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DECEMBER 2019 // VOLUME 37 // ISSUE 12

SOUND&VIDEO

CONTRACTOR

R E V I E W S | T E C H N O LO GY | A P P L I C AT I O N S PRODUCT-AT-WORK ZOOM ROOMS 2019 INNOVATIVE PRODUCTS

HIGH BAR

ESPN’S SEC NETWORK DRIVES AV UPGRADES AT UNIVERSITY OF KENTUCKY TECH SHOWCASES * VIDEO WALLS * DRONES

contents

DECEMBER 2019 // VOLUME 37 // ISSUE 12

FEATURES Cover Story

34 | H igh Bar

The SEC Network drives AV upgrades at University of Kentucky

40 | 2 019 Innovative Product Awards

6 | O n the Circuit By Chief Editor Cynthia Wisehart

Tech Showcases

18 | Video Walls 28 | Drones Supplement

47 | Zoom Rooms

40 6

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66 | O pen Mic AV and the ADA

on the circuit

Vol. 37 No. 12

December 2019

WWW.SVCONLINE.COM

By Cynthia Wisehart

Find me online

don’t blame our industry for the anxiety of our public square and relationships. But I do blame screens in general—and the heaving maw of demand they create for content. We think of content coming out of a screen, but screens must suck in more than they put out. That’s the business model. They demand attention, emotion, collaboration (and not always in a good way). They need churn from us as their audience and co-conspirators. They need our attention and emotion and they don’t care how they get it. On the good side, screens have never been so aesthetically capable. As a former theme park designer, I’m in awe of what I see from some content creators, projection mappers, visual and graphic artists, and “experience” designers, whatever that may mean. So in the sense that screens are inevitably interactive, many content creators today are striking an honorable bargain for our attention. They are stimulating the exchange of positive energy. I don’t underestimate that. But just as some content creators seek to uplift with their screen communication, others use it to manufacture poison out of the discomfort and frailties of humans. This is what happens on the small screen at this point. I hope we will never have to experience the Internet on the big screen or digital signage platforms, or worse on video conferences or in educational settings. Attention is the coin of the realm. We are very much in the attention business, because we provide the platforms. We can’t do much about what people do with those platforms. We can do our best to make them competent and comfortable to use, knowing that clarity, intelligibility, resolution, low latency, and UI affect how people feel when they are interacting in the AV jungle. People who are at peace with the platform, are more likely to create communication that is incrementally better. That’s no small thing and be proud of it. But we are not just the AV guys. We are customers as well. As 2019 draws to a close and we head into what will be an eventful new decade, I’m thinking about where I put my attention. I’m thinking about how I give power to what comes across the screen platforms, whether it’s the Internet, signage, or a video conference. Screen content is people on both ends of the exchange. So just as cars in LA shape interaction and ripple through human life, so do screens. Inside cars there are people. Inside screens there are people. My holiday resolution is to remember that.

cynthia.wisehart@ futurenet.com www.svconline.com/proavtoday and www.rebelmouse.com/ SVC_Online

FOLLOW US @SVC_Online https://www.facebook.com/svconline CONTENT VP/Content Creation Anthony Savona Content Director Cynthia Wisehart, cynthia.wisehart@futurenet.com Contributors Bennett Liles Managing Design Director Nicole Cobban Design Director Walter Makarucha, Jr. Production Managers Nicole Schilling, Heather Tatrow ADVERTISING SALES VP/Market Expert, AV/Consumer Electronics & Pro Audio Adam Goldstein, adam.goldstein@futurenet.com, 212-378-0465 Sales Prahlad Balasubramanian, prahlad.balasubramanian@futurenet.com, 307-222-6950 Janis Crowley, janis.crowley@futurenet.com, 845-414-6791 Debbie Rosenthal, debbie.rosenthal@futurenet.com, 212-378-0465 Zahra Majma, zahra.majma@futurenet.com, 845-678-3752 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.mysvcmag. com and click on About Us, email futureplc@ computerfulfillment.com, call 888-266-5828, or write P.O. Box 8608, Lowell, MA 01853. LICENSING/REPRINTS/PERMISSIONS Sound & Video Contractor is available for licensing. Contact the Licensing team to discuss partnership opportunities. Head of Print Licensing Rachel Shaw, licensing@futurenet.com MANAGEMENT Senior Vice President, Content Chris Convey Group Publisher Carmel King Vice President, Sales John Bubello Head of Production US & UK Mark Constance Head of Design Rodney Dive FUTURE PLC 11 West 42nd Street, 15th Floor, New York, NY 10036

All contents © 2019 Future US, Inc. or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions. Please Recycle. We are committed to only using magazine paper which is derived from responsibly managed, certified forestry and chlorine-free manufacture. The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards. The manufacturing paper mill and printer hold full FSC and PEFC certification and accreditation.

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Chief executive Zillah Byng-Thorne Non-executive chairman Richard Huntingford Chief financial officer Penny Ladkin-Brand Tel +44 (0)1225 442 244

the buzz CASE STUDY / RETAIL

SYMBIOTIC SIGNAGE Fareway Stores, Inc. is a growing, familyowned Midwest grocery company currently operating 125 grocery stores in Iowa, Illinois, Minnesota, Nebraska, and South Dakota. In an effort to more deeply connect customers and employees around the market’s high quality produce and signature meat counters, the ownership is now deploying integrated signage solutions in all locations with plans to complete the installations by mid 2020. Fareway’s goal was to transform their original neighborhood meat market concept store into an inviting modern shopping experience, providing guests with real-time, dynamic visual updates on pricing and sales, as well as food pairing suggestions and health facts as a form of engagement and branding. Fareway leadership envisioned displays that would accurately and from the wire clearly portray the rich colors and For more case studies, visit vivid details of Fareway’s fresh prodsvconline.com/the-wire.

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ucts, as well as attention-grabbing info and news. Most importantly, the displays would need to seamlessly connect to one another for quick, simple use from a central location. The company hired interactive digital signage solutions provider ADFLOW and technology partner LG Business Solutions. The implementation of the LG 55SM5KE displays and ADFLOW solution met Fareway’s goals with an immersive experience that can be easily updated in real-time. The ability to consistently maintain visual updates and marketing materials from a central location was enablrd by ADFLOW’s Dynamic Messaging System content management software. Updates can be performed by corporate marketing or at the individual store location, enabling Fareway to provide a more relevant and engaging experience that drives brand awareness, consideration, sales and loyalty. “We were attracted to the ease in which

content can be managed through the LG displays, allowing us to add a more personalized touch while complementing additional marketing materials that highlight our quality selections,” said Fareway’s Vice President-Retail Market Operations Jeff Cook. With the new system, our managers also have the capability to repurpose social media, customize promotion templates, and highlight seasonal recipes, Cook explained. The ease of installation allowed Fareway to manage this work in-house, highlighting the value that its employees bring to the family-owned business. The team successfully completed the concept store installation on time and continues to implement the solution in additional locations. As of September 2019, more than half the chainwide store installations are complete, and all remaining stores are scheduled to be upgraded by mid-2020.

the buzz CASE STUDY / RETAIL

ONE VOICE Dignity Health Sports Park (DHSP), the home of the LA Galaxy, one of MLS’ most successful franchises, announced a partnership with 3G Productions to design and install a new loudspeaker system. “The previous sound system, installed during the stadium’s construction, was no longer adequately meeting their needs,” describes 3G Productions, Inc. Chief Operating Officer Keith Conrad. “It was beyond its age and had reliability concerns. Plus, it did not extend enough sound coverage in the stands or to the concourse, which limited the fan experience throughout the venue.” With all of the various stadium needs in mind, 3G Productions Director of AVL Integration David Myers collaborated from the wire on a Soundvision system design with For more case studies, visit L-Acoustics Sports Facilities Busisvconline.com/the-wire.

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ness Development Manager Dan Palmer. The final result that satisfied all criteria was a bowl sound system primarily comprised of 142 Kiva II line source enclosures—divided across 18 arrays in eight zones—paired with 14 hangs of 28 SB18i subs and collectively driven by 13 LA12X and four LA4X amplified controllers. Additionally, 10 ultra-compact, short-throw 5XT speakers would cover a press area in the West zone, while two co-linear Syva enclosures would be mounted to the left and right sides of a giant LED wall at the stadium’s main entrance. “Using the same loudspeaker solution throughout the bowl, we created a system that is scalable to accommodate each of the unique listener areas while maintaining the same tonal voicing and acoustic characteristics. This also maximized horizontal dispersion control,”

Myers shares, “Also, Kiva II is very visually unobtrusive, allowing clear views to the field and preserving the architectural look of the park. And we flew SB18i subs to reinforce the main system and extend the frequency bandwidth and low-end energy as needed for the more sonically demanding shows and games. “The new system significantly enhances the energy inside the stadium, while also preserving the integrity and nuances of a soccer match by keeping the sound off the field,” Conrad says. “The audio system throughout the concourse enhances the fan experience by allowing people to continue to follow the action even if they have to leave their seats. Speech intelligibility is notably improved and the surrounding neighbors are delighted with the minimized noise emanating from the stadium during games.”

the buzz CASE STUDY / RETAIL

EARLY ADOPTER Analog Way debuted the Aquilon C at InfoComm and now the multi-screen presentation system has had one of its first US installations. Force Technology Solutions, LLC (Force Tech) in Greenfield, Indiana recently completed the first Aquilon installation in the Midwest at the new Sportsbook at French Lick Casino, Indiana. Aquilon drives two large LED video walls in the venue where customers can place bets on sporting events or just lounge and enjoy the ultimate in big-screen sports viewing. The new 3,000-square-foot space accommodates 100 guests who can wager on football, basketball, baseball and more. Analog Way’s LivePremier range of modular and scalable 4K/8K multifrom the wire screen presentation systems and For more case studies, visit video walls processors is comprised svconline.com/the-wire.

