product you design and build, but such a reputation should only be seen as the foundation for the continued, ongoing effort to make products ever more sustainable. By aligning sustainability initiatives with established quality management principles, a manufacturer can ensure that its commitment to environmental responsibility enhances its products’ performance and longevity, contributing to its sustainability as a business as well as continuing its legacy of excellence and innovation.

Deployment Considerations

Beyond focusing on the practicalities of production processes and product lifecycles, it is also essential to analyze the environmental impact of that product’s deployment and use in the market. New sustainable business models form an important part of this.

For example, there’s the introduction of new models based on the Product-as-a-Service (PaaS) approach, where the producer owns the product throughout the value chain and where the customer moves from ownership to renting. These initiatives are crucial steps toward reducing an item’s global climate impact. By offering PaaS, we not only extend the lifecycle of our audio systems but also decrease the overall environmental footprint, aligning with our commitment to sustainability and innovation in reducing global climate effects.

Manufacturers can also take crucial steps toward sustainability in collaboration with artists and sustainability initiatives. It is essential to understand which sustainability measures work well at events and where there are gaps that need solutions.

A responsible manufacturer should take on the role of an active partner alongside its customers, supporting them in achieving their own sustainability goals. Such a partnership approach allows the sharing of insights, the development of tailored solutions, and the further promotion of best practices in sustainability. Manufacturers must work together with their customers and end users to deliver a collective impact on environmental conservation within the event industry.

For the global pro audio industry, sustainability must be a fundamental principle in designing, manufacturing, and operating systems. Manufacturers at the forefront of this movement must ensure that their products benefit the entire value chain. This includes reducing carbon footprints, improving quality and efficiency, and optimizing end-of-life processes—but it should also go beyond

SUSTAINABILITY BUSINESS

manufacturing to enable artists, venues, and vendors to meet their environmental and social objectives.

By adopting more sustainable manufacturing practices and technologies, as well as product lifecycle strategies and new business models, the pro audio sector can contribute significantly to climate goals.

It’s a commitment that not only aligns with global sustainability efforts, but also ensures that live event experiences will continue to inspire millions of fans worldwide, sustainably, in the years to come. Robert Trebus is the director of global sustainability for d&b group.

Cybersecurity and Pro AV

Networked Environments and Regulations Require Integrators to Address Concerns

By Carolyn Heinze

In early February, technology solutions provider Diversified, headquartered in Kenilworth, NJ, and GroCyber, a cybersecurity services firm headquartered in Fairfax, VA, announced a partnership. Under the agreement, the two organizations are providing a suite of cybersecurity solutions designed specifically for AV and media companies.

Mathew Newfield, president and chief commercial officer at Diversified, explained that in addition to its integration activities, the company is placing more focus on providing consultative services to its customers. In particular, he notes that there is a high customer demand for AV cybersecurity expertise.

“One of the things we realized last year is we were getting a lot of requests from our client base to assist them with not only physical security—where we’ve had solutions for a while—but the cybersecurity side of that equation,” Newfield said.

The Diversified-GroCyber offering is divided into three main categories:

Cyber certification. GroCyber acts as an independent third party that tests and then certifies the broadcast environments and components of Pro

AV systems based on the National Institute of Standards and Technology (NIST) Cybersecurity Framework. (In other words, they will certify the manufacturers and vendors that Diversified works with according to internationally recognized standards.)

Cyber hygiene and monitoring. This includes configuration and access control, as well as hardware and software monitoring and patching.

Vulnerability management. In the interest of protecting their media assets, consultations are focused on designing a secure architecture, plus scanning and penetration testing to identify weak spots within the client’s environment.

Driving Demand

Until recently, cybersecurity wasn’t a big issue for the Pro AV industry because of how systems were deployed. As a result, IT leaders were much less concerned about them.

“In many instances, those systems were physically isolated,” explained Jeff Fillbrandt, VP of technical operations at Utelogy, an AV systems monitoring and management platform developer headquartered in Petaluma, CA. “The AV equipment didn’t touch the enterprise corporate network.”

But because today’s Pro AV systems are no longer air gapped, CISOs and CIOs need to know about how things like patch management, penetration testing, and vulnerability testing will be applied to the Pro AV systems being deployed onto the enterprise network. “Because it’s all IP-enabled—and it’s about speed and being able to get the most streaming possible across the IT platform and where we are going to connect from the streaming environment over to the IT environment—we have to make sure that all of that is patched, updated, and best of breed,” said Alison Kidd, managing partner at GroCyber.

Not only that, but AV professionals must now consider what happens if one of their customers’ systems is breached. “Now you have to have an incident response plan—you have to have the steps [in place] for what you’re going to do if something actually does occur,” Kidd offered. If a customer is compromised through the technology that the AV integrator deployed, the integration firm should be playing a role in assisting the client through the incident.

All of this is extremely important to customers with valuable digital assets. Yong-Gon Chon, managing partner at GroCyber, illustrates it this way: Consider a customer with a media asset library worth almost $1 billion. In a traditional brick-and-

Because Pro AV systems are no longer isolated, the need for cybersecurity expertise is essential.

mortar library, a thief may succeed at stealing one book. However, in the world of media storage area networks, a threat actor can get away with the entire library. “When you’re seeing that kind of asset value and business impact, it certainly raises the level of concern now that everything is interconnected,” he added.

