Paul Richards reflects on the 10th anniversary of PTZOptics.
By Mark J. Pescatore
22 Executive Q&A
swXtch.io’s Geeter Kyrazis explains the advantages of cloud-based production.
By Mark J. Pescatore
Business
26 Closer to the Action
Learn about the advantages short-throw projectors offer for classrooms.
By Mark J. Pescatore
30 Captivating Congregations
Here’s why projectors remain an appealing display option for houses of worship.
By James Careless
32 Blueprint for Success
Have you considered hiring someone for their potential rather than their experience?
By Matt Czyzweski
Technology
34 Corporate Connectivity
Charter Communications has loaded its auditorium with broadcast-quality technology.
By Jennifer Guhl
36 Tech Perspectives
Our new columnist wonders why the GenAI hype feels so familiar.
By David J. Danto
38 Jabra Videobar Is Built for Busy Meetings
The PanaCast 50 offers multiple cameras, microphones, and speakers.
By Chuck Gloman
39 Sennheiser Keeps It Simple
Learn how the Profile USB microphone is an easy way to upgrade corporate audio.
By Mark J. Pescatore
42 Making Connections
Here’s how implementing AI technology is changing the Pro AV industy.
By Joseph D. Cornwall
SYSTEMS CHECK
My FAU class ring is all cleaned up and ready to impress (even with an old logo), but not everything has a second life.
Some Old Things Can Be New Again
hen I was in college, my parents convinced me to get a class ring. I very much enjoyed wearing my high school ring, but their thinking was that a college ring would make a better impression on potential employers. Hence, I am the proud owner of an understated gold ring with an outdated logo from Florida Atlantic University (read about my alma mater's new virtual production studio on page 24).
I wore it for some time, but eventually “my precious” found its way into that dark corner of storage we all keep reserved for things we don’t use but don’t want to discard. When I was asked to guest lecture at FAU last year, I remembered the ring and fished it out so I could show it off to the students. That’s when I realized my ring needed a little renovation.
For one thing, the base of the shank had been flattened at some point, which in turn had messed up the fit. I could still get it on my finger, but it was not an easy feat. I also discovered my Social Security Number had been engraved on the inside of the ring. Apparently, it used to be no big thing to include your SSN on jewelry for identification purposes.
A quick trip to my local jeweler cleaned up the ring, fixed the sizing, and removed my SSN. Now, it’s once again part of the right-ring-finger rotation. Which brings me to ViewSonic.
Following a discussion about monitors at InfoComm, ViewSonic loaned me a 34-inch curved model, the V3456C. I’ve been using a 21:9 widescreen monitor in my office for about three years, but I had never tried a curved option. To put it as astutely as possible, considering my academic pedigree and vast industry experience: Me likey.
I swear it’s easier on my eyes, plus there’s an immersive feel when watching full-screen videos. In fact, the only real drawbacks I’ve found are that the base takes up more real estate on my desk than my previous monitor (square base instead of long feet) and the housing is thicker, so I had to adjust my webcam placement. So yes, I am rethinking my office setup.
Now, don’t try to make a connection between an old college ring and a new monitor. There isn’t one. Instead, these stories provide examples of how some old things can have new life, while some new things are unavoidably disruptive to your operations.
When it came to my ring, it was still functional; it just needed some attention. Some equipment is like that. Maybe you have a piece of gear that has outlived its usefulness as a primary or go-to solution. But with a little ingenuity, it can have a second life as a secondary tool. For example, that old PTZ camera might work quite nicely living out the rest of its days as a weather cam or shooting the morning newscast at the local middle school.
Then there are products like that curved monitor. I can’t convert my standard widescreen monitor into a curved form factor—if I decide to upgrade, the old monitor simply has to go (and likely won’t find a new home). This may not be an industrychanging decision, but it’s a big deal for my little office. Imagine how a disruptive hardware change like this scales up for an entire organization.
The trick is determining which products you have that can be reallocated to new tasks and which ones are destined for the recycling facility. There’s no stopping technological progress, and equipment upgrades are inevitable, but it’s important that the Pro AV industry continues to be mindful of the importance of sustainability. Before you toss that old gear, see if there’s a reasonable path toward continued use. And if it’s truly end-of-life, please find a way to dispose of it responsibly.
CONTENT
Content Director Mark J. Pescatore, Ph.D. mark.pescatore@futurenet.com
Senior Content Manager Wayne Cavadi
Contributors James Careless, Joseph D. Cornwall, Matt Czyzweski, David J. Danto, Chuck Gloman, Jennifer Guhl, Carolyn Heinze
Art Editors Rob Crossland, Efrain Hernandez-Mendoza
Production Managers Nicole Schilling, Heather Tatrow
ADVERTISING SALES
Managing Vice President of Sales, B2B Tech Adam Goldstein, adam.goldstein@futurenet.com, 212-378-0465
Sales
John Casey, john.casey@futurenet.com, 845-678-3839
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DN-300 Series
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Grass Valley, Diversified Sign Strategic Partnership
In July, Grass Valley announced a multimilliondollar strategic partnership agreement with Diversified. Known for its live production solutions, Grass Valley will leverage Diversified’s extensive integration and services expertise to enhance its offerings and deliver comprehensive solutions to broadcasters, content creators, and media organizations.
Highlights of the partnership include enhanced product integration and solutions delivery, innovative joint ventures, comprehensive customer service, and training and development programs. Plus, by combining forces, Grass Valley and Diversified will expand their global footprints, offering clients around the world access to advanced media technologies and expert support.
LynTec Acquires Juice Goose
LynTec, a wholly owned subsidiary of Chauvet and manufacturer of electrical power control solutions, has acquired Juice Goose, which manufactures and distributes electric power distribution, conditioning, and control equipment.
Founded in 1983, Juice Goose has developed a reputation as a reliable supplier of electric power management products for the U.S. Pro AV market.
“We are incredibly excited to continue our legacy with LynTec and Chauvet brands, providing our customers with the same power management solutions they have relied on for years and now with LynTec’s leading customer support,” said Peter Cook, CEO, Juice Goose.
“Juice Goose brings another great product line to the Chauvet family of brands, expanding our power solutions portfolio that we began with LynTec,” said Albert Chauvet, CEO of Chauvet. “The two businesses are highly complementary, with this partnership providing key resources to our customers in meeting the full demands of their AVL installations.”
“We are excited to partner with Grass Valley, a leader in live solutions technology. Together, we will broaden our reach and enhance our ability to deliver cutting-edge, integrated solutions that meet the complex needs of our clients in the media and entertainment industry,” said Steve Stubelt, SVP of sales, media, and entertainment at Diversified.
“This agreement with Diversified illustrates Grass Valley’s commitment to support client needs via our trusted integration and reseller partners,” added Tim Banks, chief revenue officer at Grass Valley. “By combining our industryleading solutions with Diversified’s integration expertise, we are poised to deliver unparalleled value and innovation to our clients.”
1 SOUND loudspeakers are helping to set the mood at Indiana’s new Terre Haute Casino Resort. The central bar on the gaming floor is surrounded by a 360-degree, dual-sided LED video wall. Two Contour CT28s three-way loudspeakers were paired with compact SUB310 subwoofers and deployed in the ceiling. Consulting and engineering firm NV5 and American Sound and Electronics worked together to design and install various AV aspects in the resort. NV5’s Greg Martin said the 1 SOUND speakers are an “ideal match” for the space, allowing patrons to have conversations without having to compete with the audio system.
Solotech Expands Its UK Operations with New Facility
Solotech has expanded its U.K. operations with a new facility in Manchester. The strategic expansion follows a series of recent moves across Solotech, including new premises in Nashville and Las Vegas in 2022, as well as a new U.K. headquarters at Blythe Valley in Birmingham in 2023.
Located in Kingsway Business Park, the new Manchester facility will serve as a hub for Solotech’s Sales and Systems Integration Division, as well as support Live Productions operations. With 76,000 square feet of floor space, it features eight truck bays, six level loading bays, and a centralized hub for stock
supporting the company’s sales and systems integration plans. The facility also boasts a range of features that demonstrate Solotech’s commitment to environmental and social governance, including a more efficient building design and seven EV charging points.
“This investment reflects the success of our Manchester team and highlights our substantial growth in the U.K. over the past five years,” said Martin Tremblay, president and CEO. “Solotech is committed to further investments in the U.K. in the coming years, reinforcing our dedication to driving business expansion across both divisions.”
Tim Banks
Solotech recently opened its new facility in Manchester.
Time to Unpack: 5 Talking Points from InfoComm 2024
By Wayne Cavadi and Mark J. Pescatore
Another InfoComm is in the books, and it was filled to the brim with shiny new toys, new exhibitors, and a massive number of attendees enjoying Pro AV’s latest solutions.
According to AVIXA, the association that produces InfoComm, the show attracted 30,271 verified attendees from 125 countries. Both numbers were post-pandemic records for the show. AVIXA also reported 71% of non-exhibitor attendees were from the Pro AV channel (29% were end users), and international attendees were almost one-quarter of total attendance (23%). There were also 833 exhibitors across the Central and West Halls (as well as in demo rooms in parts of the North Hall not currently under renovation) of the Las Vegas Convention Center.
Now that the industry has returned from its biennial Vegas road trip, there’s a lot to unpack. Here are a handful of talking points—ranging from technology trends to world-class venues—from InfoComm 2024.
1AI is everywhere.
We have previously discussed that artificial intelligence has become almost ordinary in some product areas. AI is here and Pro AV is embracing it— but instead of just showing what we can do with it today, InfoComm provided a platform for the industry to discuss where the technology is headed.
As we highlighted last month, discussions started right off the bat, as QSC | Q-SYS CEO Joe Pham looked to the future of AV and AI in his opening keynote, “Everything Has Changed: AV’s Infinite Potential in an Exponential Age.” There was also talk about AI in digital signage—not only implementing AI but understanding how to use the data and information it provides to enhance digital signage. And perhaps you met AVA on the InfoComm app. The new Ask AVA virtual assistant, conveniently positioned on the landing page, provided a comprehensive guide to the show floor.
2Esports is scoring high for Pro AV. Currently, the news is mixed at best for esports. In May 2023, the New York Times reported League Championships Series viewership dropped significantly in 2022 and 2023, which has resulted in reduced advertising support, and professional leagues have struggled to turn a profit. Yet, according to Statista, the U.S. esports market will generate more than $1 billion in revenue this year, with an annual growth rate of more than 14%. And none of these numbers represent the growing esports presence on college campuses or K-12.
While professional teams and leagues try to figure out a bankable business model, manufacturers and integrators continue to develop solutions for better esports competitions and presentations. Atlona showcased some possibilities at its booth, with four zones—coach’s station, shoutcaster station, gaming zone, and spectator video wall—replicating an esports environment.
The company used the setup to demonstrate its OmniStream AV-over-IP and Velocity control systems, which addressed the need for ultra-fast switching, multiview processing, touchscreen control, and more for live gaming environments. The video wall in the booth was supplied by Just Video Walls.
Of course, what fun is showcasing esports solutions without some competition? InfoComm Esports Live 2.0 returned for a second year, allowing attendees to experience esports with live match play competitions, presentations and technologies, event coverage from the Shoutcast Stage, and a look at the production behind esports. Elsewhere, PPDS and Draper were among a few that had racecar simulators, bringing the high-speed experience to the show floor.
3The broadcast convergence continues.
The crossover between broadcast and Pro AV is getting more significant, and it’s time for integrators to make sure they are up to speed. For example, Jesse Foster, VP of products and western sales for MultiDyne, said that corporate enterprise customers have been increasing the sophistication of their internally produced media communications, which has inevitably resulted in the adoption of established and emerging broadcast quality workflows and equipment.
“In one of MultiDyne’s use cases, SilverBack Fiber Camera Adapter products adapt the latest camera technology from vendors like Sony and ARRI into the broadcast workflow,” Foster explained. “The workflow provides SMPTE standard-compliant signals such as 12G-SDI, which can carry 4K 60fps video with 16 high-quality audio channels over a single cable.
Traditional AV industry products and technologies such as HDMI and HDBaseT don’t offer the same feature set or ease of use that refined broadcast caliber products do, so the use of these tools will continue to proliferate.”
Perhaps one of the best examples of convergence is QuickLink, a live production company known for its broadcast solutions that exhibited at InfoComm for the first time this year. Rui Ribeiro, head of sales at QuickLink, said the corporate world has recognized the need to create content for internal and external viewers. However, those businesses also recognize the need to increase production qualities while keeping the actual productions simple.
To that end, the company demonstrated its StudioPro 4K video production platform, which simplifies operation by treating scenes like PowerPoint slides (with layers for video, graphics, and effects) and has and seamless integration with videoconferencing platforms. The result is a user-friendly interface designed to appeal to corporate, education, government, and house of worship markets.
“There’s a lot more communications outwardly to either customers or internal audiences,” added Matt Morgan, business development manager, corporate, Ross Video. “Corporate communications has become very important. People want more control now.” That control can be seen in more polished productions and messaging, and Morgan said the technology to create better content is within reach economically for corporate AV.
4Projection mapping is still very cool.
Recent AVIXA research indicates that video projection is expected to lose market share, dropping about 1% of revenue over the next five years. Of course, projectors should be a $16 billion part of the industry in 2024, so they aren’t exactly on life support. In fact, projection mapping applications continue to breathe new life into this established market segment.
Atlona featured an esports demonstration at its booth.
QuickLink’s Rui Ribeiro showed off the new StudioPro video production platform.
Panasonic Connect brought miniature versions of historic buildings to illustrate its projection mapping capabilities.
Projection mapping not only allows spectators to look at stunning visuals, but it can also bring them into stunning visuals. On Day 1 of InfoComm, we highlighted five booths, one of which saw Christie team up with THEORIZ and Augmenta for an aweinspiring experience. Christie 4K13-HS 1DLP projectors and its Pandoras Box software brought visitors into different worlds, like a lava river or bubble world, all while remaining in the LVCC. Plus, tracking technology made water and lava move with the visitors as they walked across the floor or wiped their hands across the wall.
Christie also had a more subtle projection display, a unique collaboration between Gabriel Schama Studios and Limelight Art. A Christie HS Series laser projector was used to map images onto “Cathedral of Thieves,” an intricate sculpture that features 13 layers of laser-cut wood.
We have covered some of Panasonic Connect’s
latest work on illumination festivals, all of which use its projectors to turn historic buildings into canvases for local artists. Panasonic Connect brought a miniature version to InfoComm and lit up the show for attendees.