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of high-performance pre-configured products (Aquilon RS1, RS2, RS3 and RS4) as well as the customizable models (Aquilon C and C+) that can be tailored for any project or event. The range is Analog Way’s solution to the increasing demand for 4K/8K 60Hz/12Hz ecosystems. “For the Sportsbook, we installed two Absen 1.5mm LED video walls measuring 14 x 8 feet, each with a resolution of 2688x1512 or slightly above full HD,” explains Force Tech Sales Engineer Brady Davis. “The LED walls display the main games of the day – everything from rugby to darts. But they can also display anything they want from the video over IP network: stats, custom graphics, even digital signage.” Davis explains that, “there are up to eight

sources per wall, and the client wanted the ability to do windowing in multiple configurations. Davis had no hesitation about being an early adopter. “We felt comfortable with the software going in,” he reports. “We had used Analog Way products extensively in the past. We had seen Aquilon at InfoComm and had conversations with Tim about the Sportsbook, so we were confident that Aquilon was ready to do everything we needed it to do today.” Ease of use also comes into play with the Sportsbook bartenders controlling the LED walls. “It’s a relatively simple control system consisting of a custom 21.5-inch Crestron touch screen UI that shows all the sources live so it’s easy to change sources and use our presets to choose screen layouts,” says Davis.

the buzz CASE STUDY / MUSIC VENUE

A SMALL PUZZLE Nashville’s iconic Hutton Hotel recently completed work on a new live music venue, alongside “Writers Studios” production rooms conceived by acclaimed musicians Dierks Bentley and Ryan Tedder. The 5,000 square-foot Analog music venue and cocktail lounge is two stories high in the center section; it usually seats 160 and has a maximum capacity of 300. The hotel wanted the venue to reflect that intimate vibe, says British acoustician Michael Cronin who was brought in by LA-based design lead GreenLight Media. “It’s like being in your living room. The stage is 18 inches high and you can sit on a couch two feet away. It was a challenging space. Then you have upper VIP areas overlooking the stage with a bar under one and seating under the other. You have so many different reverberation times within the same space.” Cronin acoustically treated all surfaces in the space, drawing on his long experience with 200 music production facilities, including The Church in London, Blackbird Studios in Nashville and Mutt Lange from the wire and Shania Twain’s private studio in For more case studies, visit Switzerland. The new construction svconline.com/the-wire.

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is acoustically isolated from the hotel floors above. Clair Solutions integrated the sound and lighting systems. “The goal was a vintagestyle speakeasy,” says Daniel Heins, Regional Vice President, Clair Solutions, Nashville. The

lighting system included some vintage fixtures from the ‘20s, and it was important to keep the many speakers inconspicuous. The main sound rig comprises eight Bose Professional ShowMatch line array modules with seven RoomMatch Utility RMU208 and six RMU105 loudspeakers providing under- and over-balcony coverage. Six Bose PowerMatch PM8500N and PM4250N Dante-networked amplifiers drive the system, which is managed by a Bose ControlSpace ESP-880 processor. Four Bose MB24 dual-12-inch subwoofers are hidden from view. “We worked with the architects to incorporate the subs into the wall and keep them inside the acoustic envelope. Clair Solutions also installed a background music system consisting of 11 Bose Professional FreeSpace DS100F coaxial in-ceiling speakers, PowerMatch PM8500N amplifiers and an ESP-880 processor. Bose Modeler was used to predict the speaker coverage in the room. “I was extremely happy with the outcome,” Cronin says. “There isn’t another live venue like it in Nashville.” Cronin adds, “My hat’s off to Executive Project Director Tom Williams at GreenLight; he put a great team of people together.” The venue’s entertainment is programmed in collaboration with GreenLight partners Red Light Management, whose diverse artist roster includes the Dave Matthews Band, Luke Bryan and Lionel Richie.

TECH SHOWCASE

VIDEO WALLS By Cynthia Wisehart

Innovation has transformed this product category, which seemed headed to commoditization not so long ago. Consider the rise of screen culture where screens are integrated into nearly every part of life, including communications on large and small scales, and in environments including retail, entertainment, work, and critical operations in healthcare, security and more. Here are some innovations that have responded to the market. Almost exactly two years ago, Barco launched its ambitious UniSee LCD video wall with a bezel-less and modular design; image quality is supported with a .3mm gap, as well as automatic real-time continuous calibration for color and brightness edge to edge. The thing that earned this product our 2018 Best of InfoComm award was the focus on real-world deployment such as installation time, mounting, and ease-of-service—tasks that our judges pointed out could be “solved by a person with an Allen key.” At launch, the UniSee came with Barco’s innovative gravity-driven mounting structure. In the two years since, other manufacturers have also collaborated on mounts including Draper, SMS, and Vogel’s curved mount. Also in the two years, we’ve seen UniSee installed in Chief many high-brightness public spaces and broadcast studio applications. ConnexSys Last month, news came of a collaboration between Semtech (inventor of video wall the BlueRiver chip) and Black Box. Semtech’s BlueRiver tech for SDVoE is mounting now integrated into the Black Box MCX distribution and management system, system allowing AV and data payloads to coexist over 10 GbE IT networks, something that can reduce network management time and cost. It’s a benefit the MCX platform was already designed for, and the BlueRiver integration extends that mission, enabling uncompressed 4K60 AV over Ethernet. Black Box’s MCX S7 distributes AV signals to an unlimited number of remote displays, while supporting HDMI 2.0. The MCX S9 supports advanced scaling options for multiview, picture-in-picture (PIP), split screen, HDMI 2.0, and DisplayPort 1.2 over IP for advanced mixed-use case applications. Chief’s ConnexSys video wall mounting system solves common video wall challenges of speed, alignment, serviceability, and rigidity. The ConnexSys Video Wall Mounting System provides the ability to level each row once by using strut channel to connect multiple mounts together with a simple-to-install system that can handle the largest require-

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Black Box MCX

Barco UniSee

TECH SHOWCASE Christie UHD654-XHR

ments. The LVS1U ConnexSys Video Wall and control. Moreover, the system landscape mount ships with rails for UHD654-X-HR’s remote each mount. It addresses the most common and redundant power supinstallation problems: speed, alignment, ser- ply extends the mission-critical viceability, and rigidity. Strut channel install capabilities to the video wall. The aligns an entire row and removes the need UHD654-X-HR claims many for spacers. Six points of PowerZone tool- benefits for the integration and free adjustment are all found in one loca- implementation of the product tion. Depth can be set anywhere between 4 including fewer products integrato 7.3 inches (102-186mm). RapidDraw Dis- tors have to install, fewer seams, play Release gives access to any display. The mounts extend up to 13.7 inches (348 mm). At InfoComm, Christie debuted the UHD654-X-HR 65-inch LCD with Christie Terra that allows high-performance routing and scaling UHD sources at 3840 x 2160 native resolution. When combined with Christie Terra, Christie’s AV over IP solution, the UHD654-X-HR delivers Christie a turnkey LCD video wall solution for MicroTiles 4K AV signal distribution, extension LED

and ultra-thin ADA compliant depth. Earlier in the year, Christie had unveiled the next generation of its popular MicroTiles video display product. MicroTiles LED, which reimagines the product as a narrow pixel pitch LED with a quick

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TECH SHOWCASE Hall Research CHD-SF SnugFit

Datapath VSN1192

Leyard and Planar VM Series

mounting system. The low-profile mounting system can be created in any shape, allowing for 90-degree inside and outside corners and both concave and convex curves. Hot-swappable, front serviceable tiles give technicians complete access to all parts while indicator lights give technicians at-a-glance status confirmation. For added convenience, the remote power and control system allows components to be installed in convenient, accessible locations away from the video wall, removing heat, noise and complexity. Imagewise, the MicroTiles are in the P3 color space and fully compliant HDR-10 with 12-bit 4K/120Hz. Datapath came to InfoComm this year with their next generation to the flagship VSN range. The VSN1192 was positioned as the most powerful video wall processor available to the market with dual Intel Xeon E5 processors giving the VSN1192 a clock speed of 2.3GHz, 8 cores, and a 20MB cache. Memory options are the highest in the Datapath range - up to 128GB. Sometimes important innovations are not about the image, but about installation and reliability. Last month, Hall Research started shipping the CHD-SF SnugFit latching HDMI cables, which provide 18Gb/s bandwidth for 4K60 video and are designed for critical applications where a tight and reliable HDMI connection is required. Regular HDMI cables can become unplugged with as little as 2 lbs of force. The SnugFit cables use spring-loaded protrusions on the top and sides of the HDMI connector to increase the retention force. The top tabs are positioned in such a way to snap into slots in compatible mating connectors providing tactile and audible feedback of a proper connection. SnugFit cables are economically priced and are available in