AV/IT Relationship

This potential level of breach requires a shift in mindset for many in Pro AV. “For a lot of the people who run these AV environments, this is a new world order for them,” Newfield acknowledged. “We are starting to have that consultative conversation to help them set processes up so that their environments can stay up and running, they can do it in a secure manner, and they can get past that wall of the CIO/CISO saying, ‘Here’s the base—you’ve got to be here. And if you’re not here, you’re out.’”

In large organizations, AV teams are starting to operate under the umbrella of the CIO—a promising development, according to Newfield. This convergence is important, because it helps advance the discussion about service-level objectives for both AV and IT, which are often significantly different.

For example, in the broadcast environment, there is little or no tolerance for latency. This is especially taboo in sports broadcasting, where even microseconds of delay are unacceptable. “If you’re putting too many cyber controls on those systems, you could introduce delays,” Newfield said. “Helping to have them change their mindset of how they can put in security controls that are right for them is important.”

Mandates and Best Practices

Cybersecurity requirements are often mandated by regulators and government agencies, Chon noted. For example, the healthcare and financial services industries are highly regulated, which result in the need for integrators working in these markets to adhere to strict cybersecurity practices, such as those outlined in the NIST Cybersecurity Framework.

Contractors working in the public sector may be required to fulfill federal regulations, such as the DFARS Clause 252.204-7012, issued by the Department of Defense (which also lists NIST requirements). Organizations dealing with clients in the European Union must comply with the General Data Protection Regulation (GDPR) and should also take into account the rules set out in the proposed EU Cyber Resilience Act.

All these mandates have pushed cybersecurity to the forefront for everyone, Pro AV companies included. “It’s become incumbent upon the service providers and manufacturers in [this space] to become way more cyber literate,” Chon said.

Often, the first talking point during an initial conversation about a new project is cybersecurity, Fillbrandt observed. In many cases, clients need to know that a vendor or integrator can pass an information security (infosec) review before entering more profound discussions on project specifics. “Knowing how to navigate those discussions is critical,” he said.

That said, cybersecurity is a fast-evolving field, and Fillbrandt acknowledged that AV integrators may not have the resources to remain

“For a lot of the people who run these AV environments, this is a new world order for them.”

Mathew Newfield, Diversified

Cyber Resources for Pro AV

up to date. For this reason, he urges these organizations to lean on their vendor partners for support.

“We want to play an active role to help guide them through the process,” he said. “Those [AV companies] that bring in the appropriate people that can have those discussions, those are the organizations that are delivering value to their customers.”

National Systems Contractors Association (NSCA) members who need information on cybersecurity in AV can turn to the NSCA Cybersecurity and AI Committee. According to Mike Abernathy, NSCA’s director of business resources, this committee’s goal is to recognize the cybersecurity standards that have an impact on both NSCA members and their customers, as well as provide resources related to relevant cybersecurity standards, frameworks, and certifications. The group will also examine the impact AI has on the Pro AV integration firms that are using it, offer guidance on data protection for businesses using AI, and explore the legal aspects to consider when applying artificial intelligence.

From Top Left, Matthew Newfield, Jeff Fillbrandt, Yong-Gon Chon, and Alison Kidd

ROOM CONTROL

Money Talks

American Bankers Association Optimizes HQ for Videoconferences

By James Careless

The American Bankers Association (ABA) is a trade association representing the nation’s $23.4 trillion banking industry, which includes small, regional, and large banks that collectively employ approximately 2.1 million people. In late 2022, ABA moved to its current 87,000-squarefoot headquarters in Washington, DC’s Dupont Circle neighborhood.

As part of the move, ABA further committed to Zoom videoconferencing in support of its active hybrid work environment. A host of multi-sized meeting and workspaces within the three-story office environment—including a large boardroom, two large conference rooms, 10 medium and nine small conference rooms, 11 huddle rooms, the CEO’s office, three coffee bars, staff lounge, and more—were equipped to support Zoom meetings effectively and efficiently.

“The majority of our people work two days a week from the office and the remaining time at home, so there’s a big need for videoconferencing to support regular, daily meetings with anywhere from two people to over a dozen,” explained Tony Neal, ABA’s VP of infrastructure. “We also support weekly meetings of ABA stakeholders in other locations, for example, meetings of state banking association members and those of other types of committees, including our board of directors.”

ABA’s AV project was designed, managed, and installed by New York-based TRITECH

Communications. TRITECH is no stranger to installing AV systems for the financial services industry, having already done such work for JPMorgan Chase, Moody’s Investor Service, and Brown Brothers Harriman, among others. “TRITECH was the best vendor to meet our needs, in part because they were already doing the cabling in the building,” Neal said. “For projects like these, I prefer the cabling vendor and the AV vendor to be the same—and their reputation as a reliable and savvy AV deployment partner made the choice easy.”

The sheer scale of the project, along with the fact that the ABA wanted it done reasonably quickly, made for a challenging build. ABA started the process with TRITECH in December 2021, moving into their new headquarters just 11 months later. Add the fact that these rooms had to seamlessly support a range of portable BYODs and TRITECH had its work cut out for it.

“This was right during the COVID-19 crunch,” recalled TRITECH’s Barclay Davidson, who managed the ABA project. “As such, we had problems getting some of the equipment specified for the large boardroom and two large conference rooms, such as the Crestron NVX AVoIP distribution systems. Crestron was experiencing a product shortage at that time, so they provided us with an interim solution until the NVX units we wanted could be retrofitted into the rooms in December 2023.”