And Epson had its own mini-mapping display, with a recreation of the Carter Green Palladium, a concert hall in Carmel, IN. The actual projection system is powered by 12 Epson EB-PU2220B projectors housed in Tempest Cyclone outdoor projector enclosures and controlled via MapMapper software.
5
Vegas Sphere is the real deal.
On June 11, the day before the exhibit hall opened, InfoComm and presenting sponsor AVI Systems welcomed more than 2,600 members of the Pro AV community to “An Evening at Sphere.” The event included access to the venue’s interactive experiences as well as a seat for Postcard from Earth, a 50-minute motion picture designed to showcase the AV technologies SCN has been reporting on for more than a year.
So, did the Vegas Sphere live up to the hype? From Mark, who attended the event: Absolutely. I thought was a great way to kick off InfoComm 2024. Granted, the barely-there plot of the film won’t exactly dazzle you, but the evening was about the experience, not the story. The
imagery is nothing short of spectacular and the audio might even be better. Which makes you wonder if it’s a good spot for a concert ...
Wayne, who previously detailed his January visit in January to see “Postcard from Earth,” went back later in the week to see Dead and Company: Let me give you my quick takeaway: If your favorite band is playing in the Vegas Sphere, drop what you’re doing and go see them. If your favorite band is not playing in the Vegas Sphere, stop what you’re doing and go see someone. I don’t like to use words that are thrown around too loosely in journalistic efforts, but the Sphere has revolutionized the concert-going experience.
Projection mapping, such as this example from Epson, was among the demos catching the attention of InfoComm attendees.
InfoComm and AVI Systems welcomed attendees to “An Evening at Sphere.”
TSCN Honors Installation Product Awards Winners at InfoComm 2024
he winners of SCN Installation Product Awards 2024 were revealed at a ceremony during InfoComm at the Las Vegas Convention Center. Winning products were recognized across 11 categories, including a new category, Most Innovative Camera.
“Every year, the SCN Installation Product Awards provide an opportunity to recognize innovation in the Pro AV industry,” said Mark J. Pescatore, content director, Systems Contractor News. “It’s always nice to see enthusiasm about new products from so many different categories. We should never take product development for granted, especially in an industry that is seemingly in a constant state of change.
Congratulations to all our 2024 winners.”
And the winners are:
Most Innovative App
• Sony Electronics: Device Management Platform (DMP)
Each of the nominated products were submitted by their respective manufacturers. Winners were chosen by industry professionals through a ballot accessed through avnetwork.com. Up to three winners were selected in each category, based on the number of entries. The nominated product must have first shipped between January 1, 2023, and May 10, 2024. Products that won in last year’s awards program were not eligible in any category this year.
Future's Adam Goldstein, managing VP of sales, B2B Tech, presented SCN Installation Product Awards to winners at a ceremony during InfoComm.
Planar Powers Virtual Production for Resolution Studios
Located on Chicago’s Near West Side, Resolution Productions Group’s Resolution Studios specializes in virtual production. The 86,000-square-foot production complex features four premier stages, with approximately 70% of the studio’s productions being TV commercial work and the rest dedicated to feature films and episodic projects.
The studio’s approach to virtual production is to create customized LED video wall backdrops according to the unique requirements of each project. To support this flexibility, the studio utilizes 400 Planar Venue Pro VX Series indoor LED video wall displays with a 1.9mm pixel pitch.
Todd Freese, SVP and chief technology officer with Resolution Productions Group, has a time-tested philosophy for operating a successful VP studio: LED volume layouts should be designed on a shoot-toshoot basis. “We are very adamant that a VP studio should not have permanently installed LED,” he said. “I don’t ever want to have the conversation of trying to convince a director to shoehorn their creative into a permanent installation that may not be right.”
Designed for the unique demands of temporary LED video wall setups, the Planar Venue Pro VX Series features magnetically attachable cabinets and a
quick-lock system for securing cabinets together more efficiently. “Since we frequently reconfigure the physical design of the LED video walls, we pay close attention to the product details—such as the way tiles interlock or how the video wall is ground-supported,” Freese explained. “In our testing of other products, we found that many had good image quality, but the mechanics of setting up were just too cumbersome.”
When fully assembled, the studio’s complete supply of Planar Venue Pro VX Series LED displays forms a curved, 80x14-foot LED video wall. However, it’s not uncommon for the LED video wall to be set up in different sizes or broken up into multiple formations. “It’s constantly changing,” Freese said. “We definitely have common configurations that we use over and over, but certain shoots require specific layouts. For instance, the way we will set up an LED video wall for a car process shot is completely different than what we would do for a narrative.”
With the deployment versatility of the Planar Venue Pro VX Series, Resolution Studios can also develop tailored strategies for best utilizing the LED displays across a shoot, optimizing production schedules. An example includes an episodic series primarily shot in the studio’s LED volume.
“Near the end of the production, we will shoot up
Electro-Voice Provides Sound Solution for Funeral Home
As one of the largest funeral homes, cemeteries, and on-site crematories in the southwest, Restland features multiple chapels, all of which are receiving upgraded sound reinforcement with Electro-Voice loudspeakers powered by Dynacord amplifiers.
The funeral home tapped AxioTech Solutions in Fort Worth, TX, to design and install new audio and video control systems, including inside the main chapel, which was equipped with one EVC-1122-VI loudspeaker powered by a Dynacord C1300FDi amplifier. Designed as a compact problem-solver for acoustically challenging spaces, the EVC1122-VI features EV’s variable-intensity configuration to precisely address rectangular areas with exceptional horizontal/vertical directivity control and wide bandwidth.
“This loudspeaker more than exceeded my
expectations,” said Troy Canton, president of AxioTech Solutions. “When they said one loudspeaker could cover the entire chapel and make it sound great, I was skeptical. Call me converted. I wouldn’t choose anything else.”
The chapel is a rectangular, 100x60foot space that’s constructed mostly in concrete—an extremely challenging acoustic environment. The amplifier is rack-mounted in an adjacent AV room along with a mixer, video matrix switch, and other video sources that feed displays in the facility.
to nine virtual locations a day by building a curved LED video wall on one side of our main studio and a flat LED video wall on the other,” Freese explained. “As we shoot on one video wall, a crew will prepare the other. Then, we swing our camera around and do it vice versa. It’s a very efficient way to shoot several locations in a really short amount of time.”
The mechanical properties of the Planar Venue Pro VX Series were not the only driving factor for its selection. Resolution’s investment was also based on visual performance for meeting the on-camera demands of VP and extended reality.
“We auditioned LED displays from all of the major manufacturers and the benefits of the Planar Venue Pro VX Series were readily apparent,” Freese said. “And we really liked what Planar was doing in VP, because it seems like a lot of LED display products are not designed for this use.”
According to Freese, the Planar Venue Pro VX Series was the leader in terms of color imagery, which he characterized as the single most important element. Second, Freese emphasized the off-axis image quality. Another factor included reflectivity; with a unique mask and high contrast ratios, Planar LED video walls help to prevent reflections in virtual production applications.
The EVC-1122-VI is center-ceiling mounted in the front of the chapel. The downward angle of the VI’s front-facing 12-inch woofer and the asymmetrical waveguide work together to evenly cover a rectangular audience area with a single
loudspeaker. The advantage of the VI approach is that there is reduced variation in sound level from the front to the back of the audience, compared to typical point-source solutions.
“I walked the room after it was installed and the coverage was incredible,” adds Canton. “It blanketed the room. There was no bounce-back from the walls—nothing. It sounded great. I can’t wait to put it to work in the other chapels.”
Planar Venue Pro VX Series LED displays bring virtual production to life for Resolution Studios.
A single Electro-Voice loudspeaker is delivering audio to a challenging chapel environment.
RGB Spectrum Helps UC San Diego Police Improve Dispatch
The University of California San Diego (UCSD) Police Department is a full-fledged law enforcement agency responsible for patrolling, investigating, and preventing crime within its jurisdiction. Spanning more than 1,200 acres and 900 buildings, UCSD’s campus presents unique challenges for law enforcement. The department’s Communications Division serves as the nerve center, coordinating responses to emergencies, managing communications, and ensuring coordination among officers.
With more than two decades of experience, Sgt. Garrett Williams oversees the Communications Division. Williams understands the critical role technology can play in public safety. He explained that before partnering with RGB Spectrum, UCSD faced significant obstacles in its dispatch operations, as dispatchers juggled multiple computers (computer aided dispatch, radio, and phone), each requiring separate keyboards and mice.
“Three separate mice and operators constantly moving side to side to look from one to the other and then having to move their hands back and forth between control devices—anytime they have to do
that, it’s slowing their workflow down,” recalled Williams. “And up to 25% of our operators were suffering from repetitive movement and neck injuries, resulting in downtime and light duty restrictions. We figured there had to be a better solution.”
UCSD wanted a seamless KVM solution that integrated multiple systems over IP under a unified interface. It explored various options before discovering RGB Spectrum’s XtendPoint solution, which provides local and remote access to source computers, consolidates separate monitors into multi-view displays, and unifies control for more streamlined operation and enhanced efficiency.
For UCSD, the key selling point was providing a solution to the ergonomic challenges plaguing dispatchers by minimizing the need for multiple keyboards and mice. Replacing monitor clutter was another plus. With the XtendPoint solution, each monitor can handle up to four computer signals.
Plus, each operator can have customized display viewing, even in a multi-shift operation.
Dispatchers can now access live video feeds and additional mission-critical systems directly within one system interface, providing them with real-time
visual information as required.
A KVM-over-IP backbone offers additional benefits. Before, only one dispatcher station could see the fire alarm system. With RGB’s XtendPoint KVM system, UCSD expanded access to the fire alarm system at each operator’s station.
“The flexibility of the RGB system also allowed UCSD dispatchers to leverage video wall capabilities,” Williams added. “They can easily share critical information and task lists with colleagues. A more collaborative environment has facilitated communication and coordination among dispatchers, ensuring that tasks are efficiently managed and prioritized during high-stress situations. We can use the RGB system to throw things up on the wall so other dispatchers can see what’s happening and interact as needed.”
The impact of XtendPoint KVM-over-IP on UCSD’s dispatch operations has been profound. UCSD witnessed significant improvements in efficiency, ergonomics, and situational awareness. Efficiency soared as dispatchers seamlessly controlled multiple systems from a single interface. Ergonomic issues were mitigated and dispatcher morale improved, enabling dispatchers to respond more effectively to emergencies.
Looking ahead, UCSD sees opportunities to leverage RGB Spectrum’s technology further to enhance operations. For example, in the event of a building evacuation or siege, UCSD could almost immediately establish a satellite facility. UCSD also aims to extend the reach of its dispatch operations by providing field personnel with access to real-time information. By equipping mobile units with RGB’s AV-over-IP systems via smartphones, police officers could receive critical updates and better collaborate with dispatchers to respond to incidents.
“If you think of the unthinkable, like a school shooting, it would be ideal to share live coverage of what’s happening, detailed building schematics, and info on weapons the assailant might be using. Who doesn’t want to know what’s potentially happening behind closed doors before walking in?” Williams said. “It’s situational awareness on a whole new level.”
Kramer AV Acquires Ashton Bentley
Kramer has acquired Ashton Bentley, a U.K.based provider of collaboration spaces. The acquisition is a yet another step in Kramer’s three-year strategy, elevating its capabilities and offerings in the UCC domain.
The strategic move allows Kramer to deliver a comprehensive AV experience, encompassing a coherent, end-to-end approach to hybrid conferencing—from AV-enabled meeting room furniture to display mounts—alongside high-quality AV technology products. Kramer can now offer
complete meeting room solutions for enterprises in all markets.
“This acquisition is another milestone in our investment and commitment to the unified communication and collaboration ecosystem,” said Gilad Yron, CEO of Kramer. “The Ashton Bentley ‘out-of-the-box’ solution, alongside Kramer’s broad portfolio, offers a unique, fully integrated solution to further enhance the hybrid meeting experience. Any acquisition is about the people. I’m convinced that the cultural fit, enthusiasm, and passion the Ashton
Bentley team brings will be an outstanding addition to the Kramer family.”
RGB Spectrum’s XtendPoint solution has helped to improve the UCSD Police Department’s dispatch operations.
College of Southern Nevada Upgrades Audio with SSL
The College of Southern Nevada has installed a Solid State Logic Duality Fuse SuperAnalogue console in the main control room at the Recording Studio Facilities at its North Las Vegas Campus. The 48-channel console, which came online for the Fall 2023 semester, is being used to instruct students enrolled in the Audio Recording Technology Program.
According to John Jacobson, program director, CSN offers a 30-credit Certificate of Achievement in Music Business and Technology as part of the music program within the Department of Fine Arts. The facility’s main control room was previously occupied by an SSL AWS 900 console that was installed in 2005.
Between the main studio, which can accommodate a 50-piece orchestra, and a large iso room, there are 35 analog microphone lines to the main control room, with additional lines available on a Dante network. The problem: “Our AWS only has 24 inputs,” Jacobson said. So, when funding became available, Jacobson ordered the Duality Fuse and
moved the AWS 900 to another room.
While other mixing consoles offer similar functionality, Jacobson gravitated toward SSL and the Duality Fuse because he said it sounds accurate. “It’s really about the quality of the components, and how good the mic preamps are,” he added. “I also like the dedicated DAW controls and the fact that it will work with any DAW, and with either a Windows PC or a Macintosh.”
Jacobson had his first opportunity to use the new SSL Duality console on a series of commercial tracking dates shortly before the new semester started, recording a classic organ trio and, for a documentary project, eight horn players, eight singers, and a rhythm section. He leans toward an “old school” approach to recording by combining great microphones, careful mic placement, and first-rate musicians and instruments—and appreciates the ability to define the input path on the Duality Fuse.
Jacobson said the Duality Fuse console is ideal for an educational environment, because it follows a
one-knob-per-function design philosophy. That enables the college’s students to take what they have learned on the Duality Fuse and work on any mixing console anywhere.
“It has its digital features but it’s primarily an analog mixing console and it’s designed in a traditional, easy to understand way. Students pick up on it really fast,” he explained. “People in the industry might be using a Duality or something else, and a lot of recording studios are doing everything in-the-box. We could have done that, but it made more sense to do this. We can integrate old equipment, new equipment, and anything in between.”
Part of the Sennheiser TeamConnect Family, the TeamConnect Bar Solutions are the most feature-rich, all-in-one conferencing devices in their class.
With options for small (TeamConnect Bar S) and mid-sized (TeamConnect Bar M) meeting and collaboration spaces, these award-winning, all-in-one conferencing devices are designed to meet modern meeting demands.
sennheiser.com
A new Solid State Logic Duality Fuse SuperAnalogue console has been installed in CSN’s main control room.