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LG 55EW5F Transparent OLED lengths from 1 to 25 feet . This summer, Leyard and Planar responded to the trend towards ever-thinner bezels and high ambient light environments, expanding their VM line of allin-one LCD video wall displays with two new 55-inch models: Planar VM55MX-M and Planar VM55LXLynTec M. These models set an industry standard for the Remote smallest bezel with a 0.88mm tiled bezel width. Both Power models are native Full HD resolution and the PlaControl nar VM55MX-M offers 700-nit brightness to support high ambient light environments; the Planar VM55LX-M model delivers 500-nit brightness. The VM range also includes two new 49-inch models. The VM49MX-X offers 700-nit brightness and a tiled bezel width of 1.8 millimeters. The Planar VM49LX-U offers 500-nit brightness and a 3.5-millimeter tiled bezel width. Three additional 55-inch models will join the lineup offering 1.8mm options at 700 and 500 nits, and a 3.5mm option at 500 nits. In August, LG Business Solutions began US shipping of the LG 55EW5F OLED digital signage display that had created a sensation at InfoComm. The ultra-thin, see-through display is pitched in particular at retail and hospitality. The first models became available through reseller, integrator and rental provider ABCOM Digital Signage Solutions and its ABCOMRENTS rental division. The versatile 55-inch class display was designed to claim LG OLED’s premium picture quality while maintaining a high transparency at 38%, higher than can be achieved by LCD displays. It’s full HD at 400 nits; the screen has a 7.9mm bezel. Accepts HDMI, DisplayPort and USB inputs. LynTec’s Remote Power Control (RPC) series of breaker panels offers easy setup and operation in self-contained panels for intuitive power control of video walls. The RPC combines all the features from LynTec panels with new web enabled control and monitoring capabilities. Based on the G3 Powerlink hardware platform by Square D, the RPC uses remotely operated breakers and can control up to 168 circuit

TECH SHOWCASE

Mitsubishi VS-25NP160

Matrox Quad Head2Go breakers with a single controller. In addition, the RPC’s expanded interface options (DMX, sACN, HTTP, Telnet, RS-232 or BacNET (optional)) allow users to monitor and control the system from any remote location. As we went to press, Matrox began shipNeoti UHD ping its highly-anticipated QuadHead2Go LED multi-monitor controllers, which debuted at InfoComm and received our 2019 Best of InfoComm award for providing a competitive, effective option for video walls up to four displays. It can drive four displays of any configuration at any dimension from one signal from any source, either as a system-independent appliance or in single-slot card forms. On-device buttons and pre-set configurations support easy installation. The included Matrox PowerWall software offers an intuitive way to configure the latest emerging, artistic, and innovative video walls. The controller supports Full HD displays from a single 4Kp60 video signal at RGB 8:8:8 and YUV 4:4:4. Each output can have its own resolution, be independently rotated (90, 180, and 270 degrees), cropped, upscaled, downscaled, and positioned anywhere, and controlled and updated from anywhere on the LAN. The controllers are compatible with professional-grade graphics cards with native DisplayPort 1.2 support—no adapter required. Mitsubishi’s VS-25NP160 direct view LED is pitched for largescale control rooms or areas where high ambient light is a challenge. A pixel pitch of 1.5mm ensures the crystal-clear display of fine detail. A patented anti-burn feature allows static graphics to be displayed for long periods of time without adversely affecting LED performance or lifespan. Overall, the display is rated for 100,000 hours of continuous operation. Dual-loop signal inputs and redundant power supplies ensure the display will continue to function in the unlikely event of an LED unit power failure. The NEC LED-FA015i2-137 Direct View LED Display is a 137” Full HD display, built with NEC’s 1.58mm LED-FA015i2 module—ideal for viewing from 3 to 8 feet away. The FA Series is engineered with multicolor LEDs that NEC designed to improved contrast, uniformity and viewing angles. The FA015i2 provides full HD (1920x1080) resolution with a refresh rate of greater than or equal to 2880Hz. It includes built

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NEC LEDFA015i2-137

Optoma FHDQ130

in data and power redundancy ensuring the display remains operational in the event of a single controller of power supply failure. No external cables required for installation. It won an SVC Best of InfoComm award this year, with our judges praising features that are “critical for 24/7 operations.” Its shallow depth (3.2” installed) and reduced weight allow for greater installation flexibility and also meet ADA requirements. For those of you working on projects outside the US, as we go to press NEC has also launched the FE Series LED Bundles; thse are complete solutions for different-sized screens starting at 110’’, ranging from 1.2mm to 3.5mm pixel pitch up to ultra-HD (UHD). Neoti supplies a range of UHD direct-view indoor LED video wall options with a modular design that can be configured into standard of custom video wall shapes. The range of 600 nit options includes pixel pitches from .93mm to 4.6mm. All are 5000:1 contrast ratio with refresh rates +/- 2800 Hz in a range of power requirements between 40 and 60 W average and 120-185 maximum. All are 16-bit color. The company is coming up on 18 months of a distribution partnership with Starin, that was announced at InfoComm 2018. Optoma’s FHDQ130 1080p QUAD LED Display is a new comprehensive large display solution with 130 inches (2.88 x 1.62 m) of visuals and 4K compatibility. It won our Best of Show 2019 award at InfoComm—in part impressing judges with the ease of installation. Setup for the QUAD LED display has a simplified three-step installation process, thanks to an all-in-one design that includes an image processor, centralized power cage, receiver cards and more. The all-in-one QUAD LED display also comes pre-calibrated out of the box, removing the need for additional software management or separate devices. Uniquely, the QUAD LED display is cable-free. The LED diodes are set in clusters of four with a 1.55mm pixel pitch, which allows for a smoother screen surface, 170-degree horizontal and vertical wide viewing angle.

TECH SHOWCASE

Peerless-AV Smart Mount

Prysm LPD 6K Series

PeerlessAV LED Video Wall Configurator

The QUAD LED display also features integrated HQUltra Rose 4K image processing technology for image switchUltraVista RGB transport, which greatly increases ease of transport and ing and scaling and is compatible with Optoma’s 4K60 Spectrum installation. Control Q application for content management and display Galileo The RGB Spectrum Galileo video wall system supports from mobile devices. a full range of input and output types (IP, analog, DVI/HDMI, 3G/ As video wall deployments become more complex and aesHD-SDI). The PC-based video wall processor can also deliver HDCP thetic, innovation is needed in installation as well. With this in mind, the Peerless-AV SmartMount Flat Wall Mount for Direct View protected content. Optimized components enable the Galileo system to LED Displays features integrated cable management, easy-hang hard- deliver real-time throughput and high image quality. The processor’s ware, and a lightweight aluminum frame that supports various LED solid-state drive and dual-redundant power supplies add an extra level displays. Another installation innovation is Peerless-AV’s LED video of reliability. This IP-enabled video wall processor supports H.264 IP wall integration program, Seamless by Peerless-AV, which supports decodes for motion video. In addition, RGB Spectrum’s exclusive VDA integrators with expert engineering and design, custom project man- remote desktop technology with integrated KVM over IP capabilities agers, full installation services, and dedicated LED mounting solu- provides operators with low-latency control over remote systems via tions. The program includes an online LED Video Wall Configurator a LAN or WAN. The video wall system is easy to set-up and control that allows users to streamline the design of LED video walls, and with a drag-and-drop GUI to allow users to send applications such as request a quote for a mount. When users are unsure of the video wall VMS, SCADA and videoconferencing, to the video wall. A convenient size needed, they can input room dimensions and explore different tablet interface is also available. In addition, an API allows operators scenarios until they find the solution that meets their needs. They can to monitor remote alarms and create advanced scripts to recall layouts continue through to request pricing, and all quotes will be stored for and control third-party equipment. The UltraVista 4K60 controller from Rose Eletronics supports an future reference. The configurator will also provide useful information such as mount weight, video wall power consumption, and video wall HDMI input resolution of up to 4K at 60Hz (YUV 4:4:4). Each of the four DVI/HDMI outputs has an independent controllable display area display resolution. Prysm’s LPD 6K Series is a unique interactive single panel, large- that can be resized, rotated, positioned, and scaled. Stereo audio output format display that offers a panoramic image without seams or bezels is provided. The unit learns EDID from the default resolution table, above 100 inches, with screen sizes available at 135 and 190 inches. or from direct connection. Controller software is included and is conPrysm compares its power consumption to a commercial coffee maker. nected with the USB or Ethernet ports. Units can be cascaded for larger It supports content in 6K x 2K resolution; .08mm vertical pixel pitch video wall and control desk applications. The versatile front panel and 90 percent fill power. Compatible with Prysm’s visual coolabora- allows instant changing between standard or custom configurations. tion platform which consolidates applications, content, video conferenc- With UltraVista Plus a vertical 4x1, horizontal 1x4, or 2x2 video wall ing and web into a touch-interactive workspace. Targeted at experience/ can be created, making it a powerful tool for constructing or supplebriefing centers, premium conference rooms and large format digital menting video wall systems. In February, tvOne started shipping new enhancements to the signage. Cool to the touch, shatter-resistant, flexible and rollable for

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TECH SHOWCASE

tvOne CORIOmaster

Vanco EVOIP

CORIOmaster range including the CORIOmaster (4RU), CORIOmaster mini (1RU) and CORIOmaster micro (1/2RU) video wall processors. The enhancements include a secure communication suite with full REST API and multi-user control. Other improvements include an HDMI 4-port output module, and audio support for the CORIOmaster and CORIOmaster mini for embedded audio, and a dedicated audio module. The system is compatible with all secure network infrastructure environments. The HDMI 4-port output upgrades the C3-540 CORIOmaster to up to 56 outputs. The embedded audio support and new audio module ensure the CORIOmaster can smoothly combine video and audio in an installation. The IP streaming module now accepts both H.264 and H.265 (HEVC) for higher quality, increased bandwidth performance and includes an ultra-low latency mode. These all-in-one system solutions can manage up to four canvases for supporting multiple video walls, while also performing various other video tasks simultaneously, including: audio, real-time 360 video rotations, multi-image processing and rotation and edge blending. The Vanco EVO-IP is part of the compa-