The Big Three

Without a doubt, the large boardroom and two large conference rooms are the stars of this show. They are interconnected using networked AV-over-IP via a

central headend located in the ABA’s AV room. The approach provides a future-proofed solution that allows the system to be easily scaled should requirements be added as technology evolves.

The boardroom is equipped with a Planar 109-inch LED video wall, NEC NP-P605 6,000-lumen ceilingmounted laser projector, and Da-Lite Tensioned Advantage 110-inch motorized projection screen installed in the ceiling. There are also mobile TV display cart connection plates within the boardroom to support additional viewing angles both within the room and when its accordion-style glass partition is open to create a 2,400-square-foot reception space.

Multiple Vaddio RoboSHOT 30E PTZ cameras in the boardroom provide coverage of the space. The setup is rounded out with a Zoom Room appliance that supports Zoom meetings, laptop connections with both HDMI and USB ports in a floor box,

Smaller team rooms at the ABA include a Samsung display along with a Logitech videobar and user interface.

Soundtube CM-82 ceiling speakers, ceiling-mounted beamforming microphones, and lavalier and handheld microphones. All AV functions are controlled using a Crestron TSW-1070 10-inch touchpanel mounted on the wall that can also be connected to the floor box.

Meanwhile, the two identical 30-person, large conference rooms each have a pair of wall-mounted Samsung QB85R 85-inch displays, with a RoboSHOT PTZ camera mounted between them to capture the audience looking at the displays. A second camera is mounted on the ceiling facing toward the displays to cover a presenter standing at the head of the room. A mobile TV display cart connection allows those in the back to watch a closer display for detailed viewing, if required. Like the large boardroom, each large conference room has a Zoom Room appliance, HDMI/ USB floor box, ceiling speakers, a similar selection of microphones, and Crestron touchpanel control.

CONFERENCE ROOM CONTROL BUSINESS

Comprehensive Connectivity

The AV equipment in the rest of ABA’s meeting and team rooms varies depending on their usage and capacity. For example, each of the huddle rooms, which are designed to enable hybrid meetings with up to five in-person attendees, has a wall-mounted Samsung QB50R 50-inch flat panel display, plus a Logitech videobar connected to a small-format PC behind the display to support Zoom conferences.

A Logitech Tap user interface located on the table controls the system, with an HDMI connection to enable content sharing from a laptop. However, the HDMI connection is not necessary for ABA staff laptops, which can share directly to the display via Zoom’s share screen functionality over Wi-Fi. A similar approach is used in the medium and small conference rooms, with some variance in monitor size.

The CEO’s office has a Samsung QB65R 65-inch display on a Chief TS325 articulating wall mount, along with a small-format PC and a Logitech videobar. Zoom conferences can be controlled from a user interface located on the table. The CEO’s office also has an HDMI connection to support content sharing from a laptop, if required.

Each of the three coffee bars features a Samsung

65-inch monitor connected to a BrightSign XD234 media player and CATV/streaming devices installed behind them. Plus, the staff lounge has a 55-inch monitor and a CATV/streaming device, while one visitor reception area has a similar setup housed in a cabinet under the TV.

“TRITECH also designed and installed a mesh network setup for end user cable TV stations in select but varying employee offices,” Neal added. “The flexibility of the design allows ABA to move TV services to any office that requires it without running coax cable or disturbing the infrastructure.”

According to Neal, the ABA’s Zoom-centric facility is working as planned. “Our staff and people from the outside say that the rooms are great,” he said. “We’ve had very few issues with them, almost zero issues with them, to be honest.”

The secret to ABA/TRITECH’s success on this project? “Prototyping and testing the rooms as we did is always a good thing before they all get installed,” replied Neal. “Work with the AV vendor to make sure that everything meets your needs, do a lot of testing when the room is turned over to you by them, and, crucially, ensure that the room is easy for the customers to use from the onset.”

The staff lounge features a monitor with a CATV/streaming device to display company messages and other content.

Ready for the Game

Snap One Solutions Modernize Downtown Sports Bar for Next Generation of Boston Sports Fans

The owners of Scores sports bar in downtown Boston had some big shoes to fill when they purchased what was formerly The Fours Restaurant & Sports Bar. Since 1976, the establishment has been the place for diehard Bruins, Celtics, Sox, and Patriots fans to gather on game days. At Scores, the 6,300-square-foot, bi-level stomping grounds still cater to these core customers, as well as the next generation of patrons, thanks to the addition of several smart systems from Snap One during a massive cosmetic and technological renovation.

“Sports always will be a huge part of our identity—and as diehard fans, we would never want to change that,” said Tyler Smith, Scores general manager. “We want to be top-of-mind to everyone from our fellow Boston sports fanatics to groups looking for something fun to do on a Tuesday night.”

A thoughtful approach to the addition of technology would help the Scores management team achieve this goal while keeping the establishment’s original championship DNA intact. Perhaps the most noticeable and appreciated update are the 32 displays across the walls. Carefully integrated into the building’s original exposed brick walls and millwork, and without detracting too much from the decorative sports memorabilia, the commercial-grade displays are arguably the biggest draw of the new business.

“There isn’t a bad seat in the house,” says Jason Record, owner of Rexx Home Systems, the tech integration firm hired for the transformation. “No matter where you sit, you can see multiple games.”