ASG Expands SoftwareDefined Workflow Solutions with Virtual Truck
Advanced Systems Group has launched Virtual Truck, a new solution in cloud-based remote production. ASG’s first Virtual Truck is ready for live sports, music, corporate events, and esports, and leverages the same technology that powers ASG’s popular Virtual Production Control Room (VPCR), which provides a multi-camera, live switch control room environment.
With the global accessibility of high-bandwidth IP transmission, on-site cameras feed directly into encoders for IP transport into the company’s integrated cloud solutions. Cloud providers like AWS and Google Cloud Platform (GCP) offer robust compute and storage technologies. And leading industry manufacturers such as Vizrt, Audinate, and Grass Valley are facilitating this shift with a wide variety of cloud-enabled live production tools.
ASG’s first Virtual Truck offering is packaged and ready to roll, leveraging public, private, or hybridhosted solutions. It features a 44-input, 8 M/E switcher, plus eight channels of replay, a flexible HTML5 or dedicated graphics station, AES67compatible audio, and a multi-channel beltpack and IFB system for on-site communications. Surella, a technology-focused production services and solutions company, is ASG’s first camera and contribution truck partner, providing bi-coastal HD and 4K camera and support vehicles built to seamlessly integrate on-site with ASG Virtual Trucks.
“The Virtual Truck is a great example of cloud production democratizing live production and opening the field to a new generation of professionals,” said ASG president Dave Van Hoy.
“It’s removing the barriers imposed by locationbound, costly, legacy hardware.”
Delivering content for customers or private viewing stations for clients is seamless, requiring no additional satellite uplink. Broadcasters and streamers can simultaneously deliver multiple program versions and streaming formats to standard distribution outlets like YouTube, Facebook, or a CDN. Using software-defined solutions and virtualized infrastructure, resources can be quickly spun up or down and configured to meet changing production needs without the traditional limitations of a physical truck.
“Our virtual, live production solutions offer greater flexibility and cost savings than traditional on-the-ground broadcast components,” Van Hoy added. “While we recognize that there are still live events that require physical trucks, we are providing a cost-effective and flexible alternative solution that addresses the needs of live production.”
In addition to expanding the potential for live production to a wider range of professionals, the Virtual Truck reduces the carbon footprint typically associated with live production. Less travel for crew, less gear shipped, and reduced power consumption equates to less carbon emissions.
“Our software-defined workflows mirror traditional production methods, enabling the use of familiar control surfaces to ensure a smooth and intuitive transition for technical artists and operators,” said Claudia Souza, chief cloud officer, ASG. “We are excited to continue facilitating our industry’s transition to software-defined production solutions.”
CTI Adds Fourth Texas Location
Just weeks after announcing its acquisition of Advanced Systems Integration (ASI) of Burnsville, MN, CTI acquired Digital Technology Solutions (DTS AV) of San Antonio. It is the company’s 37th U.S. office and its fourth in Texas.
“Digital Technology Solutions has built a tremendous reputation in the 20 years they’ve fulfilled the AV integration needs of businesses, government, schools, and houses of worship in and around San Antonio,” said John Laughlin, CEO of CTI. “Their service-first approach and focus on doing the right thing make them a perfect match for the culture here at CTI.”
Headquartered in St. Louis, CTI is one of the largest privately held, U.S.-based AV integration and events providers. Established in 1988, the company serves customers nationwide as well as worldwide as a member of the PSNI Global Alliance.
Audio Video Electronics Acquired
Audio Video Electronics, a Midwest provider of audio, video, and lighting design integration since 1992, has been acquired by long-time general manager Josh Lannan. The development signals an exciting new chapter for AVE, reinforcing its dedication to delivering exceptional design, integration, and support services.
Founded by Stefan Svard in 1992, AVE is known for its commitment to providing high-quality and innovative audio, video, lighting, and control solutions across a wide range of applications. It has built a solid reputation as a trusted partner for houses of worship, government, education, and commercial clients in the Twin Cities and throughout the upper Midwest.
Lannan, who now holds the title of managing director, has been with AVE for more than a decade, and previously worked for more than 15 years in AV services for the hospitality industry. “Having been a part of this company for many years, I have witnessed firsthand the team’s dedication and passion for delivering exceptional service to our clients,” he said. “I am eager to lead the company into its next phase of growth while upholding Stefan’s commitment to serving the house of worship market.”
ASG has launched its cloud-based remote production solution, Virtual Truck.
Josh Lannan
Pro AV Growth Moderates in June
By Peter Hansen
The June index is not bad news, but it is a disappointing result. Growth continued at a moderate rate, as the AV Sales Index (AVI-S) measured 56.6. But it's disappointing because recent months have been higher, staying around 60. Comments cited a variety of causative factors behind the movements their businesses experienced. For some, seasonal factors were critical. For others, it was supply issues, skewing toward positive news as those challenges eased. Randomness was also cited: For the small companies that compose so much of our industry, it’s normal for months to jump up and down by meaningful amounts.
In sum, there wasn’t a clear reason why the numbers were softer this month. That gives confidence for reversion to the mean next month.
The stock market is often given more weight as an economic indicator than it truly deserves. That said, it does matter: It affects consumer and business confidence, and it also influences businesses’ ability to invest (higher valuation means more ability to finance capital expenditures). And the stock markets skew positive these days.
U.S. stock performance is particularly strong, with the S&P 500 regularly setting new record highs in the last month. International stocks have also hit record highs recently, with the STOXX 600 hitting records in May. Asia stock indexes are more mixed, but this year, the Nikkei 225 finally surpassed the 1990s record level, with the most recent record set in July.
For Pro AV, these numbers are more background/ foundational rather than direct drivers of spend. But they indicate the strength of the current economy and indicate positive news for the pipeline in coming months—and even years—for major projects started on the current money wave.
The AV Employment Index (AVI-E) outperformed
the AVI-S in June. It stayed nearly steady from May to June, downshifting just 0.6 points from 57.7 to 57.1. This is good news for Pro AV and further evidence that the disappointing AVI-S isn’t a concerning sign of significant weakness.
In the wider economy, the labor market remains tight, with relatively few available workers for the open jobs. One point of emphasis on the current labor market: There is very low churn right now. This is likely a consequence of the high-turnover pandemic recovery period that saw many workers quit to find better jobs.
To share the topline numbers from the latest U.S. report, payrolls added another 206,000 jobs in June. The one fly in the ointment is the unemployment rate. At 4.1%, it’s still low, but it has climbed meaningfully from a bottom of 3.4% in April 2023. The accumulation of small increases is increasing pressure on the Federal Reserve Board to finally transition to lower interest rates (which will likely happen in September).
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.
Rep Report
BLAZE AUDIO appointed C&C TECHNOLOGY GROUP to represent the company throughout the metropolitan New York area as well as Northern New Jersey, with the goal of expanding its presence in the territory. With a corporate mandate that focuses on delivering manageable, hassle-free technology solutions that drive efficiency and growth, C&C Technology Group is well positioned for various product training and demo sessions, in addition to related functions essential to successful professional audio sales.
ORIGIN ACOUSTICS added PHOENIX MARKETING GROUP (PMG) as its new sales firm in New York and New Jersey. Origin Acoustics has been working with PMG since 2016, originating in the Southeast and later expanding into the Middle Atlantic and Florida. PMG will now cover 14 states for Origin Acoustics, with an experienced sales team of more than a dozen people. PMG represents the Origin family of brands in these new markets, specializing in lighting design, indoor and outdoor shading, smart automation, audio and video solutions, outdoor living spaces, and acoustic room treatments.
RENKUS-HEINZ has appointed a new manufacturer’s representative for Ohio, Western Pennsylvania, West Virginia, Indiana, Kentucky, and Michigan in C. L. PUGH AND ASSOCIATES. The strategic partnership is set to bolster Renkus-Heinz’s presence in an important regional market, ensuring that both current and future clients will continue to receive support and access to Renkus-Heinz’s innovative audio solutions.
SYNTHAX named MAVRIC to represent the following Pro Audio Brands: RME, Auvitran, Appsys, Digigram, Ferrofish, myMix, and Alva in the Southeast territory covering Tennessee, Mississippi, Alabama, North Carolina, South Carolina, and Georgia.
ADVANCED SYSTEMS GROUP (ASG) is expanding its audio system design and integration team, including new members in Los Angeles and Nashville. The expanded team serves recording studios, audio post production, and screening rooms in Southern California and other markets. The group now includes recently hired studio designer DAVID ARNOLD and studio design head TIM LAWRENCE. Lawrence and Arnold have extensive experience working together, including recent ASG projects for which they designed and integrated ADR suites and pre-mix and mix facilities for several marquee entertainment facilities.
L-ACOUSTICS appointed ANNE HAMLETT to chief people officer. With more than 20 years of experience leading teams at L-Acoustics, Hamlett is now directly leading three L-Acoustics divisions: People; Legal, Tax, and Compliance; and Education and Scientific Outreach. The teams she leads cultivate an empower experience for all employees, strengthen the company’s brand, and create an internal and external education program that boosts the creativity, employability, and resilience of L-Acoustics team members, partners, and end users.
Manufacturer’s rep CADEN TECHINCAL SALES has named JAMES GAST to the position of president. Gast has been an integral part of Cadon’s team for more than 12 years, serving as a senior territory manager. With more than 31 years in the industry, Gast now oversees all aspects of the company’s operations and continues to drive growth, foster collaboration, and champion excellence within the organization.
TVU Welcomes Three New Appointees
TVU Networks made three appointments aimed at fueling continued customer growth and product innovation in the Americas and beyond. Coming aboard as VP of solutions for the Americas and global head of partnerships, SOCRATES LOZANO is a seasoned media innovator known for spearheading newsroom transformations and technological integrations. With nearly two decades of experience, including pivotal roles at The E.W.
Scripps Company, Lozano’s expertise will be instrumental in expanding TVU’s media supply chain ecosystem. Appointed as the new global director of marketing, LAURA PURSLEY oversees go-tomarket strategies in the Americas, as well as the Middle East and Africa. Pursley brings insights from a dozen years of promoting emerging technologies for video production and post-production, including
NEOTI promoted CHARLES MARKOVITS, a highly tenured senior national sales manager, to VP of sales and hired MATT MOSCATO as senior national sales manager. As VP of sales, Markovits brings seven years of success with Neoti in the broadcast space to other verticals. Bringing 25 years of experience in sales and consultancy for technology manufacturing companies, Moscato is working with government, corporate, education, and commercial settings. He held previous roles at Panasonic and Digital Projection.
POINT SOURCE AUDIO has appointed TONY PRICE as its new chief revenue officer. With more than three decades of experience in revenue growth and strategic leadership within the audio sector, Price joined the company to help leverage new opportunities and strengthen its position in the global market. Price’s career includes key leadership roles at Telex/Bosch, Guitar Center, Bose Professional, Fender. Most recently, he served as as CEO and president, Roland U.S., and chief sales officer for Roland North America.
RTI welcomed ERIC RANDT as national sales director for the United States and Canada. Randt is charged with overseeing RTI initiatives that grow RTI and Blustream sales with commercial and residential integrators across the country. Randt brings a history of sales leadership in the custom integration channel, most recently as VP of sales at Nice North America, leading the new shade and tube motor division. Earlier positions include director of sales at Nortek Control’s smart home market segment, technical sales manager at Savant Systems, and senior account manager at AVAD.
at Adobe, Frame.io, and Sony Electronics. Her experience in both media and SaaS will accelerate the adoption of TVU’s cloud and AI offerings.
BRIAN SWANSON joins TVU as director of enterprise sales in North America. With more than 20 years at Starz, affiliate sales and marketing teams, and most recently serving as VP of distribution, Swanson handles the increasing demand for TVU’s solutions.
Tony Price
Eric Randt
David Arnold
James Gast
Anne Hamlett
Tim Lawrence
Charles Markovits
Matt Moscato
RF VENUE has appointed audio industry veterans BOB LEE and RICHARD STOCKTON to its team of applications engineers. In their new roles, Lee and Stockton develop and present training and tutorial material for webinars, in-person sessions, and online content, covering a wide range of topics. They are also working to expand the capabilities of RF Venue’s applications engineering staff to provide timely and efficient technical support and consultations for designers and users of wireless mic and IEM systems worldwide.
JOHN JENNINGS has been named the new president of ROYER LABS after the retirement of long-time president and co-founder Rick Perotta on June 1. The company’s co-founder and 26-year VP of sales and marketing, Jennings assures Royer customers and end users a smooth transition in company management. He plans on putting more new microphone products into the pipeline with a focus on the high-quality, hand-built approach that has defined Royer products for decades.
SPHERE ENTERTAINMENT
welcomed CHANDRA ALLISON, a sales and marketing leader with 30 years of diverse experience in the hospitality and events industries, as EVP, sales and service, for Sphere. In this new role, Allison is responsible for driving Sphere’s sales strategies and
ensuring exceptional customer experiences at Sphere. Working with executive leadership, Allison is charged with developing and implementing sales and service strategies aligned with the company’s overall business objectives and strategic direction, including developing a corporate conference business for product launches and other events.
VISILINK appointed DONNIE GILLIAM as VP of operations. In this role, Gilliam’s focused on driving customer satisfaction, cost reduction, and working capital improvements. Gilliam brings extensive experience in operations and service within high-growth companies. His career includes leading operations at HM Electronics, where he played a pivotal role in the substantial growth the company realized during his tenure. Additionally, he held the position of senior director of supply chain and materials at Clear-Com, and more recently served as the VP of global operations at Spectralink Corporation.
NSI INDUSTRIES welcomed TROY HAYES as chief human resources officer (CHRO). As a member of NSI’s executive leadership team, Hayes leads the company’s HR function, with responsibilities that include providing end-to-end HR strategy, execution, and delivery of processes and operations to drive business objectives. Hayes was most recently VP of talent development and corporate HR at AutoNation. Prior to AutoNation, Hayes was a principal consultant at Summit Leadership Partners and spent 17 years at Ingersoll Rand in various leadership positions.
Daktronics Announces
New Hires
Daktronics has announced three new hires. DREW LINDAHL joined the Daktronics on-prem sales team, TYE DATO is tasked with AV channel business development with a focus on the federal government and military markets, and AUSTIN NELSON is focused on AV integrator sales in the Pacific Northwest and Canada.