ViewSonic CDX5562

ny’s Evolution line. This HDMI Over IP system transmits 4K@60Hz, 4:4:4, HDR, HDCP 2.2 video, audio, and IR/RS2323 control as point-to-point, or as a splitter, switch, matrix and/or video wall solution. (It can also up/ downscale between 720p and 4K). EVO-IP is designed to provide the ability to manage, transmit, and receive audio/video signals and control hundreds of devices over a local

network, via transmitter, receiver and control box. Vanco recently added features with commercial installs in mind, to support dragand-drop and auto device discovery for up to 1064 sources. The control box maintains and directs system mapping and logs events, for preset and configuration recall; it supports onscreen display or text on the outputs. A source preview shows what is playing on a

Innovation in video display also hits underlying technology. Vanguard claims this type of innovation with their Direct Chip to PCB (DCP) technology, which refers to the mounting of LED chips directly to a printed circuit board to create LED modules. In their explainer, Vanguard details that DCP technology uses very small LED chips resulting in an extremely high density of chips and the ability to achieve very fine pixel pitches. Most DCP LEDs contain 9 or more diodes, as compared to only 3 diodes for most SMD LEDs and only 1 diode for DIP LEDs. The higher diode count is designed to yield higher intensity and greater uniformity of light, while reducing the footprint of the LED array. The other major difference between DCP and other LED technology is the fact that DCP devices have only one circuit and two contacts for the entire chip regardless of the number of diodes. This single circuit design, regardless of the number of diodes on the chip requires fewer components per LED chip with fewer soldering/weld points, fewer points of failure and potentially less heat. DCP also claims improved lumen-per-watt ratios in comparison to other LED technologies such as DIP and SMD, as well as higher contrast ratio, sharpness and deeper colors than SMD. In order to create an LED module, a clear epoxy resin is applied over the LED chips which creates a protective surface that is highly impact resistant, protects against humidity, and is also anti-static, antidust, and waterproof on the front of the display.

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TECH SHOWCASE

source before switching. With cloud access support and remote access, and perhaps most uniquely has voice control compatibility via Amazon Alexa. The ViewSonic CDX5562 is a 55-inch commercial display with a super-narrow bezel optimized for multi-panel video walls—the edgeto-edge width of only 1.8mm between combined displays. DisplayPort or DVI connectors support daisy-chain installations for up to 10x10 tiling options. It’s Full HD 1080p, at 700nits with dual 10W stereo speakers. VuWall and ViewSonic claims wide viewing LG nectivity options also include VGA, angles of 178-degrees horizontal/ Composite, Component, RS232, vertical. Significantly, only one of RJ45). A built-in vController supports the tiled displays need be connected to installation, remote management and schedan image/content source; HDMI CEC offers local control to a DVD player, sound system uling; Intel’s Open Pluggable Specification or any other HDMI-connected device. (Con- supports cable-free integration.

This summer, VuWall and LG partnered on an integrated control room solution to combine VuWall’s VuScape video wall processor with LG’s 55SVH7F video wall display. VuScape is a series of modular video wall processors and controllers designed for small and large-scale video walls. They can be combined with the VuWall Touch Panel, a PoE tablet with an intuitive interface designer, and as a video wall management and operation solution. The LG 55SVH7F video wall display features a 0.44mm bezel or 0.88mm when measured from bezel to bezel. LG’s Smart Calibration feature does not require an external device or human intervention. The integration allows customers to control LG displays remotely using the VuWall scripting tool with VuScape controllers.

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TECH SHOWCASE

DRONES By Bennett Liles

Since we began hearing about their military use in regional conflicts nearly thirty years ago, drones have been a target of fascination and they have grown as a source of fun, annoyance, promise and danger. When the old hobby model aircraft traded in their strings for RF links and strapped on cameras, they set a course for making artistic and utilitarian history. The vehicles surveyed here provide an overall view of where we are, what we can do and perhaps most importantly, where drones are taking us. AEE Aviation Technology has a very affordable system in the Mach 1 portable smart mini drone with its four-axis electronic image stabilization (EIS), Sony 1/3.06in. CMOS 13 megapixel HD camera, dual-mode satellite positioning and smartphone control capability. Supplied with it is the AEE BT Joystick Controller which charges through a micro-USB port on the front and connects to the smartphone over a Bluetooth link. The Autel EVO Rugged Bundle

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AEE Mach 1

drone connects on 2.4GHz/5GHz dual-band Wi-Fi to provide a control range of about 300ft. and at the center of its guidance technology is the Qualcomm Flight powerful intelligent chip. The 4K mp4 video and 13MP JPEG still image capability puts this DJI Matrice model at or near the top in imaging 600 Pro bang for the buck. However, extra 1900mAh batteries are a good investment to augment for the machine’s 16-minute flight time. The vehicle can be fitted with protection rings for the propellers and this will surely save on buying free Autel Explorer app available for Apple lots of replacement props. As user confidence iOS or Android devices assists with more grows there are several selectable operation advanced settings and autonomous flight features such as Dynamic Track, Viewpoint, modes including novice, skilled and expert. Moving up the price level, the EVO from Orbit, VR first person view and Waypoint misAutel Robotics uses a three axis stabiliza- sion planning. Using a video link frequency tion gimbal and shoots 4K video at 60 frames in the 2.4GHz - 2.4835GHz band, the 1.9lb. while its integrated advanced computer vision craft can be folded into a very small object to systems provide forward obstacle avoidance, fit into a durable case with two batteries and rear obstacle detection and bottom sensors to other accessories collectively known as the help in safer landings. The drone can operate EVO Rugged Bundle. The DJI Matrice 600 Pro is a very sophisfor up to 30 minutes at a control range as far as 4.3 miles. The battery level warning will let ticated and versatile flight system featuring a the operator know when it’s time to return for modular design with the A3 Pro flight controllanding. The included remote controller has a ler, Lightbridge 2 HD transmission system, 3.3in. OLED screen with 720p HD video. The intelligent batteries and its Battery Manage-

TECH SHOWCASE

ment system. The system is also compatible with several Zenmuse cameras and gimbals. The A3 compares sensor data from three sets of GNSS units to provide stable operation in a number of different payload configurations. The A3 system rejects magnetic interference to provide centimeter-level accuracy. The quick release landing gear and folding frame arms make assembly remarkably quick and simple. A new dampening system for the IMU units aids the vehicleâ€™s reliability. The included case shields the folded drone from falls, impacts and weather. The M600 Pro charger can fully charge as many as six intelligent batteries simultaneously in less than two hours. The vehicle can carry over 13 pounds and fly at a transmission distance up to just over three miles in optimum conditions. With a light load and maximum battery power, the flight duration can approach 40 minutes. The M600 Pro supports the DJI GO app and DJI Assistant 2.

Draganflyer X4-P Draganfly Innovations designed the Draganflyer XP-4 with a carbon fiber folding airframe, a quick release two-axis stabilized mount and four quick release propellers. Capable of horizontal speed up to 30mph, the craft can perform autonomous flight and produce simultaneous dual video streams from the FLIR VUE Pro 640 IR camera and the 20 megapixel 1in. sensor, 3.6x optical zoom color camera. Together, these can export files in 23 formats compatible with CAD and GIS software. Two hand held controllers allow separate control by

the camera operator and the pilot. The 5400mAh DraganFuel flight batteries provide flight time up to 15 minutes while carrying a payload. The control linkâ€™s range is just over two miles and the maximum payload is 1.8lbs. The Draganfly digital video down-link system with digital base-station, allows the user to connect several live viewing devices and the custom made handheld controller features a direct sunlight viewable OLED touch screen. Several custom packages are available to suit a number of specific missions. The Hercules 20 heavy lifter from DRONE VOLT can fly for up to 40 minutes and carry up to 33lbs. using its 26in. propellers and 2.5mile control and video transmission range in the 2.4Ghz band. Using AES 256 secure encryption, the machine is lightweight and compact with its four removable arms and landing gear. It also features tough construction with a carbon fiber frame and anodized

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TECH SHOWCASE

Freefly ALTA6 DRONE VOLT Hercules 20

aluminum fasteners. The Drone Volt Pilot application allows control and support to pilot and create various types of autonomous missions. The drone’s T-Motor MN 701 – 135KV motors produce a maximum engine thrust of 22lbs. Among the optional accessories for surveillance and monitoring missions is the high performance, EO/IR gyrostabilized gimbal fitted with twin cameras. One is a x30 optical zoom camera and the other is an IR sensor with a x4 digital zoom. Each can rotate 360 degrees. Drone Volt can provide AV operators with a range of options including image stabilizers. Billed by Freefly Systems as the most packable drone in their class, the ALTA drones can fold all of their arms and propellers into a remarkably tight package only 33 percent of full size. The ALTA 6 is the six-prop version of the machine with the capability to mount a camera on top of it or underneath. Delivered in a custom Pelican case, it is ready to fly in minutes. The camera can remain aligned with the ground while the vehicle is tilted up to 45 degrees and the craft carries a maximum payload of 15lbs. Using sinusoidal drive motor controls for its 18in. propellers and its SYNAPSE guidance system, the ALTA 6 combines readings from its barometer, accelerometers and GPS to perform complex flight patterns. The operator can set vertical and horizontal speed limits while flying the vehicle using the integrated on-screen display of the Freefly SYNAPSE Flight Controller. Other operational features include return-tohome and autoland. The Intel Falcon 8+ system consists of the Falcon 8+ drone and the Intel Cockpit Controller. The vehicle has a unique V-shaped align-

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ment for its eight propellers to provide the best 180-degree view for its camera. Designed to deal with weak GPS signals, high winds and magnetic field disturbances, the Falcon Intel 8+ can transFalcon8+ mit real time data or store or it can carry its Inspecit securely tion Payload consisting of a full sensor onboard to RGB camera and the FLIR Tau 2 640 be accessed camera, both of which are mounted after landing. in parallel on the same gimbal. The AscTec Trinity Control Unit has three redundant Intel Cockpit The Intel Cockpit Controller has a unique joystick arrangement that IMUs to reliably position and control the allows single-handed flight operavehicle. The PowerPack batteries are easy tion. Intel’s Mission Control Software to store and transport while the drone can accommodate a number of quickly change- enables the user to have multiple waypoint able payload packages. It can be fitted with flights along with automatically set flight the Sony Alpha 7R 36 megapixel still camera altitude, speed, GPS-based photo positions