Generous screen sizes from 55-98 inches, as well as the tilt mechanisms of the Strong mounts from Snap

One, enhance the view. With 50 commercial-grade speakers and subwoofers installed inconspicuously within the ceiling, Rexx made sure patrons would never struggle to hear the gameday commentary, either.

Game Day Control

Stretching across multiple levels, Scores would require an equally expansive AV distribution system, as well as a simple way to manage and control it. Rexx charged Snap One’s Control4 automation platform, along with its Binary MoIP (Media-over-IP) system, Triad amplifiers, Control4 entertainment and automation controllers, and other technologies with these critical tasks. Highly customizable and interoperable, the suite of products allows the on-duty manager to distribute multiple streams of high-resolution audio and video from a wide array of sources to select TVs and speakers.

The system can be controlled via a Control4 smartphone app or a 10-inch Control4 wall-mounted touchscreen. Rexx layered in Control4’s MultiDisplay Manager software to streamline the navigation process. Instead of scrolling through options, users refer to and select from a virtual layout of Scores’ AV sources, TVs, and speakers.

“It’s so much more efficient than walking throughout the bar with an armload of remote controls,” Smith said. “We can get everything up and running just the way we like it in seconds.”

Scores can also fine-tune the AV distribution to the needs of its diverse customer base. “If someone is renting a section of Scores for a private party, for example, music and a slideshow on the 98-inch screen can play there while the rest of the facility stays engrossed in the sports action,” Record explained.

Automated lighting scenes enhance the ambiance, and the same Control4 user interface that

controls the AV signals makes it easy for Scores managers to dim or brighten lights throughout the facility. Integrating Score’s lighting into the Control4 platform proved relatively straightforward, accomplished by swapping the building’s existing wall switches for smart dimmers and switches from Control4 and some programming work. To maintain the comfort of the bar for both customers and employees, the Scores HVAC air conditioning and heating system is also integrated within the system. With six thermostats, the entire HVAC system can be controlled via Control4 remote or app.

Focus on Connectivity

Reliable, stable Wi-Fi access is another important component of customer satisfaction at Scores. Rexx delivered it via the installation of multiple Araknis Wi-Fi access points and connecting them to a Pakedge networking system from Snap One.

“No ordinary networking solution would be able to handle the heavy bandwidth demands of the many connected systems and support simultaneous Wi-Fi users,” Record said. “The robustness of Snap One’s suite of products and the technical expertise of their service and support team ensured the proper transmission throughput, speed, and coverage was achieved.”

The networking system also enabled the creation of several independent VLANs, one of which was assigned exclusively to a new ClareVision NVR and 25 Clare Controls surveillance camera, which keep vigil on the property, inside and out. “Assigning cameras their own slice of the network helps maintain image clarity and doesn’t impact the clarity or reliability of the AV systems, control, and lighting systems,” Record explained.

As the legacy of the beloved 48-year-old sports bar lives on, the results of the recent tech update speak for themselves. “Regulars and newcomers alike love what we’ve done with the space,” Smith noted. “It’s been an overnight success and a real boon to business.”

Snap One’s Control4 automation platform and controllers allow Scores managers to easily change feeds on dozens of displays and speakers, as well as control lighting and HVAC systems.

Dozens of large displays are mounted on the walls, side by side with sports memorabilia.

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Making a Statement

Game Developer Wows Visitors with Video Walls and Sophisticated AV

By James Careless

When you’re a respected independent game developer like the U.K.’s Facepunch Studios—known for the popular Steam games Garry’s Mod, Rust, and Chippy—you want to make a statement with your physical facilities.

This is precisely what Facepunch has done with its new offices in Birmingham’s upscale Colmore Row neighborhood. Designed by Oktra’s Emily Benussi, Facepunch’s new offices are a mix of high-tech AV to dazzle clients while enabling BYOD videoconferencing, eye-catching decor, and furniture that appear to flow into the floor like paint. There are also employeepleasing amenities including a gaming room (with the company’s games available to play), curved breakfast bar with stools, and dedicated “wellbeing corner” where they can disconnect from their jobs.

The overall setting is so stunning that Facepunch Studios and Oktra recently won the ‘Project of the Year: Workplace Interiors 5,000 to 15,000 Square Foot” category at the Mixology North Awards 2023.

The AV equipment integration/installation for Facepunch’s new offices was performed by Vision On

AV Systems using equipment from Kramer and other sources. The project was on a tight schedule: “We started talking about it in October 2022,” said Cliff Bird, a director with Vision on AV. “It had to be finished by March 2023, although we had to wait until April 2023 to fully commission it.”

Networking Is Key

Central IP networking is key to the success of this facility. Facepunch wanted an in-house AV system capable of providing BYOD videoconferencing and collaboration to its staff—including easy and reliable wireless presentation capabilities—across all of its office spaces. To make this happen, Vision On AV deployed a segregated, highly stable AV-over-IP network to provide consistent wireless access everywhere. Ubiquiti Enterprise Layer 3 switches were used as the foundation of this network, which was carefully laid out to ensure minimal service disruptions and fast commissioning.