With a background in sports marketing and sales, Lindahl will serve sign companies and architects as well as end users to implement LED display solutions in and around the city of Houston. He plans to put his knowledge and experience to work to develop relationships and provide solutions and make on-site demonstrations a priority.
Dato is familiar with Daktronics, as he started his career with the company in 2007. He worked in various Daktronics markets through 2019 before moving into the AV sales position. In his new role, he’s focused on connecting the Daktronics AV sales team with dvLED installation opportunities directly or through AV integrators. Nelson joined the Daktronics team in 2016 and leans on his experience with the company’s on-prem business unit in the South Central region of the United States. He recently accepted the position of sales representative promoting dvLED solutions and their various applications to AV integrators and end users.
The Education Communication Solution.
Chandra Allison
Donnie Gilliam
Troy Hayes
Bob Lee
Richard Stockton
John Jennings
A Decade of Innovation
Richards Reflects on Success of PTZOptics and New SaaS Solution
By Mark J. Pescatore
SCN: How long have you been with this company, and what are your responsibilities?
Paul Richards: I have been with PTZOptics since its inception, overseeing growth strategies and innovations that enhance our customers’ experience with our cameras and production ecosystem.
SCN: How is PTZOptics celebrating its 10th anniversary?
PR: PTZOptics celebrated its 10th anniversary by reflecting on a decade of innovations in the broadcast industry, hosting a special event for our user base, and launching new product features like free NDI for Move SE users.
SCN: There are many PTZs in the market—what’s different about PTZOptics?
PR: PTZOptics has a strong connection with our user base. We listen to our customers and—one feature at a time—we build products that solve the specific pain points our customers face. The broadcast and Pro AV industries are going through a period of significant change where the decisions we make as a manufacturer allow us to be a leader during this exciting time. Our award-winning product
development and support team truly set PTZOptics apart from our competitors in more ways than one.
SCN: How important has NDI become for PTZ users?
PR: NDI has become extremely important for PTZ camera users. It provides versatility in video workflows by allowing high-quality video streams over a standard network infrastructure, greatly simplifying the setup and integration of multiple cameras.
We listen to our customers and—one feature at a time—we build products that solve the specific pain points our customers face.
SCN: At this point, is auto-tracking a must-have feature for PTZ cameras?
PR: While not essential for every user, auto-tracking has become a highly valued feature in education and event broadcasting, where automatically following speakers or performers significantly enhances the viewing experience. PTZOptics PTZ cameras like the Move SE and Move 4K offer advanced auto-tracking with subject selection, instantly changing the subject you want to track in one click.
SCN: How popular have PTZ cameras become for news broadcasts and other studio productions?
PR: PTZ cameras have grown significantly in popularity for news broadcasts and studio productions due to their compact size, remote controllability, and ability to reduce crew requirements while maintaining high production values.
SCN: What are some general guidelines for PTZ camera placement?
PR: General guidelines for PTZ camera placement
Paul Richards Position: Chief Revenue Officer Company: PTZOptics
include ensuring the camera is positioned at a height that captures the scene effectively, considering the lighting and background of the shots, and placing it within a reliable network range if using IP-based features.
SCN: How important is proper mounting for PTZ cameras?
PR: Proper mounting is crucial for PTZ cameras to ensure stable, precise, and reliable video feeds, especially in environments where the camera needs to move dynamically or be operated remotely. PTZOptics mounts offer a universal design that works with many Sony, Panasonic, Cisco, Polycom, Vaddio, HuddleCamHD, Lumens, and Datavideo cameras.
SCN: PTZOptics is about more than PTZs—what other kinds of cameras do you offer?
PR: Beyond PTZ cameras, PTZOptics offers a range of other camera types, including box cameras and webcams, which cater to different user needs, from broadcast-quality video to high-quality streaming and conferencing solutions. Whether you are setting up a live stream or a videoconference space, PTZOptics cameras can deliver on your project specifications for today and tomorrow.
SCN: With products like SuperJoy, controllers are a point of emphasis for PTZOptics. What inspired this focus?
PR: The focus on controllers like SuperJoy was inspired by the need for versatile, intuitive control solutions to manage multiple cameras, simplify the user’s workflow, and enhance production quality. The SuperJoy is a comprehensive solution supporting mix-and-match serial and network-based control for PTZ cameras of any generation.
SCN: Your company is also going way beyond joystick control with Hive. What makes this SaaS solution unique?
PR: Hive is unique as a SaaS solution because it combines camera control, switching, and recording into a single, easy-to-access and share platform. The Hive revolutionizes remote camera control and studio management by supporting more than 400 camera models, including non-PTZ cameras. This innovative SaaS solution offers unparalleled camera control and advanced functionality compared to your standard controller, making it an unmatched choice for diverse equipment management and real-time collaborative production.
PTZOptics now offers free NDI for its Move SE users.
Head in the Cloud(s)
swXtch.io Co-Founder Kyrazis Touts Advantages of Cloud-Based Workflows
By Mark J. Pescatore
SCN: What are your responsibilities with swXtch.io?
Geeter Kyrazis: Since the company was founded in January 2021, my responsibilities have a core focus of examining the market need for high-performance networking products and services. That includes the specific vertical applications in the media and entertainment space, and how we expand our roadmap, partner systems, and technology integrations to meet those needs.
SCN: What is cloudSwXtch and how is it different from other cloud-based solutions?
GK: cloudSwXtch is a virtual, high-performance network packet switch that runs as a software load in the clouds or on prem. It acts like a Cisco or Juniperstyle network switch but is a software-only solution. The intent is to create a network on top of cloud networks, on-prem networks, or across both that mimics the way one would build a network from scratch with hardware. cloudSwXtch allows networks that don’t have certain features such as multicast, lossless UDP delivery, and standards conversion to exist in public clouds where they were not previously available. We extend on-prem feature sets to clouds through ground-to-cloud links and optimize their performance across one or more clouds.
SCN: What are some of the advantages of cloud production?
GK: Cloud production relies on the notion that a scalable architecture is valuable, and that you can stand up and spin down features and functions at will. That flexibility provides an ability to better control costs, and create, test, deploy, and scale new capabilities and products quickly. Cloud journeys are generally driven by a business’s current requirements and goals, as well as by the company’s internal IT ambitions and capabilities. The reason that clouds are growing so fast is because they offer an IT infrastructure for companies that don’t want to make huge investments in their own infrastructure that might become obsolete or hard to manage.
SCN: Are your solutions designed for public or private cloud—or maybe your own cloud?
GK: We offer software solutions that run on top of all the different virtualization layers defined as being cloud. Each public cloud has its unique way of exposing itself to customers. Anyone that builds a private cloud would have to have similar things that they do, and even
non-cloud, bare metal implementations can benefit from the features we add. Our software switch and NIC architecture provide a flexible overlay network architecture that can deploy and span across any of these scenarios. A business can easily connect a private cloud to a public cloud, connect a private cloud to an on-prem network, or connect an on-prem network to all of them. cloudSwXtch is truly agnostic across deployment scenarios. The common goal is to implement high-performance network capabilities where they don’t exist today.
SCN: What is something that potential customers typically get wrong about cloud-based workflows?
GK: There is a tendency to believe that the infrastructure people have in place for their on-prem workflows will natively run in the cloud. There’s no assurance that they will run the same way in the cloud, if at all. Public clouds behave very differently than on-prem data centers, which means without a product like cloudSwXtch there is no way to successfully forklift your existing on-prem infrastructure into the cloud. This is one of the main reasons why cloud migrations stall and ambitions change.
SCN: What are the top vertical markets for cloudSwXtch?
GK: We consider media and entertainment our top industry, and broadcast and AV are two of core business verticals that fall within that space. We could look at this on a more granular level, but most of these businesses are distributing large volumes of video and audio flows. We see especially strong opportunity to support audio flows in the AV space, where remote learning, intercom communications, and embedded audio applications are in demand. Many of these audio flows are dependent on the networking features that we add, specifically multicast but also Precision Time Protocol (PTP) synchronization and lossless UDP for guaranteed packet delivery.
SCN: Can you tell us about your partner program?
GK: We launched our Federated Partner Program at the NAB Show in April, which brings technology partners, systems integrators, and public clouds together with swXtch.io to help customers bring their on-prem networks to the cloud. As the network switch, cloudSwXtch serves as an ideal core infrastructure to support reliable, scalable, end-toend cloud networking ecosystems that helps each partner realize the full potential of their solutions in the cloud.
Geeter Kyrazis
Position: Co-Founder
Company: swXtch.io
Overtime: I am a commercial pilot with a flight instructor license and hold parachuting and commercial automobile racing licenses. I am also an avid sailor.
SCN: How do your solutions help integrators?
GK: Integrators want to create solutions for their customers that align with their specific business strategies and technical capabilities. cloudSwXtch is a standards-compliant solution that runs natively in all the clouds, with no features that are proprietary to our network. We function at the layer three network level where the emphasis is on managing and moving packets.
All of these things make cloudSwXtch a very integrator-friendly product, because they can implement our capabilities inside of their solutions in the same way, versus how they would work with a more generic switch product. On top of that, cloudSwXtch deploys as a software load inside the customer’s cloud tenant, which means that we’re not a SaaS. The data never leaves the customer’s estate, which and makes it very easy to convince a customer that this is just another part of their infrastructure.
SCN: What new initiatives are we likely to see from your company?
GK: We will continue to expand our multi-cloud capabilities, which means enriching out lossless packet delivery, to better support video and audio transport within and between clouds. We’re also really strengthening support for live standards conversion in the cloud throughout our relationship with Cinnafilm and their Tachyon Live solution. We can deploy that on-prem today, but we’re going to productize that into a more self-contained package, potentially using deployed clouds like Azure Stack. We will also add new network compute capabilities involving AI over the coming months.
SCN: What's next for Pro AV?
GK: As with all industries, Pro AV benefits from using the public clouds as distribution source for their audio and video traffic. That includes saving a standard way to implement a remote learning system or a teleconferencing system, for example. The ability to use the clouds and other networks as the transport vehicle with as few gaps or limitations as possible will bring enormous benefits to how public and private organizations operate.
High Marks for New Studio
BrandStar Helps FAU Get Immersed in Virtual Production
By Carolyn Heinze
Florida Atlantic University’s School of Communication & Multimedia Studies in Boca Raton, FL, is home to a new virtual production studio designed to develop the next generation of media and entertainment professionals. BrandStar, an integrated production and strategic marketing company headquartered in nearby Deerfield Beach, FL, donated and deployed an LED Volume Wall along with ICVFX (in-camera virtual production) systems driven by Unreal Engine 3D graphics and gaming software into a retrofitted television studio in the university’s Dorothy L. Schmidt College of Arts & Letters.
The new facility, which opened in March, bears the name BrandStar Studios @ Florida Atlantic. In conjunction with the technology donation, BrandStar is providing advisory and training services to FAU staff and faculty, as well as internship and mentorship opportunities for students.
Carol Bishop Mills, Ph.D., director of FAU’s
School of Communication & Multimedia Studies, explained that the department has three main degree tracks: Communications Studies, Film and Media, and Multimedia Journalism. The school also offers courses in animation and gaming, sports broadcasting, and public relations. Initially, the facility will house FAU’s students in animation, film, gaming, and media. However, as the school’s programs evolve, Mills said other departments— such as sports broadcasting and even theater—will be able to take advantage of the technology.
BrandStar Studios @ Florida Atlantic also has the potential to become a revenue generator for the university by offering virtual production services to businesses and organizations in the community. This would not only allow the school to assist its students financially, but it also affords them the opportunity to gain some real-world production experience. “If our students can do this and get paid to do it—and then have the rest of the revenue go back into things like scholarship money—that will be incredible because part of our mission is ensuring that we can support our students,” Mills said.
Under Development
As an integrated production and strategic marketing company, BrandStar’s roster of offerings are similar to a full-service advertising agency, but “with a twist,” as its marketing literature declares. Through its partnership with Lifetime, it has six original television series including The Balancing Act, a morning show co-hosted by Montel Williams and Olga Villaverde that is in its 20th season; home improvement show Designing Spaces; and Military Makeover, a home renovation show focused on veterans (also hosted by Williams). The company also executes advertising and marketing projects for clients such as Amazon, Ford, Google, The Home Depot, Toyota, Walmart, and many others.
“The hub of that is production,” explained Mark Alfieri, BrandStar founder and CEO. “We’re always thinking about what are the greatest and latest technologies and advancements in storytelling that we can leverage to tell amazing stories and do amazing productions—and do that in a highly cost-efficient way?”
The firm has five studios throughout southern Florida, including one at Lynn University in Boca Raton and another in Miami, through a partnership with broadcasting and production company Mediapro. Alfieri said the main driver behind BrandStar’s donation to FAU is a combination of community and new talent development.
“What I’ve noticed over the last couple of decades is you have a lot of awesome schools here in South Florida. People go to school here, and then in order to get work—especially in the entertainment and production space—they have to go to California or New York,” Alfieri explained. “They’re training them and then shipping them out. That’s not great for Florida.”
Through its partnerships with higher education institutions, BrandStar can contribute to keeping production talent in the state while simultaneously developing its own pipeline of employees. The company has a significant year-round internship program, and many interns continue on as full-time employees once they’ve graduated.
“If we get a chance to train them and develop them while they’re going to school, they’re fully equipped in a practical, experiential work environment—they actually see [the technology] at play,” Alfieri added. “[It creates] a competitive advantage, not only for ourselves but for these students.”
Mixed Reality
Like many production professionals, Alfieri first became interested in virtual production after watching The Mandalorian. The prospect of being able to shoot without having to invest in filming on location presented a more creative, cost-effective way to approach production. He began researching how he could incorporate this tech into BrandStar’s facilities.
After running the numbers, Alfieri decided that it made more sense for his company to build its own LED Volume Wall. Leveraging his relationships with other
In March, FAU celebrated the opening of the new BrandStar Studios @ Florida Atlantic.
production veterans, they visited the factory in China that eventually constructed the wall.
“Our first wall was 1.9mm,” he recalled. “That allowed us to stand within six feet of the wall—because we didn’t have a big stage—and still get photorealism.”
For in-camera motion tracking, BrandStar partnered with London-based virtual production technology developer Mo-Sys. “They built a plug-in for the Unreal Engine software, so the gaming engine is connected to the motion tracking,” Alfieri explained. “Then that software connects to what we call a Brain Bar that has the Unreal Engine up, the wall up, and connects the physical cameras that we’re filming with, with the virtual cameras in Unreal Engine.”
Each camera lens, both physical and virtual, is matched to create a three-dimensional perspective. At the same time, the technology will accommodate real scenic elements or props, such as physical chairs.