DJI MAVIC MINI This is the company’s smallest and lightest camera drone ever, designed to weigh in under 8.8 oz--the magic number to fall below FAA registration requirements. It will begin shipping this month for about $400 and may be the best way to get started…although at that weight it doesn’t have DJI’s obstacle recognition and avoidance sensors, so it might be a short experiment. If you can keep from crashing it (it’s actually meant to be easy to learn according to early reviews) you’ll get up to 30 minutes on a battery charge. Perhaps most critically for AV operation, it’s quiet. It can shoot video at up to 2.7K at 30 frames per second and 1080 at 60fps and capture 12 megapixel photos. A three-axis motorized gimbal is the same stabilization you get with DJI’s other drones. The new DJI Fly app keeps the onscreen info simple, but you can still do a little fancy shooting. Stocking Stuffer. –Cynthia Wisehart

TECH SHOWCASE

Parrot ANAFI Work PRODRONE PD8X

Pelican FLTDINS2 Flightline DJI Inspire 2 Drone Case

and overlapping. Among the wide selection of drone variations from Parrot is the ANAFI Work featuring its 4K/21MP camera with a 180-degree vertical orientation and 25 minute flight time on each of its four USB-C smart batteries. The multi-port USB battery charger allows the vehicle to spend more time in the air and less on the ground. It is delivered with eight propellers, charger, compact shoulder bag, 16GB SD card and the Parrot Skycontroller 3 operator unit with a control range of up to 2.5 miles. There is also a tablet holder accessory that fits onto the Skycontroller 3 to hold a tablet up to ten inches in size. In 35mm format the camera has a focal length of 23-69mm for still images and 26-78mm for 4K MP4 (H264) video. Capable of reaching 35 mph horizontal speed, this model has 3-axis hybrid stabilization, a - 90 to +90-degree tilt range and live streams at 720p resolution. Pelican, long known as the maker of legendary tough protective cases for all types of equipment, includes in its Flightline Series some perfect-fit transport cases for several DJI drones as well as those for extra batteries. The black polyethylene foam body is

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watertight O-ring sealed and the double-throw PRODRONE latches make it quick and PD-FC2 easy to open and then fasten shut securely. The polymer structure of Pelican cases can withstand high energy impacts while the precision cut foam snugly fits the folded vehicle and keeps it safe. Contrast red high accuracy takeoff and landing sequences. The Walkera Voyager 5 employs 4G(LTE) foam outlines the enclosed components making sure the image transmission to enable it to transmit HD right piece goes into the right images wherever 4G(LTE) is covered. Its realslot and no parts are missing. time location capability features connection to a The battery cases use the same Google Map in order to update or check its locaclear layout and their automatic pressure tion. The droneâ€™s safety assurance system called FlightSafety includes a dual IMU, dual comequalization valve balances interior pressure. The PD8X from PRODRONE is equipped pass, front facing infrared obstacle avoidance with four sensors, parachutes and an autopi- module and dual GPS system for the maximum lot. The front facing camera and sonar assist in reliable operation. The triple battery design in collision avoidance while the laser and uses 4300mAh batteries so that when it is hovoptical flow sensor on the bottom provide ering in zero wind with no payload the flight precise positioning. The four 10,000mAh bat- time can reach up to 40 minutes. IP43 sealed teries allow the 41-lb. PD8X to stay aloft for from dust and rain, the Voyager 5 has been approximately 15 minutes without a payload tested at altitudes above 14,000ft. Its 2.4G/1.4G and reach an RF control range of over half a long range video transmission system can send mile. The maximum payload is 17.5 lbs. and video around three miles. The vehicle folds with its 21in. propellers the vehicle can reach into a very small package and when unfolded a speed of nearly 40mph and handle up to and ready for flight it can carry a camera with a 22mph wind speeds. On the ground the drone 30x optical zoom lens, a thermal infrared camstands 21.5in. high and the distance between era or a low-light night vision camera. The basic airframe of the Dragon line of its propellers is 50.6in. While the specs are subject to change without prior notice, the drones from xFold is a versatile platform that foldable contra 8 rotor basic platformâ€™s modu- can be configured in x4 quad, x6 hexa, x8 lar construction allows it to be tailored to meet octo or x12 dodeka (4, 6, 8 or 12 motors and present and future mission requirements. propellers) to suit a wide variety of tasks and When ready for flight its size is only 19in. flight conditions. Designed, manufactured square and for transport and storage the arms and assembled in the USA, the frame which fold to form an even smaller package. Also folds to 30 percent of its flight size, can carry from PRODRONE, the PD-FC2 Flight Con- two cinema cameras and it is compatible troller provides a secure data link, unlimited with all commercial grade flight controllers. waypoints, custom alternate landing sites and Versatility is enhanced by its quick release

TECH SHOWCASE

Walkera Voyager 5

sliding gimbal/payload mounting system. For the jobs that demand even more capability the xFold DragonH x12 can be set up to lift up to 440lbs. and keep that payload flying for as long as 20 minutes. The Yuneec H520 professional hexacopter is visually distinctive with its orange airframe and big xFold retractable landing gear. It has a DragonHx12 wide assortment of uses includ-

ing cinematic imaging missions. Data storage may be shared instantly from the ST16S Ground Station or delivered directly in 4K/2K/HD video or 20Mp still images. Using its Real Time Kinematics (RTK) satellite navigation, the craft is capable of hovering in adverse conditions and maintaining its precise position. The camera mount can swivel for a 360-degree unobstructed view with the landing gear raised out of the way. Orbit Flight allows the

Yuneec H520

H520 to circle around the Pilot/ Remote Control at a user defined distance, with its camera always pointed to the center of the orbited area. Its various payload systems can be hot-swapped to save time and maintain versatility. The E90 camera uses a 20 MP 1in. sensor and the latest H2 high speed image processing chip to provide 4K imaging at 60fps. The 3-axis stabilized gimbal has a precision of +/- 0.02 degrees and the E90 camera-gimbal combination may be swapped for an E50 or CGOET camera-gimbal combo without power cycling the airframe.

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The SVC Interview

HIGH BAR

ESPNâ€™s SEC Network drives big upgrades at University of Kentucky With Bennett Liles

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t the University of Kentucky, Lexington they’re serious about their sports and the video coverage reflects that--on the field, in the locker room, in the coverage they serve to ESPN’s SEC Network, as well as on streaming platforms and recruiting platforms. Tim Asher, Director of Athletic Video and Team Technology is here to tell us where the sports video technology has been and where it’s going.

SVC: Can you first describe your job as Director of Athletic Video and Team Technology for UK Athletics? Tim Asher: I guess they consider me the head bottle washer for anything having to do with technology and video. I’m in charge of 22 teams on our varsity sports, obviously, but also all the stuff that goes on behind the scenes comes under my hat, as well as our production people who are doing our social media and website. All the video production pieces come under my heading. We have a guy who’s in charge of the SEC Network but budgeting-wise everything still comes back through me. So as a long time television person I’m pretty familiar with everything from long lenses for our SEC Network down to the latest and greatest production tools from, let’s say, Blackmagic or any other manufacturer. And then there’s the software and all the other stuff that comes with the team technology side of things. The wearables have become a very big thing now. They’re doing a lot of different tracking with the basketballs and players. They’re doing a lot of different things on a lot of different sports. At times it’s very hard to keep up and it definitely will keep you moving. You’ve seen some significant video production technologies come and go. Are there one or two that stand out? My first football game I ever shot was on 16-millimeter film. How about that? The old Arri cameras. I started my career with my hands in a black bag changing out those 400-foot reels. So obviously one of the first things I’d say is the advent of video for the coaching side of things. Betacam made a huge difference. It was so much quicker, so much easier to use. You didn’t have to go through the whole processing part of the scenario and you would actually have stuff usable after the game as opposed to the next day. And then about 1995 or ’96 we got our first Avid Composers in our men’s basketball. We were one of the first three teams in the country to jump onto the non-linear world. That was probably one of the more significant advancements that I’ve seen other than the change from film to video. In addition to entertaining UK sports fans, you also use some pretty powerful video tools for player recruitment as well. Non-linear editing made a huge jump for everyone on the basketball and football side. It allowed them to do a whole lot more cutting of tape, to drill down into certain situations. So because of non-linear, the scouting part of video really, really skyrocketed. I started out

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by myself running a camera, a couple of VHS decks, and a Betacam. And then once the computer came along I was actually doing all the analog stuff as well as a digital copy and was marking that on the fly with a remote. That was the old Firewire days. I think you’ve recently made some changes in how you record the games. How have you changed the way you record? We’re doing a lot of recording now on Matrox Monarch HDX recorders. One of the things I really like about that particular recorder is it allows me to do two different bitrates at the same time. I can put a regular USB drive into it and I can record at three megabits per second on MP4 format, and I can put an SD card in and capture that at 20

megabits per second, which is pretty good quality--enough for TV shows and stuff like that. The three-megabit option comes in so handy; it allows us to exchange files with other teams. It’s small, like about three gigs size-wise. If the other team needs to get the game from me, I can very easily hand them the USB and they can get it very quickly into their system. We also use another technology that is cloud-based. We upload all of our games and exchange them with other teams within the entire NCAA conference. So there are a number of different reasons to do two different bit rates. This Matrox unit allowed me to do two different things with one unit, so it’s a home run in my opinion. It’s one less piece of gear that I have to take on the road. One of the other changes on the production side, is we had been