In terms of actual segregation, Facepunch’s AV system is split into four distinct control systems: one for each of the two video walls, plus one for the boardroom and one for office audio/remote control stations. Each system is controllable in a Central Communications Room (CCR), which is the heart of

the AV installation. Kramer’s KC-BRAINware software platform controls all four systems, including sources, encoders, and multi-zone audio amplifiers/ mixers. They are all connected to the CCR using Ubiquiti Enterprise network switches with fiber links.

Since time was an issue on this project, Vision On AV came up with a quick way to commission this facility one space at a time. The company used a simple router and a single Kramer SL-240C, a compact 16-port master/room controller with PoE to test the AVoIP pathways. Once the AV connections were commissioned, Vision On AV connected everything to the CCR’s KC−BRAINware platform.

The task of wowing visitors to the Facepunch lobby is assigned to the two video walls. Each wall is comprised of nine 55-inch NEC flat panel monitors in a 3x3 configuration. The feeds to these monitors are delivered from the CCR using AVoIP rather than a conventional video control unit. “AV-over-IP is just so much more flexible and easier to use to populate these screens,” said Bird.

Each of the NEC monitors within the video walls are connected to its own Kramer KDS-DEC7 decoder

Facepunch Studios has two video walls in its stylish lobby to wow visitors.

An AV system with four distinct control systems brings flexibility to Facepunch Studios.

and Cloud DCM1 digitally controlled zone mixer. “This one-to-one setup provides a very versatile way to use the media walls,” explained Matthew Hale, pre-sales and technical support engineer for Kramer UK. “They can either have it set as a video wall, with one image on the entire thing. They can also use the screens individually should they want to. That’s another reason we chose AV-over-IP: scalability. The client can use up to nine sources on one media wall and have individual screens showing different things, without any major changes to their infrastructure at all.” The media walls can even be reprogrammed remotely from the lobby.

Minimal Space, Maximum Sophistication

Visually, Facepunch’s 10-seat boardroom is a very minimalist space, but the simplicity belies its AV sophistication. The boardroom is a fully automated space with wireless presentation and multi-platform videoconferencing, interactive displays, and zoned audio.

The boardroom uses an 86-inch 4K LG UL series monitor and Poly Studio X70 videobar as the basis of its videoconferencing system. The X70 comes with dual 4K lenses; two-way stereo speakers, aluminum cone tweeters, and advanced bass ports; Poly DirectorAI smart camera technology; and NoiseBlockAI noise reduction technology. The system also includes a Kramer KDS-DEC7 AVoIP decoder and PA-120Z power amplifier. Inputs to the display, control of the X70, and selection of sources are all managed using a Kramer KT-107 touchpanel, which also manages the room lighting and blinds.

“Primarily what Facepunch wanted was a programmed touchpanel system so that they could start the room and put it in the mode that they want to use easily, along with a very user-friendly way of controlling the components in the room,” Hale explained. “The control system is all Kramer: their touchpanels, their control processor, and the other items that they have in that room.

“One device that stands out is the Kramer VIA Campus2, which is a wireless collaboration device. Any user can connect to it wirelessly and use all of the peripherals that are connected physically to that device. Now this is a common way of doing things these days, but Kramer was one of the first to the market with that capability of sharing USB devices wirelessly.”

Five other rooms, including some executive offices and smaller meeting rooms, have been equipped with videoconferencing and BYOD capabilities. “They’re using Logitech cameras controlled by Kramer VIA Versa virtual camera drivers, and Kramer VIA Connect2 wireless presentation, collaboration, and conferencing solutions, so that you’ve got wireless BYOD capability within each of the rooms,” said Bird. To support AVoIP video delivery on a range of video monitors, Kramer KDS-DE7 decoders were added

to the boardroom, game development area, breakfast bar, meeting rooms, and other interactive spaces.

Meeting Facepunch’s tight installation schedule was a big challenge for Vision On AV and Kramer, but it wasn’t the only one. “The biggest challenge for me

was supporting the KDS-7 encoders/decoders because these were very new to the market when Facepunch started to have them installed,” Hale said. “That was a learning process for us, for them, and for the integrator as well on how to set this solution up and then how to use it.”

Let’s Get Small

Magewell Brings Production Down to Size with Director Mini

By Chuck Gloman

At a time where remote crews are getting smaller and more responsibility is put on fewer people, there is no better time for technology to work in your favor. Magewell’s Director Mini is a self-contained “mini” TV station. The all-in-one unit includes a switcher, CG with built-in scoreboard, DVR, monitor, and broadcasting system (streaming). But can a unit that’s so small actually deliver big results?

I/O and Remote Assistance

Director Mini is roughly the size of a very chunky cell phone, so it fits in the palm of your hand, even if you have tiny hands. You probably don’t want to hold the thing for the entirety of your shoot, so you can attach a tripod using an industry standard 1/4-20 thread. The unit can be powered using AC or optional NP-F batteries.

When I was working in live television, you were only as good as your video sources when creating a show. The output is important, but having numerous feeds is critical to have the most informative final product. Director Mini accepts numerous input sources through two USB AV and two HDMI inputs, plus up to three live IP streaming sources (RTMP, SRT, and NDI) as well as stored media.

Using the 5.44-inch OLED touchscreen horizontally for traditional video or vertically for cell phone images, you can cut or transition between live or stored video and audio. Speaking of phones, Magewell’s free Director Utility app allows your phone to be a mobile camera as well as a remote “assistant” for system configuration, switching, audio control, and more.