“It’s a mixed reality set, which means that you’re going to have props in the midground, behind you, in front of you, and on the wall,” Alfieri said. “But you’re able to digitize and match the physical props to the Unreal Engine props so you get an identical match.”
Unreal Engine also provides a library of environments that artists can customize. BrandStar has its own visual arts department that will build
VIRTUAL P RODUCTION BUSINESS
environments from scratch, but Alfieri said sometimes you just “grab something and customize it, and now it’s original to you.”
New Workflows
For BrandStar Studios @ Florida Atlantic, BrandStar has applied a similar approach as it did to its first virtual production space by having an LED Volume Wall custom-manufactured and integrating it with the necessary support technology. With this technology, students learn virtual production workflows, which are considerably different to traditional production.
For example, instead of fixing issues in post, virtual production enables the post-production team to make
adjustments while shooting. “It becomes much more of a collaboration between production and postproduction,” Alfieri said. “By the time you’ve got it to the finishing team you’re doing color correction and maybe putting some additional graphics in, and then you’re ready to ship it out.”
For a project like this to succeed, Mills emphasized the need for staff and faculty to make the effort to learn the technology well enough to be able to teach it to students. “It is a significant time and skill investment for faculty or staff,” she said. “You have to know that they are committed, because if you don’t, then that equipment is just going to sit there and never get used.”
Mills relayed that partnerships like the one FAU enjoys with BrandStar enable both higher education institutions and employers to better develop the next generation of professionals, one that is ready to hit the ground running straight out of school. “Universities— especially state universities now—are very interested in these public/private partnerships because it provides them with the resources they would not otherwise have on limited state budgets,” she explained. “I think that’s a real win-win for everybody. And if you handle it in a really ethical, engaged way, it can be a wonderful partnership.”
From left, Carol Bishop Mills and Mark Alfieri
Closer to the Action
Short-Throw Projectors Offer Advantages in Classrooms
By Mark J. Pescatore
Pthe big image they project from a short distance,” he said.
Another selling point is that short-throw projectors do not require special installation considerations beyond those needed for standardthrow projectors. According to Yann Sablayrolles, product manager projector, Panasonic Connect North America, short-throw units are generally easier to install and maintain.
rojector manufacturers invite teachers to get closer to the action—or at least the lesson plan—with short-throw projectors. As the product category implies, short-throw projectors are positioned closer to the screen than a traditional or standard-throw projector. That means they’re a better choice in tight quarters, but that’s not the only advantage these projectors provide for educational facilities.
projector was to support interactive whiteboards,” recalled Bob Wudeck, senior director of business development, BenQ North America. “In 2024, the primary reason for short-throw projectors is to enable a larger screen in a smaller space. Emerging markets like simulation, floor projection, and immersive rooms require short-throw projectors to enable larger images without having to mount the projector so far back that it is impractical.”
Billy Harrison, product manager, mainstream video projectors, Optoma, agreed that short-throw models are great for space-constrained environments. “The number one reason shortthrow projectors have grown in popularity is due to
“They can be mounted on ceilings, desktops, or carts—and can be placed closer to the display surface while still creating the same size image,” he explained. “They offer greater installation flexibility with minimal cost increase and no sacrifice in performance or features. They are incredibly good space savers.”
Educational Applications
Experts agree that short-throw projectors can be effective in classroom environments. From a practical standpoint, short-throw units can accommodate installations where there isn’t enough distance to place a standard-throw projector or there are obstructions in the ceiling where the projector would typically be placed, according to Ryan Pitterle, senior project manager, projectors, Sharp. But there are other benefits as well.
Short-throw projectors can be very effective in educational environments.
The 1-DLP Panasonic Connect PT-RQ7L delivers 4K resolution, 7,500 lumens, and up to a 400-inch image, depending on the lens.
“Generally speaking, when you’re in a smaller classroom where the professor and/or students will be moving around a lot within the classroom, short-throw projectors are the best option because they have specific features to reduce exhaust noise and unwanted distractions when students are seated close to the projector,” Sablayrolles said.
“Short-throw projectors require significantly less throw distance and are less prone to shadowing from participants in the room,” added Harrison. “When using standardthrow projectors, participants and viewers moving close to or in front of the projector can create a shadow, which is undesirable and distracting for others.”
“One key factor is installation volume, which refers to the total space needed to create an image of a certain size,” explained Daniel Oey, senior IT product manager, LG Business Solutions. “Flat-panel displays and direct-view LEDs have a thin installation volume, as they are mounted directly to the display surface. However, standard-throw projectors will need a larger installation volume, as they need to be placed at a distance away from the display surface to create a larger image.
“While an older option, projectors are still a highly relevant member of a portfolio of display solutions. For larger images, projectors are often more cost-effective from an image size perspective,” Oey continued. “Ultimately, shortthrow projectors are a good choice for both classrooms and larger lecture halls, because they offer a good balance of smaller installation volume, image quality, brightness, and cost effectiveness.”
Opinions on lecture hall use are more mixed. Mia Shen, senior business line manager, ViewSonic, said short-throw projectors “might not always be the best choice due to the limited throw distances and potential brightness limitations.” Pitterle added that large lecture halls often require screens that are
larger than the maximum size supported by most fixed lens short-throw projectors. But Wudeck said new 4K short-throw laser projectors are “especially well-suited to lecture halls, enabling 300-inch screens with Rec. 709 color accuracy that can replicate complicated organic colors in fine detail for science and art lecture halls.”
Lens Options
Are there limits with lens choices? That depends on the projector model you choose. “Some short-throw projectors come with fixed lenses, which provide advantages in projector size and cost, while other projectors have the ability to change lenses for more flexibility, but typically results in a bigger and more expensive projector,” Oey said.
“While there’s a cost associated with interchanging lenses,” Sablayrolles acknowledged,
“this is a good option for those looking to use their projector in a variety of settings and applications.”
Generally, Shen said shortthrow projectors have fewer lens options compared to traditional projectors. If your short-throw projector has a fixed lens, Shen said there is less flexibility in adjusting the throw distance, which could be a limitation in larger or irregularly shaped rooms. Pitterle advised installers to pay attention to the throw ratio, which is the throw distance divided by screen width.
Projectors usually fall into three categories based on their throw ratio. While estimates vary between manufacturers, Oey said standard-throw projectors generally have a throw ratio greater than 1.0, while the throw ratio for short-throws is around 0.75-1.0 and ultra-short-throws have a throw ratio less than 0.5.
Wudeck differentiated between the three most popular types of short-throw projectors. “Home theater ultra-short-throw projectors are placed close to a wall and have integrated speakers, while immersive projectors for museums and simulation rooms are designed for very large images and blended together,” he said. “The traditional classroom models typically have a maximum image size of 130 inches and are designed for whiteboards.”
Yes, ultra-short-throw is another subcategory, with projectors that can be placed even closer to the screen, often from only a few inches, while providing a full-sized image. “The difference between shortthrow and ultra-short-throw is the lens throw ratio and lens design,” Harrison explained. “Short-throw projectors use a standard front-of-the-projector lens that can be easily identified by the round protruding lens.”
“Ultra-short-throw projectors can create large images from very short distances, resulting in a
From left, Daniel Oey, Billy Harrison, Bob Wudeck, Ryan Pitterle, Yann Sablayrolles, and Mia Shen
LG offers a compact 4K short-throw projector option with the ProBeam BU53RG, which delivers 5,000 lumens and advanced digital image adjustments.
One of Optoma’s most compact Full HD short-throw projectors, the ZH450ST delivers up to a 120-inch image and is compatible with the Optoma Management Suite monitoring solution.
BUSINESS PROJECTORS
small installation volume and almost eliminating the possibility of shadows,” Oey said. “They achieve this by using powerful aspherical lenses. However, as a result they are typically more expensive. Also, because they are placed close to the display surface, the projected image is sensitive to projector mount alignment and display surface flatness, which can cause image distortion.”
Considerations and Limitations
Short-throw projectors do not require a special kind of screen, so standard drop-downs or fixed-frame models are just fine. And for a traditional classroom, Wudeck said you can use any screen or whiteboard made in the last 20 years. “For environments with high ambient lighting, a short-throw projector can be used with an ALR [ambient light rejection] screen,” Harrison advised. “ALR screens reject ambient light back into the environment, allowing for bright and crisp images even in bright rooms.”
Any technology has its limits, and there are some disadvantages associated with short-throw projectors, staring with less installation flexibility. As Shen explained, the limited throw distance means these models are generally not suitable for very large rooms or lecture halls where the projector needs to be placed far from the screen.
Harrison also emphasized the need to mount or place the projector close to the projection surface. “For example, a mainstream short-throw projector like the ZH450ST can generate a 100-inch image with a throw
distance of 3.6 feet and an even larger 120-inch image from a longer throw distance of 4.3 feet,” he explained. “Short-throw projectors cannot be used from the middle or the rear of the room, as the projector image size will be too large and have poor focus.”
In applications where large screens are needed, a short-throw projector may not suffice. “Traditional fixed lens, short-throw projectors sometimes have limitations to the maximum screen size supported,” Pitterle said. Go bigger than that limited image size and your image can lose focus on the edges, Wudeck added.
There is also the issue of no (or very limited) zoom capabilities. As Harrison observed, most Pro AV short-throw projectors with fixed or interchangeable lenses are limited to 1.15x zoom. “This is the nature of short-throw lens projectors overall and not a limitation of any particular projector company,” he noted.
That lack of zoom means installation can also be challenging, due to the precision needed to square the image on the screen. As Wudeck noted, if your projector doesn’t offer lens shift and/or zoom, your projector has to be mounted exactly right to properly fill the screen. “Most mounts will
provide sufficient adjustment,” Pitterle added, “but professional installation is still recommended.”
Sablayrolles said a short-throw projector body can often be bigger and heavier than a traditional projector because of the size of the lens, and he also warned about potential sensitivity to screen imperfections. “It’s really important that you have a perfect screen or wall to project on,” he noted. “Since the projector is placed close to the screen, it is much easier to see imperfections/issues with a screen while using a short-throw projector.”
And, of course, there’s cost. If you want that extra flexibility, expect to pay for the convenience. “Shortthrow projectors are often more expensive than traditional projectors with similar specifications,” Shen confirmed.
Check Your Distance
Ready to install your short-throw projector? According to Sharp’s Ryan Pitterle, you can mount it to the ceiling using a standard ceiling mount or with a wall mount attached just above the screen. For a less permanent solution, you can place it close to the screen on a pedestal or table. Some manufacturers even offer custom mobile projector carts, such as the Epson ELPCS01, which is designed exclusively for its PowerLite 810E/815E 3LCD short-throw projectors.
If you need help to determine the best configuration of the room and projector placement, there are several online tools that can help. For example, Panasonic Connect offers a throw distance calculator and Optoma has its own projection calculator. Both sites let you calculate projected image size, projection distance, and more based on specific models and lenses.
Sharp’s PE456UL Easy Installation Series LCD projector offers 4,500 lumens and WUXGA resolution for clear images in challenging applications.
Right BenQ’s LH600ST offers 1080p resolution, 2,500-lumen brightness, built-in 10W speaker, selectable aspect ratio, and wireless Wi-Fi projection with an optional dongle.
Short-throw projectors offer several mounting options.
Captivating Congregations
Projectors Remain Appealing Option for House of Worship Installations
By James Careless
Carl Lukings is the proprietor of Horizon Solutions, an AV integrator/installer based in London, Ontario. Over his 40 years in business, Lukings has installed a lot of projectors in houses of worship. Based on his vast experience in this area, Lukings and his system designers at Horizon know why video projection remains so appealing to houses of worship, be they big or small, modern or traditional.
“Churches today use video projection for a wide variety of applications in their sanctuary spaces and during their worship services,” he explained. “Projecting song lyrics, hymns, scripture readings, and other liturgical text is common, but projection is also being used for announcements, sermon illustrations, and teaching notes, as well as video content—everything from content that is specifically produced for the church market as well as anecdotal videos from YouTube and other sources. We’ve installed hundreds of projectors. Over 25 of them have been Christie Inspire Series 1-DLP laser projectors.”
“AV technology plays an essential role in engaging and captivating a congregation,” agreed Joe Mercier, Christie’s senior sales manager. “We live in a visual world, and projected images help communicate messages and keep congregations engaged.”
Importance of Affordability
When asked why houses of worship choose video projectors over video walls and other display options, Lukings responded with a one-word answer: cost.
“Churches are using video projectors in their worship and teaching spaces because of the low cost of these systems compared to the alternatives,” he explained. “If money were no object, many would love to install video walls or direct-view LED displays because of the inherent advantages of those technologies, including ultra-bright images and the ability to have people, objects, and sometimes set pieces close to the display — something that’s not as easy to achieve with video projection. The problem is that these alternatives to video projectors are cost prohibitive for congregations funded through offerings.”
Just how affordable are video projectors compared to video walls and dvLEDs? Lukings said it depends somewhat on the specifications and the requirements, but it’s “usually a fraction of the cost. Often a quarter of the price or sometimes less.”
“LED video walls are a great solution for places of worship that have the space and budget, and want to engage a larger congregation,” Mercier agreed. “However, projection is a much more affordable and versatile option.”
But don’t let the lower price fool you: Today’s laser projectors deliver clear, crisp, and bright images in small packages. So, although projectors may not be everyone’s top choice, they are a highly acceptable, high-performance option for even the smallest of congregations.
Projectors can also be mounted in a less intrusive way, such as on a ceiling or another high point within the church. When coupled with a motorized screen that can be retracted when not in use, a projector can be a model of technological discretion. In those instances where video is being projected onto a church wall, the process is even simpler.
“For a funeral, wedding, or other church event where the video image may not be required or seen as being appropriate in the space, retracting the screen solves the problem of visibility,” said Lukings. “That’s not possible with a video wall or a direct-view LED display.”
Lumens, Lumens, Lumens
When it comes to most-desired features, most churches start with resolution. “Questions about 4K and higher resolutions come up regularly,” Lukings observed. “But at the end of the day, the resolution is much less important than how bright the projector is—given the distance and the size of images that are being produced in church
Churches like Bethel Baptist Church in Fergus, Ontario, rely on projectors to share song lyrics, readings, video content, and more with their congregations.
applications, any modern resolution will do if the image is bright enough.”
“Price and brightness are major considerations for this market,” added Mercier. “A projector needs to deliver a great lumen-to-price ratio.”