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using a lot of the Atmos Ninjas and Shoguns, which do huge files. Now we have gone to the XDCAM recorders and are doing a lot of that stuff with them now. We still use the Ninjas occasionally, and the Shoguns occasionally just depending upon the game. But having a 300-gig file at the end of the game is not a lot of fun quite honestly. Yeah, for sure. With the advent of the SEC Network, the technology on probably every campus in our conference has gone up every year. It is kind of an arms race at times. We’re using that technology for recruiting, whether it be in our social media pops, or in our locker room. We recently spent about $4.5 million on our locker room, doing a lot of touchscreen-type moni-

How do you all communicate while the game is going on? We have the Roameo beltpacks from RTS, and it’s a really strong piece of gear in our arsenal. We have the KP panels at each of our locations in all of our control rooms that also work extremely well with those Roameo units. I think we do a really good job of being able to communicate on headsets and with external people. We have, obviously, a wireless cam that’s running around the stadium trying to get marketing pieces and then they’ll add some color occasionally. We can talk back and forth with that person and ask them to do certain things. We may see something they don’t see. So it’s really nice to have that type of communications. We have two control rooms. We’re in the process of building a third control room

toring, large Planar monitors over an entire wall. I believe it’s 24 50-inch monitors. And in our locker room itself where the kids get dressed, it’s a round locker room. One of the technologies we’re using in there is the headers on the lockers are actually a video board. We’re using the athletes’ names up there, their Twitter handles, whatever else they might want--their home town, what class they’re in, height, weight, all that kind of stuff--all on the video board. Obviously when a kid comes in he’s seen a locker room before. But he’s probably not seen a round locker room with a video board above each locker before. So you’re trying to have that wow factor with your technology. I think having the SEC Network has driven a lot of that technology even further down into the teams in this conference.

for our SEC Network. Most of the SEC Network shows throughout our entire conference are being done on a Ross Carbonite switcher. We’re using Ross routers. We’re, I think, at 128 x 128 in both of our control rooms. So it’s a huge investment for an athletics department to have all this stuff. But as you know, the SEC Network is a huge network. It is very, very helpful to a lot of our programs. Basketball is probably always going to be on the CBS and ESPN, but SEC allowed every football game to be broadcast nationally. It allows the volleyball team, which has become very good here over the last couple of years, to have a lot of national games. Our women’s basketball team is nationally-known, so they get a number of ESPN games throughout the course of the year, but all the rest of the games can

be on that SEC Network. Then you have our gymnastics team, which actually made the NCAA tournament and made it down to the Sweet 16. The exposure we were able to get for those girls was incredible because no one had any clue that the team existed before the SEC Network came along. It’s really helpful for our teams and it allows them to then go out and recruit much better athletes. What type of video cameras do you use say, on your truck? On our trucks and for our SEC Network stuff we’re using Ikegami cameras. And almost all the glass that we have is Canon. We just bought some new Digi 80s and that’s huge. I mean having those big pieces of glass allows you to get those really good close-ups and allows you to get the emotion and everything going on down there on the floor. And obviously everyone knows about an Ike camera. It’s a great camera. On our team side, like for instance our basketball team and our women’s basketball team, we’re using Sony cameras. We’re using some of their smaller X70s, which is a one-chip, one-inch camera. Great image. It’s got an SDI output. We’re using some crazy things because our coaches want to see the time and score even if they’re on a road game. You can’t pick up that time and score generally any other way than taking a second camera and pointing it at the scoreboard. So we’re using a Blackmagic ATEM switcher to do a picture-in-a-picture, basically, on each of those games on the road. How do you manage to reallocate all of your tech resources as the sports seasons change? Yeah, that’s a big challenge every year. We’re currently in a situation where the basketball seasons are starting to crank up and at the same time you’re almost a little over halfway through with your football season. Your soccer teams are in their last couple of weeks of their seasons. So you’re taking that equipment that maybe you were using at soccer and then you’ll bring it over to the basketball arena. So it’s a challenge to have, first, enough equipment to cover multiple events at the same time. Everything is being broadcast in some way, shape or form on either the SEC Network, the SEC Plus Network, or they’re

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being streamed on the SEC Network also. So pretty much every single game on our campus is at least at a minimum being streamed. That is a lot to reset and reorganize and a lot of equipment being moved around from one venue to another. Yeah. We’re very fortunate that our athletic director, Mitch Barnhart, gets what we are trying to do and he understands the importance of us spending money for another camera and another lens so that we can have two sports going on at the same time and have both of those telecasts looking like they’re supposed to. Obviously we talked about the glass and how important it is to have really good glass to be able to get those close, tight shots and the emotion that’s actually happening during the event. But audio is something’s that’s huge too. A lot of people, they don’t think about audio a lot, but audio on a broadcast is huge. We spend a lot of time and effort miking different areas of the fields or backboards. Or in football we’re using some Klover Parabolics and stuff like that. The soundboards in both of our control rooms are Soundcraft digital audio boards, 96-input, 24 bus. So obviously we’ve got a lot of audio out there and that’s one of the things that’s probably the hardest moving from one location to another. It never seems like you have enough audio stuff to cover everything that you want to do and everything you want to capture sound-wise. A lot of this is student produced and that ensures some continual turnover. How do you handle the technical training? We’re doing a lot of things. The SEC Network will probably hire close to 50 students

for this school year. Of those they will start some of them out on our videoboard productions so that they can get some training on how to use the cameras and what we’re looking for coverage-wise. It’s a constant training scenario because as you know college students, they change their mind quite a bit. They may love something for one or two games and then they get bored of it and they go away. Then you’ve got to bring another kid in and try to teach them the things that you’re trying to get. So it’s a constant battle. On our production side I think it’s a little easier because we’re normally picking up kids that are in our communications department who already have a bunch of resume-type material that we can go through and see who has potential. It’s funny, we were just talking about audio. That’s one of the hardest positions for finding people. Nobody wants to do audio. Everybody wants to do the video stuff, they want to do the editing stuff, but they don’t want to do the audio and the audio is one of the most important components of the broadcast. Obviously with graphics, and the character generation, that’s another area that you’re constantly having to retrain people. But the student labor aspect of this is huge. We are unusual in that a lot of the schools do internships and stuff like that. We prefer to pay them. They’re getting an hourly wage, so we try to schedule them to come in an hour-and-a-half or so before the games just to make sure everything is good. And then they’ll help us with the teardown. It allows them to get a little money as a college student in their pocket. You try to give them enough hours to where they’ll keep wanting to come back, but some of them don’t. It’s just the nature of the business unfortunately.

background type stuff. Our production people are always looking for new and different things to do that keep things engaging.

We do hire a lot of freelancers for our ESPN games and our more high-end stuff where we feel like we need to supplement what we have student-wise. I think most of the people I’ve talked to in our league are doing some of the same thing. They have a core group of kids that they know they can get a certain product out of and will be good for a streaming show. But when you’re going up to the big network then I need better skills here or there. So we pick and choose and try to figure out what people’s strengths and weaknesses are. It’s a constant thing here and it really is amazing the juggling act that we’re able to do over the course of a season. Where do you handle your studio productions? Our studio productions are done here in Memorial Coliseum. SEC has what they call a bureau cam, which is a small studio that’s mainly controlled out of Charlotte. There’s a small camera in there, a chair, microphone and they can change the actual backgrounds from Charlotte. They can go from the SEC Network to the ESPN logo or whatever we want to do. So we do a lot of the coaching cuts where they’ll sit down and talk about a game or stuff like that out of those smaller studios. We also have a studio for production. We have a light grid, but I will say that we don’t like to do a whole lot of sit-down interviews in the studio. We like to get people out there in their natural environment and shoot a lot of stuff in that way. We do a lot of our introduction stuff. We may rent an industrial warehouse here in town and get a fog machine and have multiple things going on. It’s not just stick them in front of a green screen or stick them in front of a

When you go on the road for your away games, what all is involved in setting up your production gear there and how do you have to accommodate visiting schools, video crews setting up at your home games. Well the good news is that all of our people in our conference are like a brotherhood, and I truly mean that in every way, shape or form. Yeah, we want to beat them on the field, but at the same time we all know what we’re going through, and if somebody has a problem with a piece of gear or something we’ll step up and help them. I’ve had people step up and help me on the road so I really love that about our conferences. The setup is crazy on the road, I’ll just say that. Because we’re taking multiple cameras. We’ve got a Blackmagic URSA. We’ve got the Arri cameras that I was talking about. We have VariCams. We’re using long lens, we’re using wide-angle lens right in the face in the coaching area. Two hours before a game we’ll get there and we’ll start to unpack our stuff and get everything figured out. It’s a process and people do not realize how much equipment we’re taking on the road with us. Can you describe the technology competition among SEC schools? They all want bigger scoreboards, production facilities. There’s a lot of money going into this. Yeah, it’s really crazy. I guess you would say in some ways keeping up with the Joneses, but it’s what you’re trying to do is you’re trying to better your facility. It’s not necessarily trying to keep up with whoever has got the latest and greatest because quite honestly we don’t really do that. Right now we’re looking at our soccer facility, which has an older Daktronics video board in it. And we’re looking to replace that in time for next year’s season. We would like to at least double, probably triple the size of the current one that’s in there. We feel like it’s a little too small. So we’re always looking at how can you improve those facilities and how can you make the fan experience better. What impact did the formation of the ESPN SEC Network have on the UK Athletics video operation?