In our university’s TV studio, we need to run long HDMI or fiber optic cables from the cameras to our control room-based video switcher. By using the Director Mini with a Magewell Ultra Encode Plus encoder, the HDMI sources can be encoded for networkbased NDI HX3 transport. Other complementary Magewell solutions, such as Pro Convert decoders, enable multiple locations to utilize the Director Mini feeds.

Director Mini outputs up to 1080p/60fps at a 30 Mbps bit rate, but it can accept sources up to 4K and downconvert them automatically. It can stream to social media platforms

like Facebook and YouTube Live or other locations via Ethernet or Wi-Fi. Need to store your show?

Insert an SD card or just use the unit's internal 64 GB storage.

Facing the unit, the left side has two HDMI inputs with a USB 3.0 in between. The right side includes its own USB 3.0 port, plus the 3.5mm microphone/line input, 3.5mm headphone output, and power button. Positioned around the centrally located mounting screw on the bottom are the Ethernet port, SD card slot, USB-C out, and 12-volt AC input. Both optional batteries attach on the back and are separated by the cooling fan.

Multi-Camera Possibilities

My review Director Mini arrived with an AC power adapter with four wall receptacles for worldwide use, plus two mini stands, sunhood with two thumbscrews, and quick start guide. Third-party accessories such as a screen cover and desktop stand are also available.

At our university, video production equipment is used by all the students, which can drastically shorten the lifespan of said equipment. Although I only had the Director Mini for a few weeks, I believe it is built well and will hold up to multiple operators.

After connecting the unit to my home’s Wi-Fi, I downloaded the Director Utility app from the App Store. Within a few moments, I could control the Director Mini from my iPhone. Director Mini can be controlled by its own touchscreen, the app, or a web interface. On the touchscreen, touching the icon in the upper left corner brings up: Create a show, Show list, Album, Settings, Feedback, and Help. On the bottom left is a dotted rectangle with a plus in the

Blackmagic 6K Pocket Cameras via the two HDMI inputs. Once powered on and the graphics display finished its starting routine, it was ready for its first assignment. Selecting each input showed the image on the touchscreen. However, when I tried to use my iPhone as a third camera input, our university’s firewall stopped it. Thankfully, Director Mini can also serve as a Wi-Fi access point, so phones can connect directly to the device. The test shoots I did from my office looked great, and I was able to label the cameras using the built-in CG system.

If I had the Director Mini for a longer period, I would have sent a remote crew out to one of our sporting events. The last sporting event we covered had tethered cameras with their HDMIs going into an amp and then to our switcher. Dealing with cables, AC feeds, etc. made the logistics a nightmare. Had I only known about the Director Mini then—capturing an away game with student shooters using their phones, everything could have streamed live from the event, and we could have saved the production directly to the unit.

Anywhere a remote production is required, you now have the necessary tool to tie everything together. Director Mini had more functionality than the $20,000 switcher in our control room. Setup time is drastically reduced, the numerous possible sources connect quickly, and the operation is very intuitive. Numerous inputs, fullsized switcher functionality, internal and external DVR capability, and export options abound. I’m not sure you can get this much control in anything costing twice as much or double the size.

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

The compact Magewell Director Mini supports multi-camera productions as well as live streaming.

The built-in CG allows users to label each camera (and you do a lot more than what you see here).

TECHNOLOGY NEW PRODUCTS

Sharp ePaper Displays

A digital alternative to paper posters, the Sharp ePaper 13 and 25-inch displays are ideal for applications requiring static content with regular updates, such as POS promotions, menu boards, or gate information in transportation environments. The displays offer always-on visibility with as low as zero power consumption when viewing a static image, only drawing minimal power when updating content. With full-color capability enhanced by Advanced Color ePaper (ACeP) performance, they deliver excellent contrast, 180-degree viewing angles, and fine resolution for content presentation that looks remarkably like paper. The ePaper displays offer quick and flexible installation options. A slim, lightweight design offers multiple mounting points and provides space for an optional battery for versatile power solutions. With an integrated SoC for future-proof operation, the displays deliver content through select CMS options via USB, Wi-Fi, or Bluetooth.

Studio Technologies

Announcer’s Consoles

Studio Technologies has released the Model 214A, 215A, and 216A announcer’s consoles, which are suitable for corporate AV, stadium announcement, and on-air sports broadcasting. The new models incorporate upgraded capabilities while maintaining compatibility with the previous Model 214, 215, and 216 products. All three consoles are compatible with Dante environments. An Ethernet connection with PoE is all that’s required to make any of the consoles part of a networked audio system. Add a microphone and pair of headphones (or broadcast headset) and the installation is complete. The Model 214A’s two pushbutton switches, Model 215A’s three pushbutton switches, and Model 216A’s four pushbutton switches allow the user to control the main and talkback audio output channels. Free STcontroller software allows production personnel to quickly and easily configure the capabilities of the announcer’s consoles.

VITEC MGW Diamond-H

The MGW Diamond-H is a portable 4K HDMI encoder that meets the growing demand for 4K video encoding and low-latency delivery of highquality video in an efficient, compact form factor. It can encode up to four channels from two HDMI inputs and is designed to facilitate integration into existing setups. Featuring HDMI loop through, the MGW Diamond-H ensures a smooth workflow and enhanced connectivity with existing video equipment, opening new possibilities for IPTV distribution and video contribution across various markets. For optimal reliability and power efficiency, the MGW Diamond-H can be powered via PoE, streamlining installation and reducing the need for additional power sources.