Delivering the right ratio can be a challenge in churches outfitted with multiple windows that allow sunlight to pour in. “A quality projector coupled with a screen designed for higher ambient light conditions can make all the difference in creating an impactful image,” Mercier explained. “In some situations, other controls may be needed, like window shades, to manage sunlight. An experienced integrator who can visit the site can help guide the place of worship to a solution that is ideal for them.”
Houses of worship are also interested in longevity and equipment serviceability. In the past, using projectors that relied on lamps, filters, and other consumables—and required scheduled maintenance—made life difficult (and expensive) for congregations, particularly those who relied on volunteers to keep the church running. Modern laser projectors have considerably eased service demands for churches, keeping costs down and aging volunteers off ladders.
As for the type of projectors that are best suited for houses of worship? The choice depends on the church, Lukings noted. Horizon sells more projectors with a traditional “middle of the road” lens ratio, in part because they are the least expensive lenses, but the company also sells short-throw projectors when warranted.
“Christie’s Inspire DWU960ST-iS is a great solution for churches looking for a short-throw solution at a great price point,” he added. “If we are working on a rear-projection application, then certainly a short-throw projector is the right solution.”
Screen Suggestions
As for projection surfaces of choice? Again, product preferences are diverse because each application is different. “It’s dependent on the venue,” said Mercier. “Some places of worship have ornate woodwork or millwork that they want to keep visible. Screens that retract enable these features to be seen when projection is not used.”
Horizon tends to install Draper screens, but also selects products from Da-Lite and Strong/MDI
Screens from time to time. “We still see that the majority of churches are using motorized retractable screens,” Lukings said. “However, fixed screens are also found in a good portion of our church projects. There are also many churches that don’t use traditional screen surfaces at all. Instead, they project onto a flat wall treated with a specific ‘projection screen’ paint.”
One last point from Lukings: When choosing a video transport system for projectors, opt for a video-over-IP solution rather than broadcast-based SDI. “In a church application, where you never know what sort of content somebody is wanting to be able to project, having a video-over-IP system in place ensures HDCP compliance and the option to send 16:10 format images,” he explained. “Also, this technology provides additional flexibility for video routing and expansion of the system in the future. Video-over-IP or HDBaseT solutions provide a great infrastructure for today’s needs and into the future.”
The fact that projectors rule in the houses of worship market—while projection screen preferences vary widely—says a lot about this particular client base. Although they want to provide professional-quality AV to their congregations, churches as clients generally lack the budget, expertise, and trained support staff to afford higher-end AV solutions.
That said, “The key to have a successful video installation in a church is listening to the client’s needs and gaining an understanding of what it is that they’re hoping to achieve,” advised Lukings. “It’s also important to understand that the investment in technology that these churches are making will need to evolve as they learn how to make the technology benefit their ministries. So don’t be afraid to shoot a little bit higher than what the minimum would be to make the sale. Being good stewards with their finances is on every church leader’s mind. They will appreciate a good investment in the long term.”
“We live in a visual world, and projected images help communicate messages and keep congregations engaged.”
Joe Mercier, Christie
PROJECTORS BUSINESS
Projectors from Christie and other manufacturers can be mounted on the ceiling to minimize distraction.
By Matt Czyzweski
AAre You Experienced?
Hiring for Potential Can Bring Fresh Energy, but Requires a Larger Upfront Time Investment
ny activity you or your team spends time on has ROI associated with it—how will what I’m doing make or save money for the company? That includes hiring team members. Hiring the right people is one of the most important uses of time, because the outcome can have such a significant impact, good or bad, on the team’s morale and output.
When you consider it holistically, the hiring process is often time intensive, from writing the job description to posting the position and monitoring job applicants to interviewing and making a selection. It’s also a very subjective process because, beyond the resume, you’re dealing with emotions, opinions, and personalities.
Psychological profiling tests can indicate how likely a person will fit in with the team, but they are really a guide, not a guaranteed fit. It’s best to have a feel for the type of candidate and qualifications you’re searching for before kicking off the process—and even then, you may be surprised at how different the team’s perspectives are right from the start.
How We Usually Hire
We often hire based on experience; it’s how we’re trained or conditioned. The first requirement on most job descriptions is “must have X years of experience.”
The reason a new person is being added is that there’s too much work to go around, so by default, no one on the team will likely have time to train someone new.
Work experience and how someone presents themselves on paper via their resume tell us about a candidate’s background and capabilities. Still, it doesn’t provide reliable data on critical topics like communication abilities, teamwork, interpersonal skills, conflict resolution, stress management, etc. And some people interview well, but the wheels sort of fall off when they get into the job.
We can all think of instances when the person who’s hired has a great background and lots of relevant experience, but it doesn’t work out. Even with years of interview and management experience, hiring someone who’s not a good fit still happens.
The most significant risk in hiring is rushing the process. While the workload may be overwhelming, hiring the wrong person can exacerbate the situation. Inefficient hires can impact team morale and productivity, leading to a need for a new hiring process sooner than expected. It’s crucial to balance the urgency of the workload with the need for a comprehensive and thoughtful hiring process.
Adaptability Advantages
Let’s be clear: A candidate with potential must have both the capacity and willingness to learn. Opting to hire for potential can yield numerous advantages over hiring an experienced candidate. These individuals often inject fresh energy and novel perspectives into the team, unburdened by the past or the “I tried that before and it didn’t work” mindset.
A person with potential is often more adaptable, as well as more willing to try new things and change
on the fly. This isn’t to say experienced individuals can’t pivot when needed; it’s just that the odds aren’t as favorable.
People with potential are often hungry to learn and gain on-the-job experience, which means you are investing in your (and their) future since it will take time for this person to get up to speed. Most job skills can be taught, so you may want to hone in on several innate soft skills that are equally important to technical experience:
• Are they a quick learner?
• Do they have good social and communication skills (i.e., are they personable)?
• Can they think on their feet?
• Are they ambitious or motivated?
• Do they have an overall positive attitude?
For these hires, you need to be comfortable with them making mistakes as they learn and grow, being a time parasite by asking lots of questions at first, and not performing tasks as quickly or efficiently as other, more seasoned team members. However, everyone needs that first opportunity for someone to believe they can be an asset to the company. We were all that person at some point in our careers.
Choose Your Path
There are several scenarios for hiring for potential instead of experience and vice versa. First, you must understand whether the current job market favors employers (lots of people looking for jobs but fewer job openings) or employees (lots of jobs but fewer job seekers). That may sway you one way or the other,
knowing what the applicant pool may look like.
Suppose there are not a lot of experienced candidates available. In that case, you may have to be willing to take a chance on someone with potential and reorganize job responsibilities on the team. Then again, moving someone laterally into that role and bringing someone new into the lateral position may be better. It’s somewhat of a case-by-case basis.
For example, if one of your senior technical people leaves the company, you need to find a suitable replacement. Suppose you have a deep “bench” of existing team member talent. In that case, promoting from within to fill the role is likely the best way to go, because it gives the promoted individual room to grow within your organization and allows you to hire someone into their former role with the potential to grow. However, if existing employees are not a good fit or are not interested in moving up, it’s best to seek outside, experienced talent.
When creating a new position with flexible job requirements and evolving goals, it’s essential to hire someone who can adapt on the fly. This is because the nature of the role is likely to change as the business needs become more apparent. Therefore, the candidate’s willingness and ability to adjust and learn new skills are crucial factors to
consider in such scenarios.
When you interview someone with potential and want to bring them on board, as a hiring manager, you may have to use your veto power over the team’s choice of candidate. As mentioned earlier, we are conditioned to hire based on experience, and your team may naturally lean toward a candidate with more experience. But the decision is yours.
Sync for Success
If you decide to onboard the candidate with potential, you need to help ensure their chances for success, which is entirely worth it for the right person. Here are some things the hiring manager and candidate must be synchronized on for success:
• A clear description of the role, responsibilities, and deliverables, particularly SMART-driven goals (Specific, Measurable, Achievable, Relevant, and Time-Bound).
• What knowledge and skills are needed, which ones must be improved, and how the candidate can improve them.
• Expectations regarding the time it will take to get them where you want them to be and regular check-ins on progress.
I recall doing the above in several instances over
my career, and it worked out very well for the organization. However, at least one instance comes to mind where the new hire did not get onboarded very well by me or the rest of the organization, and it did not work out well. When this happens, everyone loses—the employee with potential and the company.
The decision to hire candidates with potential versus experienced employees is multifaceted and hinges on the specific job needs and the team’s long-term goals. Regardless, you need a plan and a willingness to course correct as needed.
Hiring for potential can bring fresh perspectives, enthusiasm, and the potential for skill development tailored to the company’s unique culture and processes. On the other hand, experienced professionals offer immediate expertise, a track record of proven performance, and the ability to mentor and lead within the organization. A balanced approach, where both types of employees are valued and utilized strategically, often yields the best results. By understanding and leveraging the strengths of each group, companies can foster innovation, maintain operational efficiency, and build a dynamic workforce poised for sustained success.
Matt Czyzewski is the executive VP at AtlasIED.
Corporate Connectivity
Charter Communications Auditorium Features Broadcast-Quality Technology
By Jennifer Guhl
Stamford, CT, may be known as “The City That Works,” but the downtown headquarters for Charter Communications and its new 250-seat auditorium space may just be known as “The HQ That Connects.” Part of the latest phase of developing its innovative campus, which opened in 2022, the auditorium is positioned to be the next evolution of a campus centered around collaboration, flexibility, and innovation.
Addressing the changing landscape of hybrid work while offering multi-use spaces for events, town hall meetings, and companywide presentations, the auditorium is predicated on ease of use and consistency. What sets it apart is its high-caliber broadcasting for remote capabilities, a feature that is sure to impress. With a build and integration that took about eight months from the start of construction through completion, Charter collaborated with architecture firm HLW and technology
integrator Diversified to deliver a highly utilized space with high-level broadcast capabilities.
Independent Infrastructures
life of the fit-out, the auditorium design strived for a more integrated and refined aesthetic aligning with its more prominent use case,” said Hancock.
Integrating advanced technology within a sophisticated design, the larger scope of the project included typical AV and broadcast production components while dealing with specialty components, including an auditorium wrapper and an interactive fountain in the adjacent courtyard. “Each of these systems had independent infrastructure requirements and phasing needs which had to be resolved within tight assemblies and minimal footprints,” said Jeremiah Hancock, associate principal, studio director CT, media & entertainment lead, HLW.
Central to the visual capabilities of the space is a 12x20-foot Planar video wall that delivers HD video presentations and offers adequate viewing no matter where you are seated within the auditorium space. “While typical conference rooms incorporate architectural detailing to accommodate the inevitable change in screen sizes over the
The JBL audio system was designed to deliver clear and impactful audio for various events. The network includes JBL PSB-1 soundbars placed on each side of the video wall and connected to the HDMI matrix for high-quality audio output. Custom-configured amplifiers are integrated to provide adequate power and control for the speakers. Advanced audio processors ensure optimal sound quality and distribution, and provide the flexibility to meet a wide range of event requirements while supporting multiple audio formats.
The entire system is housed and organized in a rack system that allows all necessary components for signal distribution and control to be housed in one optimal location. It was ensured that the auditorium would be located away from the perimeter glass of the building due to its proximity to the local train station, helping the team limit any acoustical challenges that may have been caused.
Lights and Mics
The space includes a combination of architectural and theatrical lighting on the interior, while dynamic, decorative lighting is incorporated into the “wrapper” that encloses the suite of spaces, along with soft glowing details within the stairs and walls for greater visibility. The lowest portion of the wrapper is clad in marble and includes seamless detailing of the infographic displays near the auditorium entrance, along with a mesh ceiling stretching down to meet the floor.
“The lighting design includes a complex open cell ceiling system with over 1,900 LED nodes and 20-foot vertical RGB LED strips integrated into the auditorium’s architectural wrapper,” added Hancock. “This setup allows for dynamic lighting effects that can be synchronized with media content for a fully immersive experience.”
The architectural lighting features continuous linear pendants designed to follow the curve of the ceiling openings. The theatrical stage lighting comprises two rows of alternating ETC Source 4 key, ETC Desire wash lights, and an ETC ColorSource Linear backlight row on the stage, enhancing visibility for performers.
Martin VC-Strip LED video strips with a 15mm
Charter’s auditorium includes a combination of architectural and theatrical lighting.
Charter Communications moved into its current headquarters in 2022.
CHRIS COOPER
Jeremiah Hancock
pixel pitch were used for the lighting system, and Color Kinetic FlexElite IntelliHue fixtures were integrated for the ceiling nodes. P3 system controllers manage the LED and lighting fixtures, delivering synchronized operation and real-time control. The system also allows for the integration of video and lighting controls through a unified platform, supporting both DMX and Art-Net protocols.
With a wide range of speaking and presentation scenarios planned for the auditorium space, the microphone system included wireless mics for mobility as well as handheld and lavalier mics to accommodate all speaking preferences, ensuring a clear audio presentation no matter where the presenter was located. The microphone network is managed through an integrated control system, including signal processing and feedback prevention, ensuring seamless integration with the room’s more extensive audio setup.
Versatile audio options, combined with simplified docking and content sharing, make the spaces more universally accessible. "These components together create a comprehensive audio system that supports high-quality sound reinforcement for any event held in the auditorium," said Michael Branca, project manager with Diversified.
Local and Remote Control
After careful consideration with internal subject matter experts across the Spectrum team, Charter identified the need for an on-site production studio and control room to enhance the auditorium space’s production capabilities, helping to record and deliver company-wide messages and announcements along with other Spectrum branded content. “While the facility does not have the redundancy typical of a television broadcast studio, it packs all of the capabilities into a creatively packaged suite of spaces, set within a larger pre-function and event space at the ground floor of their campus,” Hancock explained.
Due to their complexity, a specialty team manages the auditorium and studio control systems. Still, presets are available to the end user to facilitate the use of basic WebEx and content sharing capabilities. The internal, on-site team manages any needs for planned large-scale events.
variety of communication protocols, including Ethernet, Cresnet, and USB, and allows for real-time multitasking and modular programming,” said Travis Heitchew, enterprise program manager with Diversified.
Even though the partners said the new auditorium space is open to continuous evolution,
The Crestron CP3N control system manages the auditorium, 50 conference rooms across 15 floors, and a conference center on the plaza level. Charter’s internal IT services department can operate the system locally through touchpanels at the AV equipment racks and within the auditorium, while having the ability to manage remotely via web interfaces. Supported by a private, isolated IP network, it can issue alerts and failover commands, and the backend hardware is protected by a UPS system, ensuring reliability and high availability during all events.