Well, it had a huge, huge impact on us. We went from about seven full-time employees to 11 full-time employees. And then our student labor went from approximately 10-12 students up to roughly 75. So the number of people that it takes to do all of the things that we’ve talked about involves a huge amount of resources and it’s constant from the beginning of your season in middle of August right up until the last softball game or baseball game in late May. It doesn’t end. It just goes on and on and on and you have to stay up with it. You have to keep up with all the different pieces of gear and all the moving parts. It’s a challenge, to be quite honest with you, to try and keep up with some of it sometimes. And we’re always trying to help our fans and try to give them a better invenue experience. One of the things we’ve added for football this year is more stats on our videoboard. So you’re constantly getting feedback from the viewing public and you’re making changes all along based upon some of that and it’s an interesting race, actually. What sort of tech upgrades are coming down the road for UK Athletics? Some of the stuff that we’re looking at, obviously, is we’re probably two to three years out for replacement of our videoboards over in our football stadiums. That’s going to be about a $10 million hit, [Laughs] that is about the only way to say that. We’re looking, like I said, at our soccer. We’re also looking right now at our softball. We’ve just upgraded our Memorial Coliseum facility. We have probably the largest indoor board in any of the facilities in our conference right now in that venue. It’s 58-foot wide by 32-foot tall. It’s a huge board in an indoor venue. I know on the production side we’ve actually started looking at some new forms of technology. We’re starting to incorporate NDI technology for press conferences at our football stadium, we’re able to cover those press conferences now without having to send a crew over there all the time. One of the things that we’ve got to try and stay on top of is make sure we have enough bandwidth going forward into the future. I see that as a possible bottleneck and no one wants to talk about bandwidth until you don’t have any, obviously, so it’s hard sometimes for people to realize how important those types of things are.

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BOLD ENGINEERING 2019 Innovative Product Awards

We’re pleased to announce the winners of the 9th annual Innovative Product Awards. Our yearend recap acknowledges both electronic and mechanical innovations and most of all celebrates the engineering and teams behind each of these products. Readers chose the winners through online balloting from among submitted products; winning products were determined by a simple majority of votes. –Cynthia Wisehart

EXTRON XPA ULTRA SERIES AMPLIFIERS

In January, Extron announced the availability of this line of power amplifiers, calling it an engineering breakthrough for a patented thermal design that puts more amp channels in a smaller space with less radiated heat. Other features include wake-up from standby, an Everlast power supply, pro grade signal-to-noise ratio, ultra low inrush current, and patented CDRS – Class D Ripple Suppression. The amplifiers deliver 35 watts or 100 watts per channel into 8 ohms or 70-volt systems. These amps have had about nine months to attract a following; the series placed number one with our voters.

MIDDLE ATLANTIC PRODUCTS C3 SERIES CREDENZA

In April, Middle Atlantic started shipping this ADA-compliant credenza—the slimmest in the company’s line with a 10-inch-deep profile. The core innovation is a flexible, configurable rack frame that provides field-mounting flexibility for traditional rackmounts and small devices, and is scalable as AV components need to be added or replaced. The frame contains vertical notches in each bay, offering exhaustive storage and rackmount configurations, utilizing the company’s patented Lever Lock tool-free mounting system. All this translates to more flexibility for adapting the

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rack on site, which can be critical in small spaces. Static or slideout rackmount Tech Kits include a thermostatically controlled fan, which mounts in the base of the unit, and a seven-outlet, surge-protected power strip. As part of MAP’s Frame to Furniture line, the aesthetic finish integration is also flexible and smart. Number two with our voters after just over six months on the market.

MEYER SOUND ULTRA-X40 COMPACT LOUDSPEAKER

This product took home a Best of InfoComm Award this year from our onsite panel of experts. Now it has proven itself with our voters. This new compact loudspeaker series is based on Meyer’s LEO family of line arrays including the concentric driver configuration and new amplifier and processor technologies. The X40 has a rotatable horn, a striking power-to-size/weight ratio, and a wide selection of rigging options. The concentric driver configuration deploys dual 8-inch neodymium magnet cone drivers coupled to a low-mid waveguide surrounding the single 3-inch diaphragm

high-frequency compression driver. The new amp is a highly efficient 3-channel class D amplifier that produces a total peak output power of 1950 W with a maximum sustained current draw of only 1.3 A.

CLARITY MATRIX G3 MX55M LCD VIDEO WALL DISPLAYS

At InfoComm, Leyard and Planar, a Leyard Company brought an expanded line of this popular LCD video wall system to include 55-inch models with sub-1 millimeter bezels and enhanced visual performance. The Clarity Matrix G3 MX55M has an 0.88 millimeter tiled bezel width, cutting nearly in half the previously smallest bezel size of the Clarity Matrix video wall line. Brightness is 700-nits. Ideal for control rooms, broadcast, corporate and digital signage applications, the new Clarity Matrix G3 models are available with Planar ERO-LCD (Extended Ruggedness and Optics) protective glass for high-traffic and interactive touch video wall applications. The optional Clarity Matrix Fiber Video Extension provides customers a more

ments with bright room lighting or if wall-ceiling installations are impractical, and where ultra-wide viewing angles are helpful. For the Kestrel application, Elite ProAV’s StarBright CLR material is configured in a tab-tensioned format to ensure a taut and flat projection surface. The StarBright material claims a 100x contrast enhancement over standard matte white projector screens; each screen is masked with black borders on all sides to further enhance perceived contrast. A reflective layer concentrates projected light back to the viewer and does not scatter throughout the room; black backing eliminates light penetration. Mechanically the screen rises and lowers using “scissor-backed” cross-spring risers. Includes built in IR/RF receivers, and a USB rechargeable IR/RF remote controls. Also available in 120”.

LYNTEC XPC SERIES

secure and longer distance option for extending video signals from Clarity Matrix electronics to displays. Clarity Matrix G3 takes built-in video wall processing to a new level with the off-board Leyard Video Controller, representing the industry’s first LCD video wall solution to embed advanced video processing directly into the product, delivering up to 5x 4K input and 9x 1080P output resolution with a single 1U Controller. Designed to simplify installation and service, Clarity Matrix G3 features points of connectivity and potential service away from the video wall, allowing users to manage the video wall displays from a central location.

The Xtend Power Control (XPC) Series are remote relay modules that extend the reach of relay panels and motorized circuit breakers. The series won a Best of InfoComm award this year, impressing our floor judges as “tough as a tank” and “sequential AC power control at its best.” The devices solve the expensive and complex challenge of controlling circuits that are being fed from a panel on the other side of the venue. Users can use one or more of the XPC remote relay options to tie their equipment into the existing RPC controller in their motorized circuit breaker panel, an RPCR electrical relay panel, or NPAC rack-mounted relay panel without having to bring their electricity all the way back to that panel. Each module can be conveniently placed in the rack, on rigging, behind line arrays, or anywhere. Each module contains an electrical connection, a power plug, and an Ethernet port. Integration is simple and straightforward: Connect the module to a power source and the network, and then plug in the equipment that needs power control. Using LynTec’s IP-based GUI, users can set up and customize the control and sequencing for each device.

ELITE PROAV KESTREL TAB-TENSION CLR 100”

TEMPEST ZEN PROJECTOR HUSH ENCLOSURES

This is a pro grade 16:9 ambient light rejecting, motorized floor rising projector screen for ultra short-throw projection applications. The CLR designation indicates its ability to mitigate high levels of overhead or “ceiling” light—up to 95% of overhead lighting. It’s ideal for environ-

In February, Tempest announced the launch of its Zen enclosures, the latest of its noise-attenuating Hush Boxes for projectors from 10,00030,000 ANSI lumens. Zen is fully self-contained, with no external air ducts, making it easier to install, especially in historic buildings

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2019 such as theatres and concert halls where new ductwork may not be possible. Innovative variablespeed fan control and internal baffle design delivers noise attenuation around 25dBA for most projector types, and the user can “tune” the system for a preferred tradeoff between acoustic and cooling performance. Zen is available in three standard sizes, covering most projectors from 10,000 to 30,000 lumens in landscape format.

EXTRON TLC PRO CONTROL SYSTEMS

In May, Extron introduced TouchLink Pro control systems. These are complete AV control solutions that combine a TouchLink Pro touchpanel with an integrated IP Link Pro control processor. The all-in-one approach consolidates essential control system components; multiple devices can be controlled directly from the Ethernet port, and the included port expansion adapter makes it easy to add traditional control ports directly at the touchpanel. The port expansion adapter supports two bi-directional RS-232 ports, one digital input, one IR port, and two relays. TouchLink Pro control systems can be customized using Extron GUI Designer software with ready-to-use templates for a wide variety of rooms and presentation environments. The panels are configured using Extron Global Configurator Plus or Global Configurator Professional software. All TouchLink Pro control systems integrate with Extron’s GlobalViewer Enterprise software for AV resource monitoring, management, and control over a computer network. Expect innovation on this platform to continue: features promised in future releases include support for programming, LinkLicense, and controller grouping.

SHURE TWINPLEX SUBMINIATURE LAVALIER MICROPHONE

This new line of premium subminiature omnidirectional lavalier (and headset) microphones was designed over several years from the ground up to provide a premium option. It took a Best of InfoComm award from our floor judges this year and scored in the top ten with readers in the Innovative Products voting. Its innovations are both electronic and mechanical. The new dual-diaphragm, patent-pending capsule tech-

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nology offers quality sound in a compact and easy-to-conceal package, designed to capture the speakers’ whole voice. Improved off-axis consistency enables sound to read accurately even when users aren’t speaking directly into the microphone. The easy-to-conceal package is perfect for quick costume changes or discrete placements under wardrobes without sound quality affected. TwinPlex cables are uniquely strong, light and flexible, immune to kinks and memory effects—ensuring they lay flat under any costume wardrobe or clothing.