AVer VC520 Pro3

Designed for medium-to-large meeting rooms, the VC520 Pro3 videoconferencing solution features a PTZ design to elevate videoconferencing experiences. It features a 12x optical lens and a 36x total zoom, plus a Sony WDR 8MP sensor for 1080p imagery. Users can capture wide-angle shots with an 80-degree diagonal field of view, while flexible pan-and-tilt controls quickly focus on presenters, attendees, whiteboard content, or physical objects. What distinguishes the VC520 Pro3 is the connectivity through a single USB cable, making the installation process simple and a perfect option for BYOD or dedicated PC scenarios. The VC520 Pro3 accommodates two expansion speakerphones or a full-duplex microphone set to provide equitable audio throughout conference rooms. Intelligent features include AVer SmartFrame (automatically focuses on participants), AI-powered Smart Composition (automatic face and body framing), and more.

TASCAM MA-BT240

Part of the Compact Commercial Series, TASCAM’s new MA-BT240 multifunctional mixing amplifier includes the ability to switch between low and high amplification impedance, built-in Bluetooth receiver for content streaming, microphone input for paging, automatic ducking during announcements, and more. With a compact, 1/2 RU form factor, the MA-BT240 delivers 240 watts high impedance amplification for powering 70V or 100V loudspeaker arrays in distributed audio systems. It also makes a compelling choice as a low impedance amplification solution for driving loudspeakers that use 4 or 8-Ohm loads. With its integrated mixing function, the MA-BT240 makes it easy to control the levels of the various sources feeding the amplifier. On the output side, the MA-BT240 is outfitted with EQ and a high pass filter for optimum control. It is an ideal choice for retail stores, restaurants, office environments, and educational facilities.

Lowell NR4PA Series

Lowell Manufacturing Company now offers an adjustable depth version of its four post networking racks. The EIA/TIA and TAA-compliant NR4PA Series is available in two depth ranges, 24–36 inches or 36–42 inches. Setup is easy, referencing small windows on the side supports, which clearly indicate selected depth. Double sided, three-inch deep vertical channel rails are tapped 12-24 and have a printed rack unit scale, which also helps with installation and setup. The NR4PA rack features numerous tie-off points and pass-through cable holes. The angled base supports have holes to add anchors, if needed, to secure the rack to the floor for additional stability or code compliance. Heavy duty 12-gauge U.S. steel construction and a load capacity of 800 pounds make the NR4PA a robust choice for equipment rooms and networking applications.

Blaze Audio PowerZone Connect

Consisting of four models—the PowerZone Connect 508, 1008, 4008, and 6008—the new PowerZone Connect 8-channel power amplifiers are powered by Pascal UMAC Class-D technology, delivering reliability and efficiency, along with exceptional system configuration. Available in 1 RU (PowerZone Connect 508/1008) and 2 RU (PowerZone Connect 4008/6008) form factors, the new amplifiers can power both conventional low-impedance loudspeakers and constant voltage (70V/100V) transformer-coupled loudspeakers. They also feature automatic power-sharing technology for proportional distribution in both Lo-Z and Hi-Z modes. All models incorporate PowerZone Control, Blaze Audio’s DSP web app controller, for intuitive system setup. The PowerZone Connect 8-channel amplifiers range from 500W to 6000W, with the PowerZone Connect 4008 and 6008 exceeding 3000W. All four Blaze Audio PowerZone Connect 8-channel amplifier models share a rich feature set, making them ideally suited for a wide range of installations.

Vanco Evolution 4K Wireless HDMI Extender

NEW PRODUCTS

The EV4KWHDMI 4K Wireless HDMI Extender is a fully wireless solution that delivers 4K@60Hz 4:4:4 video up to 154 feet, as well as uncompressed 2.0 channel LPCM audio. No line of sight is required: Signals from the EV4KWHDMI traverse walls and floors as easily as Wi-Fi, leveraging SSID pairing and channel switching to avoid interference with other RF signals. As a result, the EV4KWHDMI allows a screen to be mounted in challenging locations, such as outdoors or on brick or other solid surfaces, and still deliver plug-and-play, low-latency 4K video and audio. The extender features IR control signal passthrough, allowing the user to control the HDMI source remotely from the display. The EV4KWHDMI also has an HDMI loop-out on the transmitter, allowing the integrator to set up local monitoring or cascade the signal to additional AV distribution devices.

FURNITURE

At Integrated Systems Europe (ISE) 2024, HuddleCamHD unveiled the SimplTrack 3. Its innovative dual-sensor auto-tracking system ensures accurate tracking of lecturers and performers while intelligently ignoring irrelevant movements and adapting to changes in height and position. Smart tracking and framing seamlessly transitions between tracking an individual and framing groups, which is ideal for dynamic classroom interactions and conference settings. A 20x optical zoom allows for capturing detailed views in large lecture halls or expansive stage settings. Other features include zone tracking for comprehensive coverage and smart preset zones for written content on whiteboards. The SimplTrack 3 also integrates effortlessly with lecture capture systems like Panopto, Kaltura, and Yuja, streamlining content creation for educators.