“This system provides a dedicated Control Subnet, allowing for seamless control and management of all connected devices. It supports a
especially concerning lighting, the space as currently outfitted has accomplished everything Charter hoped for, fitting in seamlessly within other work areas within its headquarters. “The auditorium space has been successfully received and is highly utilized by many teams across the headquarters population,” added Hancock.
The Emperor Has No Clothes Once Again
Why Does the Growing Hype Storm Surrounding GenAI Feel So Familiar?
By David J. Danto
In life, some people are blessed with tremendous athletic skills, some with artistic expertise, and some with business acumen. I’m blessed (or cursed) with the ability to smell BS a mile away. Methinks there is more BS amongst the flowers in our garden.
If you’ve read any of my recent social posts or my comments in recent videos and webcasts, you might incorrectly conclude that I hate generative AI. I don’t. It’s only that I’ve spent a long career sniffing out the hype amongst realities, and I have a feeling that the current fascination with GenAI is no different than previous hype storms.
Believe me, I don’t like having to be the person that shouts “the emperor has no clothes” one little bit—but I like it even less when everybody goes about praising clothes that they know darn well are not there just to ensure they don’t get left out.
Learning From the Past
This is hardly the first time that I’ve had to deal with this kind of situation in my professional career. In the early 2000s, when I was in charge of purchasing a bunch of videoconferencing gear for a new financial services company building, I selected some appliances that I knew were reliable. Then, the building I was working on got sold to a competing company.
I actually went to work for that other company a couple of years later and discovered that all the units I had specified were replaced with PC-based iPower units. Someone in charge was told (and believed) that if they needed videoconferencing anyway, they might as well put a PC in the room to do it.
Ugh. These were flat-out terribly designed machines that took a very long time to boot up and use. The people who made that choice didn’t care about that detail—until they were actually sitting in a meeting room to have a videoconference and one of the units failed and needed to be rebooted. Those instances were some of the longest bouts of 10-20 minutes (with all my firm’s leaders looking at me) that I ever spent. There was no one there that cared that the actual problem was a naked emperor a couple of years earlier.
About five years later, the “immersive telepresence” phenomenon began. If you were in the industry back then, I’m sure you remember it.
We lived in an atmosphere where business leaders hated the usually unreliable videoconferencing. Unstable ISDN connections were still in the majority use case, networked video (H.323) was in its infancy, companies rarely had effective QoS on their networks, and no one managed internal or external calling plans very well. Enterprise AV and IT teams in those days often requested 24-48 hours notice to ensure that a reserved intercompany call would be trouble free (and it still often wasn't).
In that environment, a Cisco team was assembled (with the admitted trait of being non-experts about how videoconferencing of the day worked) to develop a solution. They made a new product, sometimes inventing approaches that hadn’t really been tried, sometimes reinventing the wheel.
At its first internal Cisco demo, it was immediately productized, even though the team lead pleaded that it was hardly ready. It used around 20 MBps of bandwidth per unit and needed outboard air conditioning, special power, an enormous overlay
network to connect, and a dedicated room to be “remediated” to hold it.
When that system was introduced to our firm, I raised immediate concerns with my superiors about how naked that particular emperor was. “Why should we spend half a million bucks on a video system, and in many cases almost as much to remediate a room, just to have a system that needed dedicated power, cooling, and overlay networks with tight management and huge bandwidth? If we add the network, bandwidth, and management to the devices we already have, they’d work flawlessly and no new systems would be needed.”
It was no use. All they saw were the beautiful, non-existent Cisco robes, purchased not by technology experts like me, but via executive-toexecutive conversations on junkets.
Telepresence was such a powerful hype storm that every vendor in the space followed suit in a race to get these immersive systems installed. It also created (from scratch) an entire, expensive technology exchange industry to connect them all.
Of course, after way too many years, someone realized that the specific nakedness in this case was tremendous. In addition to all the costs above, these dedicated rooms were useless for regular meetings. Two people couldn’t review a spreadsheet or chat about a project and use the table and screens, because (duh) all the chairs faced the wall, not each other.
Within six or seven years, companies that spent millions installing these immersive telepresence rooms spent millions again ripping them out.
Another naked emperor bit the dust.
The Latest Hype Storm
Naked emperors are always seemingly on the verge of taking over the technology industry’s collective consciousness. Most recently, we had to get past the naked Metaverse to even get to the current state of fawning over AI.
GenAI is wonderful. I have no doubt that as a new
Every vendor has an AI story, product, service, or position. Probably only about 20% are real enough to actually still be here in a year or two.
tool that we can use when needed, a lot of what we’re seeing today helps quite a bit.
But the vendors involved in the large language models (LLMs) are not saying it’s a new tool; they’re not trying to sell us better screwdrivers. Instead, most are generally claiming that AI is the new foundation to better business processes and a better world. If you weren’t sure if this was another case of invisible robes, the overhype should be your first clue.
AI is most definitely the current naked emperor. Every vendor has an AI story, product, service, or position. Probably only about 20% are real enough to actually still be here in a year or two. As I hear all the news, announcements, and general fawning over the amazing new clothes, I’m choosing not to get caught up in any of it. Here’s why.
First, as other analysts have explained, AI is different than past technologies. There shouldn’t really be an expectation that GenAI will get any better than it is today. We don’t understand how people think, so we can’t do anything but simulate the process with computers.
We also don’t understand why LLM simulations hallucinate—or generate plausible-sounding outputs that are factually incorrect—so we can’t really fix that, either. Currently, the best we have to address output reliability so far are services that aggregate the output of many LLMs with the hope that a consensus will catch the glaring errors. Which, of course, raises the question: What if they’re all wrong?
Next, we should look at how most of the major collaboration vendors are praising automatic meeting summaries as the next nirvana in time savings and productivity. In this case, we have to keep in mind that a process is only as good as its weakest link. The weakest link in automated meeting summaries are the microphones that record the voices that make the transcript.
Are we really advocating for creating legally discoverable meeting records (that can’t be edited in most cases) where bad audio turns a few spoken “cans” into a “can’ts” and “dos” into “don’ts?” Watch a few videos on LinkedIn with closed captions to get a feel for just how inaccurate these summaries could be. Lawyers are already salivating to get some of these glaringly wrong summaries entered as evidence somewhere.
Speaking of lawsuits, the sheer number of them already filed against LLMs and how they’ve stolen materials from copyrighted newspapers, books, and other sources for their training is constantly growing. When you really look at the details of these cases, you’ll conclude that none of them represent trivial claims. Either our copyright laws will need to be rewritten, a lot of money will need to change hands, or the current iteration of LLMs will burn to ashes. I believe it will be some combination of all three.
Finally, none of these points even address the costs, power, and cooling required (that sounds familiar), not to mention the security of any organization’s data.
My advice to everyone is to stop agreeing that you see
TECH PERSPECTIVES TECHNOLOGY
AI’s flowing robes and silk suits. AI is a weapon in our arsenal—and a really great, if sometimes unreliable, one. You can create great work with GenAI assistance if you follow a solid plan: Create a good prompt, study and verify the AI output, edit it, and start again as many times as you need to. But the emperor’s tailor may be laughing
at you behind your back if you and/or your risk management teams are blinded by the hype of these latest awesome duds that aren’t really there.
David J. Danto is the principal analyst with TalkingPointz and director of emerging technology for the IMCCA.
If your small or medium-sized meeting room needs professional sound and visuals comparable to a video production crew—without the crew, of course—take a serious look at the Jabra PanaCast 50 videobar. It has an extensive feature set coupled with performance that can bring your next videoconference up to 21st century standards.
First, let’s talk about the tech. The PanaCast 50 features three, 13-megapixel CMOS cameras with real-time switching in up to 4K30 and 6x digital zoom. Its integrated Virtual Director uses speaker tracking technology to keep the video focused on who is currently speaking.
Meanwhile, eight beamforming microphones and voice detection technology capture the sound, which is played back through four stereo speakers (two 50mm woofers and two 20mm tweeters).
Residual echo is identified and removed so only the sound that’s needed is heard. Even if everyone is speaking at the same time, each distinct voice will be heard, which makes this ideal for active
Jabra Offers Updates
Since this review was completed, Jabra has announced some updates to its PanaCast 50 videobar. First, it has been certified for Microsoft’s Intelligent Speaker functionality, and will soon introduce Microsoft People Recognition functionality, which recognizes and adds the names of in-room participants to both the meeting roster and their individual videos. Also coming soon: Multi-Stream Dynamic Composition, which gives each individual in the meeting room their own close-up video stream (in addition to the panoramic view of the meeting room). Jabra has also introduced Jabra+, its cloud-based platform for remote monitoring and management of meeting rooms.
meetings and/or my next holiday gathering.
Once set up, Virtual Director detects all participants in the room and, using AI and intelligent algorithms, puts the critical speakers up front. If there is a presenter using a whiteboard at the same time, the PanaCast 50 can show both with dual video streams.
The best feature of the PanaCast 50 might be its portability. Measuring in at slightly over 2 feet long and less than 5 inches deep, the PanaCast 50 weighs about 5 pounds and can be carried anywhere, plugged into any computer, and be used with the meeting platform of your choice. All inputs are located on the backside of the unit. Directly below the power button is the 12-volt AC power connection, a reset button, 3.5mm audio out, USB-C port, and Ethernet input.
Out of the Box
When my PanaCast 50 arrived, I promptly opened it. I’ve never seen a more well packaged and laid out videobar and speaker system. Everything is placed in its own compartment; if you can put the square peg in the square hole, you’re in business. I shouldn’t really dwell on the box, but these folks make very well-designed packaging.
I also requested the optional Table Stand because I wouldn’t be mounting the unit—I preferred a portable option. Once all the cardboard and plastic protectors were removed from the system, I downloaded the Jabra Direct software for the Sonoma 14.3.1 operating system on my Mac, then connected the unit to my MacBook Pro laptop via the supplied USB-C cable.
Open the Jabra Direct software and the Jabra PanaCast 50 menu screen provides access to device, pairing, updates, settings, feedback, and help submenus. The only setup obstacle I faced was when I tried to configure our network via Wi-Fi, because the firewall at the university wouldn’t allow access. Our Ethernet at school also wasn’t cooperating, but I hooked it up to my home Wi-Fi without a problem.
Once everything was connected, I opened Jabra Direct and clicked on Camera Controller. From there, the Video Settings screen opened. You can
keep the view from the PanaCast 50 docked on top of the control interface or open it in a separate window and move it elsewhere. Using the digital D-pad, you can pan left or right, tilt up and down, and zoom in and out. There are also camera settings accessible from the main menu that give you control over zoom speeds, transition styles, video stitching, field of view, and more. The unit can even be set up to alert users if the safety capacity limit of the room has been exceeded.
Intelligence Test
Intelligent Zoom, a preconfigured default, centers the image on a human body. I tried this feature with some of my students. They tried, without success, to thwart the AI-driven framing. With only a moment of lag, the camera centered to the student in the frame and changed its angle when they moved. This feature evoked the comment, “When are we getting this here,” which is high praise from my students.
Opening Whiteboard gives you a yellow bordered box with adjustable keystone features. Click on one of the dots and drag to change the perspective of the screen. If you go outside of the second yellow box, you are alerted. Select next to display what you’ve accomplished, and then you can save or edit it. On the bottom are the Image Quality functions. Wanting to see if our whiteboard could still be viewed at an angle, I purposely maneuvered the board so it was off kilter. Amazingly, even at an odd angle, the perspective was corrected, and it even eliminated the glare from the board. That said, the whiteboard has to be positioned entirely within the view of the one of the videobar’s three cameras— and for best results, have the whiteboard positioned 5-12 feet from the unit.
This is an amazing piece of technology. Whether mounted or on a desk or table, the cameras have no problem seeing everything. I believe my days of shuffling off to distant meetings are over—I’m going to stay put and use the PanaCast 50.
Maybe this is sad to say, but why would anyone want to travel to another location for a meeting when you have a Jabra? The Jabra PanaCast 50 is perfect for any meeting anytime and anywhere. Its video is sharp and clear, the camera follows wherever the presenter moves, the sound quality is stellar, whiteboards can be seen from any angle without distortion, and you now have a mini-TV studio in your meeting room (stage makeup not included). Save the travel costs and make sure every seat in the meeting is a front row seat.
Chuck Gloman is an associate professor of the TV/ Film Department at DeSales University. Contact him at chuck.gloman@desales.edu.
The Jabra PanaCast 50 is built to accommodate meetings with multiple participants.
Sennheiser Keeps It Simple
Profile USB Microphone Provides Easy Upgrade for Corporate Audio
By Mark J. Pescatore
As AV professionals, we all like the proverbial bells and whistles. But sometimes, simplicity wins the day. So it is with the Sennheiser Profile USB microphone. Instead of bells and whistles, it succeeds with an uncomplicated, compact design and strong audio performance.
You’ve Got the Look Technically, the Profile is a condenser microphone with adjustable gain that offers a cardioid pickup pattern and frequency response of 20Hz-20kHz. The mic itself is less than 7 inches tall, including the removeable stand, and the diameter of the stand is a little less than 4 inches. As a result, the Profile does not take up a lot of work surface real estate. It also couldn’t be seen in my typical videoconferencing medium close-up when I positioned it about 1 foot in front of me on my desk.
Also, the Profile features an adjustable tilt. You can leave the mic standing straight or aim it anywhere within a 45-degree angle. A self-locking joint keeps the mic at the angle you want—no locking or screw tightening required. That’s a nice touch.
The rear of the Profile has a USB-C port (USB-C cable included) and 3.5mm headphone jack, while the front of the mic sports four controls. The gain control knob is surrounded by an always-on green LED ring, which turns yellow if your audio is clipping or red if your mic is muted. The mute button sits above the gain control knob and has its own red LED ring that lights when active. (Sennheiser really wanted to make sure you know when your mic is not hot.) Below the
mute and gain controls is a knob that handles the mix for your headphones, allowing you to adjust the levels between the mic and your device audio. The lowest knob is for headphone volume adjustment.
As I’ve mentioned in previous reviews, I believe you should avoid having your freestanding mic in your shot. I concede that I might be in the minority on this one, thanks to the proliferation of online content that gladly shows mics, boom arms, and basically any other equipment that’s within reach.
So, maybe it’s no longer a big deal—but if your mic is going to be visible, at least make sure it’s nice to see. With its black metal housing and table stand, the Profile offers a slick design that’s stylish, not distracting. Sennheiser also offers the Profile in a streaming set that includes a boom arm.
Gain Supreme
I tend to use a speakerphone during videoconferences, and I generally get no complaints about my audio. However, when I recorded a Google Meet and switched between the two sources, there was no comparison. The Profile sounded, well, like a professional microphone.
The easy-access gain adjustment is a game changer. I can get loud when I need to, and my “radio voice” tends to be louder than my indoor speaking voice. I had to crank up the gain and practically eat the mic before I could get this thing to clip. During everyday use, I kept the mic roughly 2 feet away from my mouth and was heard loud and clear during videoconferences by adding maybe 25% gain.
To give it a true test, I attached the Profile to my Ultimate Support Systems boom arm, stood up, and recorded my June editorial in my office directly to
The Sennheiser Profile has a simple control panel for easy adjustments and a handy built-in adjustable tilt.
Premiere Rush. Oh, I popped a few Ps during my monologue, and I could have used my isolation shield to reduce the room noise, but overall the Profile delivered a very solid audio track. Later, I used the Profile when recording a video interview and got nothin’ but compliments.
Now kids, you should never judge your own self-worth based on what other people say about you. However, it’s perfectly fine to judge your mic based on what other people say about it.
Case in point: I was part of a videoconference and another participant—who didn’t know me and didn’t know I was reviewing the mic—commented on how much he liked the look of the Profile on the boom arm. (Yes, I left it in the shot on purpose.) Another person was very impressed with the audio quality, especially considering the mic was positioned about 1 foot from my face, which is roughly twice the distance I use when I’m recording voiceover work.
In a later meeting, I forgot to swing my boom arm around to bring the mic closer to me. I had left the gain up from the previous meeting, but the mic was more than 2 feet away—and not pointed directly toward me. Still, we carried on our conversation for a few minutes without complaint.
Priced at $129 at B&H Photo Video and other retailers, the Sennheiser Profile USB mic will look professional on your CEO’s desk during a town hall and deliver significantly better results than a typical speakerphone. It’s also right at home on a boom arm, so your podcasts, voiceovers, and other production recordings are covered, too. Small but mighty, not to mention simple but stylish, the Profile delivers an affordable upgrade for corporate audio applications.
Adobe
For those of you who just have to have your mic in the shot, the Profile has a compact, slick design.
TECHNOLOGY NEW PRODUCTS
Yamaha Corporation of America CTL-BN1
The Yamaha CTL-BN1 is a versatile network controller designed to function as a mute/ unmute button for ADECIA microphones and as a controller for external devices. It can be easily set up using existing tools without any programming configuration. Configurable from both the RM-CR Web UI and the RM Device Finder, it features automatic detection and complete configuration with a single click. Its non-fixed design eliminates the need for drilling, allowing for flexible placement. Plus, it significantly reduces the time and effort required to change settings by supporting RM-CR and RM-CG/ TT/W setting items, ensuring seamless integration and efficient operation.
meet viewer preferences and behaviors, leveraging immediate feedback from footfall, dwell time, people, and vehicle analytics to make informed decisions. It also accelerates processing speeds to 100% faster than its predecessor, allowing businesses to support 4K60 content playback. Plus, the StiX 3800 simplifies the activation process, requiring only a single network to carry highresolution content and PoE, and automatic screen activation upon detecting audiences.
AMETEK SurgeX
Vertical Series+
Severtson Large Studio Electric Series
The new Large Studio Electric (LST) Series screens from Severtson Screens are a collection of fully customizable motorized electric projection screens that offer a wide range of options for big spaces that require a cinema-sized retractable screen, such as concert halls, auditoriums, or houses of worship. The screens are available in all offered gain levels and perforation options, so the soundstage can be placed behind the screen (similar to premier movie theaters). The LST Series also offers a choice of Severtson’s signature projection surfaces and optical coatings. All coatings are also available in Severtson’s standard or mini-perf. Screens are fully customizable in any size up to 36 feet wide.
Navori Labs StiX 3800
Navori Labs continues to blur the lines between content and AI-driven audience engagement with the StiX 3800, an ultra-compact, AI-powered device that transforms digital signage into smart, interactive experiences. It uses computer vision technology to trigger AI-driven content and generate rich data beyond displays. The StiX 3800 comes equipped with advanced audience measurement capabilities that help users better understand their audience and how content performs. Users can tailor content on the fly to
The Vertical Series+ smart power distribution unit (PDU) pairs power protection and conditioning technology with the cloud-connected power quality analytics, fleet management, and risk prevention capabilities found within the SurgeX CONNECT platform. The solution allows partners to improve their service offering and save time and money by diagnosing power quality issues and monitoring installations remotely, reducing the need for expensive service call outs. Vertical Series+ comes in 8, 16, and 24-outlet configurations, offering integrators a versatile and space-efficient PDU solution that can be easily installed with or alongside rack-mounted equipment. It offers analytical software, sequencing, and monitoring capabilities, including remote power down and reboot, sequencing, power cycling, advanced scheduling, and AutoPing. Designed to protect high-value technology and tackle the increasingly complex, processing-heavy AV systems of today, the Vertical Series+ is compatible with popular control systems for integration in professional applications.
Extron XPA U 4004 FX
The XPA U 4004 FX is a four-channel, multizone audio power amplifier that can deliver 400 watts simultaneously into 8 ohm, 4 ohm, 70V, and 100V loads—independently configurable per channel. Each channel of an adjacent pair dynamically draws power from the pair’s total wattage, delivering optimal power where it’s needed according to system requirements. The flexibility allows a single unit to be set up in a variety of configurations to support large systems with multiple speaker types.
It also features two exclusive technologies that work together to provide exceptional energy savings. ECO Standby automatically maximizes the time the amplifier operates in its lowest possible power state, while the Extron exclusive InstaWake+ technology gives the amplifier the ability to return to full power from standby in under 5ms, ensuring no part of the audio is ever cut off.
Quam SYSTEM 3
Building on the success of its previous version, the redesigned SYSTEM 3 wall-mounted loudspeaker offers a sleek, modern design and enhanced performance capabilities. Whether it’s signal tones, voice, or music, the SYSTEM 3 is engineered to excel in indoor environments with a maximum output of 15W@8 ohms. Boasting an 8-inch ortho-directional loudspeaker and a 5W-25/70V transformer, the loudspeaker is mounted on a rounded corner square, slanted, open-back, white powder-coated steel enclosure, ensuring seamless integration into any educational space. The SYSTEM 3 is designed for hassle-free installation—everything required comes in one box, ensuring a seamless setup process and minimal downtime for systems integrators.
Vizrt Viz Connect Tetra
Viz Connect Tetra simplifies remote, local, and hybrid content creation with four 4K I/O channels integrating HTML 5, NDI, NDI Bridge, and 12G SDI conversion in a compact, portable live production workstation with built-in white balance and color correction tools. Tetra also provides audio flexibility with support for NDI, SDI, ASIO, and WDM virtual SoundCards. Each of the four I/O channels supports 16x16 audio routing for patching on the go. Effortlessly connecting to TriCaster, Vizrt graphics solutions, and other NDI and SDI live production systems, Viz Connect Tetra can be used either on prem or in the cloud. With NDI Bridge Join mode, Tetra can send and receive NDI for remote production or be securely linked to NDI Bridge Hosts anywhere in the world, enabling bi-directional sharing of content and contribution between any location with internet or WAN access.
Vanco EVEXUSB32
A new addition to the company’s Evolution line, the EVEXUSB32 HDBaseT USB 3.2 extender with an extension range of 328 feet. It leverages HDBaseTUSB3 chipsets to extend full USB 3.2 Gen 1x1 over a single Cat6/6A cable. It is also backward compatible with all prior USB standards, and includes both USB-A and USB-C ports. The EVEXUSB32 includes two devices: the host and the receiver. Leveraging Power over HDBaseT (PoH), only one unit needs to be connected to external power. The host unit features a single USB-C port, while the receiver has three USB-A ports and one USB-C port, a configuration that allows the simultaneous connection of up to four peripherals. In addition to USB signal extension, the EVEXUSB32 features passthroughs for RS-232 controls and frame sync for multi-camera videoconferencing or production setups.
Pliant Technologies SmartBoom LITE
Ideal for professional intercom users working in a range of applications, Pliant’s new headset replaces all existing SmartBoom LITE models.
Updates include a new field-replaceable cable and a newly designed swivel earcup. It incorporates a closed back, supra-aural on-ear design and a single-ear lightweight form factor for enhanced acoustic isolation. The ambidextrous, swiveling mic boom is flexible and has a dynamic noise-cancelling cardioid microphone optimized for voice communications. The adjustable microphone boom also acts as an on/off switch for quick muting. Available in a non-reflective rubberized matte black finish, the SmartBoom LITE headset comes with a comfort fit adjustable headband and replaceable ear pad. It’s available in 4-pin XLR female, 5-pin XLR male, 6-pin mini XLR female, and unterminated versions in both electret and dynamic microphone models, making the line adaptable to any professional intercom system.
& ROAD CASES
Chief Fusion Storage Cabinet
Chief, a brand of Legrand | AV, has expanded its Fusion series with the Fusion Storage Cabinet. The new storage accessory was designed in response to modern AV applications that need a stylish and front-serviceable AV storage solution when installing small devices and rack-mounted equipment behind the display is not an option. It features a felt front cover that blends in effortlessly with a wide variety of room decor. The storage area inside the cabinet is flexible and can be configured with the included 19-inch rackmount brackets and Lever Lock panel that allows toolless integration of small AV devices. The Fusion Storage Cabinet also includes a universal camera shelf to support the latest videobar technology. Other features include integrated security as well as passive thermal management to ensure proper cooling of the AV equipment.
VIEWPOINT
By Joseph D. Cornwall
Making Connections
Implementing AI Technology Is Changing the Pro AV Industry
The power of AI is built on pattern recognition and probabilistic outcomes.
It may seem quaint from our perspective in 2024, when Spotify alone processes more than 1 billion song streams per day, but in 1983 less than 1 million compact discs were sold in the United States. That number quintupled in 1984—and by 1985, annual CD sales doubled again, to more than 10 million. “Digital” was a word on everyone’s lips; it was the future.
In 1986, I was fresh out of the service, a student of electrical engineering, and had landed my first AV job selling televisions and stereo equipment for a regional department store chain. “Digital ready” was a phrase plastered on nearly everything imaginable in those days. There were “digital ready” headphones, speakers, and amplifiers—all of which were completely analog in design. I remember thinking about how technically incorrect, and even misleading, that marketing speak was. It was my introduction to AV buzzwords.
Back then, I was (and remain to this day) an enthusiastic fan of the TV show Connections. Host James Burke, a British science historian, would start out with an interesting fact from long ago, such as how a Roman watermill and the bubonic plague led to waterpower during the Industrial Revolution. He would then draw a line connecting that to the Gutenberg printing press, the Jacquard loom, and ultimately the punch cards used in early computing. To me this was revelatory, illustrating clearly how the progress of civilization is an interconnected web of unrelated events that nevertheless build upon each other to create amazing new futures.
What does this have to do with AI? I hope you’ll allow me to make the connection (pun intended).
A Brief History
Once upon a time, in the days of black-and-white television, a computer scientist named Arthur Samuel developed a program to play checkers. This led, a few years later, to mathematician John McCarthy holding a workshop at Dartmouth College on “artificial intelligence,” the very first use of the term.
We, the TV generation, have grown up with the concept of AI and smart machines embedded in the entertainment fabric of our culture.
Dollar Man took us to The Terminator turn took us to Max Headroom
Dragon Dictate was a computer program that pioneered speech recognition in the 80s and early 90s. James Baker, founder of Dragon Systems, saw the problem of speech recognition as a pattern recognition problem.
Not too much later, in the early 2000s, DARPA produced intelligent personal assistants. This was long before the words Siri, Alexa, or Hey Google were uttered in kitchens and living rooms across the country. The PDA fused with telephony, invited a camera to the party, and we suddenly needed predictive, shortcut control over powerful pocketsized supercomputers.
It’s fair to say the AI has been with us for a long time, much longer even than the compact disc. It’s not news that societal interest in all things AI recently increased. According to Google, Internet searches for the term “artificial intelligence” or “AI” have increased twentyfold in just the last few years.
We are bombarded, almost daily, by predictions simultaneously proclaiming that the end of the world will be brought about by aberrant, self-aware computer programs—and those same smart machines will somehow save us from all the things from which we need to be saved. AI has become a pervasive meme, a chameleon that can refer to whatever the marketing department determines will best sell. It’s become the “digital-ready” of today.
Where does that leave us?
It’s incredibly important for AV professionals to become conversant in the language of AI and its implementation across products and services. It’s incumbent upon us to help our clients, colleagues, and customers understand what is really meant by a claim of something having a processor “with AI” and how that technology affects the project.
Model Behavior
Reactive AI is far and away the most common
machines are found in basic game-playing algorithms or real-time control systems where immediate response to input is crucial. There are numerous algorithms and approaches within the realm of reactive machines, each tailored to different tasks and contexts.
Limited memory machines incorporate a small memory component to store past experiences or observations. This allows them to make slightly more complex decisions by considering recent history alongside current input. They are commonly used in applications where a modest level of context awareness is beneficial. The recommended movie list from your Netflix account or the track recommendations from your Pandora subscription are some examples. They use algorithms that primarily focus on recent use history and profiles to provide relevant recommendations.
AV professionals should also be aware of AI learning models. Supervised and unsupervised learning models have very different applications and even greater differences in implementation. Supervised models are trained on very specific data, they plot a kind of map between input and output. An unsupervised learning model learns patterns and structures from input data without explicit supervision or labeled output, aiming to discover hidden relationships or groupings within the data itself. They make connections.
At the pinnacle of AI today we find generative, unsupervised models like OpenAI’s ChatGPT. Other examples you may have heard of include DeepDream, which creates surreal and artistic images from existing ones, StyleGAN, which is used to create avatars or synthetic images for research, and DALL-E, which generates images from textual descriptions. We may soon see breakthroughs in text to video or image to video synthesis, too.
AI is a tool in a toolbox that dates back to the very beginnings of the Third Industrial Revolution. It’s a powerful resource that’s intimately intertwined with Moore’s law, predates VCRs, and opens avenues for increased efficiency and unique creativity. AI will impact the path of social evolution in much the same way as the electrical grid did 140 years ago.
We can expect to make new scientific and social connections that will usher in workforce transformation and healthcare advancements, as well as address environmental challenges through climate modeling. It will even advance how people communicate, form relationships, and consume media. I believe the real impact of AI will be its ability to help us to make new connections and imagine the future even faster.
Technology evangelist Joseph D. Cornwall has been part of the AVIXA faculty since 2010 and was named a member of the SCN Hall of Fame in 2024.