MODULAR FLOOR BOXES

FIBER CABLES

FLYPACKS & ROAD CASES

Exploring the 5 Pillars of the New Workplace Paradigm

Hybrid Collaboration Cultivates Belonging in Today's Successful Corporate Cultures

By David Albright

The landscape of conferencing and collaboration has been forever transformed. In a world where remote work and hybrid models have become the norm, businesses that prioritize the cultivation of a culture of belonging are poised to succeed.

The way forward involves leveraging transformational workplace experiences through strategically deployed AV systems. This approach ensures that employees feel valued, engaged, and connected, regardless of their physical location. This will take unique AV solutions designed to facilitate better collaboration, allowing individuals to be seen and heard, no matter where they choose to work.

As we explore conferencing and collaboration in the evolving meeting place, it’s evident that the hybrid workforce requires tailored approaches:

n The home office will demand high-quality AV products that can recreate the office experience at home. This is a shift away from sub-par, consumergrade solutions with questionable reliability.

n Small conference room spaces must cater to both physical and remote attendees, approximating a 1:1 experience. This prevents alienation of remote workers and fosters collaboration. Basically, the focus here is on leveling the playing field.

n Quick brainstorming sessions in huddle rooms demand acoustic privacy, so top-notch audio quality remains critical.

n Equitable experiences are paramount in larger conference rooms, so AV plays a more influential role than ever. Solutions must offer clear audio and video coverage for both in-person and remote attendees.

n Awe-inspiring boardrooms reinforce a company’s culture and values—and demand flawless audio and video communication.

n Training rooms face unique AV challenges in the hybrid environment. Collaboration solutions that ensure uniform interaction among team members, regardless of location, are pivotal.

Tailored Spaces

In looking at how to proceed and select conferencing and collaboration solutions that will meet the standards of today’s meeting place, it’s necessary to establish the pillars of the new workplace paradigm.

They include meeting equity, repeatable success, adaptability, reliability, and familiarity.

The first pillar is achieving meeting equity. Creating equitable meeting experiences for remote and onsite workers signals a commitment to inclusion and collaboration. This means bringing together diverse voices from various locations onto the same platform while erasing the boundaries of physical distance. Conferencing experiences should be designed to ensure that every participant’s voice is heard and valued, creating an inclusive environment where collaboration thrives.

Collaboration platforms like Teams and Zoom are incorporating features to facilitate this 1:1 experience, and conference rooms will require solutions that can effectively recreate it. They’ll need tools such as PTZ cameras with intelligent auto-framing algorithms to keep participants in view, as well as multiple microphones and speakers so everyone can hear and be heard. Selecting meeting room furniture that is optimized for ideal on-camera presence is also critical. Traditional rectilinear tables don’t support ideal sight lines, resulting in poor visibility to a front-of-room videoconferencing camera system.

The second pillar is repeatable success, which is necessary in achieving efficiency in rollouts. Efficiency is key, especially in the dynamic landscape of the hybrid workplace. Businesses need to save both time and resources across multiroom meeting space rollouts to meet the growing demand for such spaces. This approach not only enhances collaboration, but also reflects an organization’s commitment to providing accessible and effective meeting opportunities for all.

Even within a WFH setup, repeatable success is important. For example, companies need to accommodate remote meetings from home with a desktop camera and lighting that ensure high-quality videoconferencing and streaming—and easily integrates with a speaker and microphone.

Adjust to the Flux

Adaptability is the third pillar. The workplace is in a constant state of flux, and conferencing spaces must be designed with adaptability in mind. Anticipating future needs and technological advancements allows organizations to modify conferencing spaces to suit evolving requirements. By specifying solutions that can scale and adjust as the organization grows, companies can future-proof their AV infrastructure.

In conference rooms, look for display mount

solutions that provide ample storage space and the ability to add 21:9 ultra-wide or dual displays for enhanced screen real estate to support front row-type content experiences. For huddle rooms, this might mean a mobile conferencing system that can be moved between rooms on a mobile cart for optimized flexibility of resources.

The fourth pillar, reliability, is the linchpin of productive collaboration. With reliable systems in place, employees can focus on their tasks without the worry of technical glitches disrupting their workflow. In the home office, networking reliability is especially critical.

Remote monitoring and management tools are invaluable for identifying and addressing issues preemptively. In conference rooms, compact IP-controlled power products with remote monitoring and management (RMM) can help to address potential issues before they derail a meeting. Similarly, solutions that gives you the ability to proactively respond to network issues and remotely manage your clients’ systems will also boost reliability.

The final pillar is familiarity. Consistency across different office locations is paramount—familiarity really does breed comfort. A cohesive experience, regardless of location, not only reduces the learning curve but also reinforces a sense of unity and belonging among team members.

One other note of high importance is in-room audio and acoustics. Much of our modern office architecture is predominantly hard surfaces that create a very poor audio experience and can make it difficult for remote meeting attendees to hear what is being said. Strategies such as adding acoustically absorptive surfaces can ensure optimal audio experiences, which are critical to a positive hybrid meeting experience. Investing in reliable, high-quality audio solutions enhances overall conferencing experiences in any meeting room environment, and advancements in intelligent spatial audio are game-changing to support equitable audio experiences for all.

In the era of hybrid collaboration, embracing transformational workplace experiences is crucial for fostering a culture of belonging and collaboration. As the workplace continues to evolve, businesses that invest in solutions that embrace and deliver meeting equity will stand out as leaders in cultivating a sense of belonging among their workforces.

David Albright serves as senior business development manager, hybrid collaboration and learning, at Legrand | AV.