PANASONIC PT-VMZ SERIES 3LCD PORTABLE LASER PROJECTOR

AT ISE, Panasonic debuted this series to be the world’s smallest and lightest WUXGA laser models in the 5,000 lumen or higher class. The three 3LCD models covering different light outputs and resolutions all share the same compact chassis that measures approximately 16 x 5 x 14 inches (WHD), and they each weigh just under 16 pounds to facilitate easy transport among different locations. Models are available in WUXGA and WXGA resolution at light outputs between 4,500 and 5,000 lumens. All three models can accept 4K-resolution (up to 30 frames-per-second) and display them at the projector’s native resolution. The projectors are provided with a 1.6x zoom with a short 1:09:1 throw ratio that facilitates close placement to the screen. Wide-range lens shift spec’d at +44% vertical and +/-20% horizontal allows for even more flexibility. Connection options include integrated HDBaseT and an optional wireless module that allows sharing from personal devices of audience members. Features include built-in USB, a 10-watt speaker, and a Quick Start/Quick Off feature.

EXTRON SMP 111 In Q4, Extron launched the horizontal video mirroring LinkLicense upgrade for Extron SMP 111 streaming media processors, adding addi-

tional functionality for recording of video and audio presentations for this popular streamer, which debuted in 2016. The horizontal video mirroring function flips video horizontally to support lightboard or applications that require reversal of the video image due to a presenter facing the camera when writing on a transparent surface. The framework offers an option to add an Extron Pro series control processor and a TouchLink Pro touchpanel.

KRAMER ELECTRONICS ASPEN-32UFX

This is a 32-port matrix switcher for SDI signals of up to 12G SDI. Each SDI port can be defined as either an input or output, allowing con-

figurations such as a 1×31 distribution amplifier, 31×1 switcher, 16×16 matrix switcher or any other input-output combination. The ASPEN32UFX can also be configured as a few smaller distribution amplifiers and switchers. Debuted at ISE, it supports cable equalization with up to 984 feet for SD signals, 656 feet for 1.5G HD signals, 328 feet for 3G and 6G signals, and 262 feet for 12G signals. The switcher can store up to eight presets. It comes equipped with Kramer’s equalization and re-clocking technology to help the digital signal travel longer distances and has a maximum data rate of 12Gbps. The product is easy to operate and control via the network using embedded web pages and through RS232 using a serial controller.

KRAMER ELECTRONICS VP-551X

This is a brand new scaler/ switcher for 4K@60 (4:4:4) HDMI, VGA and composite video signals. The VP551X scales the video and provides options to use the embedded HDMI audio or breakout audio from one of ten analog audio input signals. After processing and scaling, the embedded AV signal is sent to the HDMI and the HDBaseT outputs simultaneously as well as to a balanced stereo audio output, S/PDIF digital output and a pair of loudspeaker outputs. The scaler/switcher also provides two independent microphone inputs (each with optional 48V phantom power) for mixing, switching or talk-over. Video is on HDMI and includes: selectable aspect ratios (full, best fit, over scan, under scan, letter box and pan scan); a built-in ProcAmp for color, hue, sharpness, noise, contrast and brightness control; and support for Kramer’s PixPerfect Scaling Technology.

SHURE MXA910 CEILING ARRAY MICROPHONE WITH INTELLIMIX

When this product won a Best of Show at InfoComm 2019, floor judges found the builtin DSP processing in a ceiling tile microphone to be impressive, especially for budget-driven conferencing applications that need modern sound quality. The ability to connect directly to a soft CODEC such as Zoom in a room sized up 30×30 feet makes this an excellent choice for lower cost conferencing. Mute sync for the LED indicator eliminates the need for a control system in a basic conference room. Onboard signal processing tools include acoustic echo cancellation, noise reduction, and automatic mixing. Aesthetically the tiles suit a range of rooms and provide a range of mounting options as well as simplified setup and configuration. The product design provides greater out-of-the box performance with less configuration time because of on-board IntelliMix algorithms and improved default lobe coverage positioning. At press time, Shure came out with a drop-ceiling option.

EPSON PRO L20000UNL WUXGA 3LCD LASER PROJECTOR

This is Epson’s new largevenue 20K (WUXGA) laser projector, and continues the expanding lineup of ambitious large format projectors from the company. It comes in a compact form factor, with interchangeable interface boards, a sealed light engine and optical unit; it works with Epson’s current lens fleet, including a zero-offset UST. Software is included for simple multi-projector setup. Innovations include a mechanical shutter and automated multi-projector tiling assist powered by built-in cameras.

SONY VPL-FHZ75 6,500 LUMEN WUXGA LASER PROJECTOR

These new models cater to the increased market demand for immersive and high brightness projection in midsize environments such as schools, corporations, churches, museums, and entertainment installations. With WUXGA resolution and color light output of 6500lm and 5500lm respectively, the VPL-FHZ75 and VPL-FHZ70 use a newlydeveloped 0.76-inch LCD panel with an incorporated optical compensator to enhance brightness, vibrancy, and contrast, displaying true blacks and accurate-to-life color reproduction. The projectors also draft

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off Sony’s “Reality Creation” technology, developed for BRAVIA displays and high-end home theater projectors to enhance clarity without increasing noise. Both models come with an innovative “intelligent setting” feature; the four pre-set modes including meeting/classrooms, museums, entertainment venues, and multi-screen setups.

QSC ATTERO TECH AXON C1

In February, Attero began shipping this single gang network controller, designed specifically for basic audio control applications where easy user interaction is key—it’s a walk-upand-use approach. It allows simple control of volume, zone source selection, and preset recall with an OLED display and intuitive menu navigation. The recently released Attero Tech unIFY v3.3 configuration supports setup and customization. The Axon C1 supports network control over both TCP/IP and UDP and can interact with Attero and QSC products; additional third party integration is in the roadmap.

BIAMP CROWD MICS

This one needs a little longer explanation. It’s a unique audience engagement technology that transforms the relationship between presenters and live audiences. It turns every smartphone and tablet into a personal microphone and interactive response system via a free iOS or Android app, eliminating the need to pass handheld microphones around the room, and supporting group engagements in new ways. Using the Crowd Mics app, audience members can ask questions by voice or text and participate in live discussions directly from their personal mobile device. The system notifies the moderator when an audience member wants to speak, sends a personal notification to attendees’ devices when it’s their turn, and broadcasts their voice through the room’s AV system. If a participant is reluctant to speak, he can text his question to the moderator. The app’s audience response and engagement tools include the ability to select who will speak next, select and turn off an

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attendee mic, create polls before an event or in real time, and publish comments and poll results in a variety of graph types to the room’s display system. Designed for presentations, lectures, panel discussions, and other presenter/audience events, Crowd Mics is hosted on a small hardware appliance — the ATOM — that supports up to 1,000 event participants. The ATOM connects directly to the room’s audio system via USB or balanced audio outputs, includes the option to present video via HDMI, and provides moderators full access to the event’s participation log, including questions asked and poll results. Organizations can also brand the event experience by adding a custom logo that will appear on the moderator, participant, and display screens. Like other Biamp devices, Crowd Mics can be managed through Biamp’s SageVue browser-based monitoring and management platform.

VIEWSONIC LS700-4K LASER PROJECTOR This is a home theater projector that still connected with our Pro AV voters. At 4K Ultra HD resolution and 3000 lumens, the DLP projector is also compatible with HDR and has low latency to support gaming. Set up is supported with 1.3x optical zoom and various connectivity options.

PEERLESS-AV ALL-IN-ONE KIOSK POWERED BY BRIGHTSIGN

This is the second generation of this innovative kiosk in a slimmer design. Powered by BrightSign’s new XT1144 expanded IO player, it delivers Full HD 1080p60 single video decoding, HTML support, networked content playback and features including interactivity via the GPIO port, remote snapshot, live text, media feeds and multi-zone content. The integrated 55-inch commercial LCD display offers 10 points of IR touch, and engagement through a Wi-Fi-enabled device, such as a tablet, computer or phone, as well as support for live data such as news, weather or social media feeds.

D-TOOLS SYSTEM INTEGRATOR (SI) V13 The newest version of D-Tools System Integrator brings new productivity features. Service Plans brings the ability to define, create, sell, and manage Service Plans for new and

existing projects; Service Orders will be linked to Service Plans to accurately track estimated vs. actual results, both in terms of hours and dollars. Allowance Packages can be created during the bidding process as placeholders to be replaced with actual products after the contract is signed without affecting the project price. The Bundled Wire/Cable Packages eases specification and enables connections down to the individual conductor. Payments Processing now enables users to accept and process credit card and ACH payments from clients. AVIQ Database Integration provides SI software users with access to a growing, comprehensive library of detailed product information.

CRESTRON DM NVX D80

The Crestron DM-NVXD80-IoAV network AV decoder debuted at InfoComm where it won a Best of Show award from our onsite judges. The Innovative Awards voters have agreed. The decoder simply and ingeniously transforms a display into a native DM NVX endpoint. The DM NVX decoder plugs into the OPS (Open Pluggable Specification) port and is powered by the display, eliminating the need for cables and power modules, allowing displays to be flush mounted on the wall wherever you want. DMNVX-D80-IoAV greatly simplifies installation and eliminates programming. With its ability to integrate with Crestron XiO Cloud, DMNVX-D80 allows system managers to infinitely control each display from one centralized location. Fundamentally, the decoder is a simple, ingenious way to connect display manufacturers to AV over IP and DM-NVX.

PANASONIC SQ1 SERIES PROFESSIONAL DISPLAYS

The ever-expanding SQ series got new sizes at InfoComm with the addition of 49, 55 and 65 inches to its existing portfolio of 86- and 98-inch models. All models are capable of 24/7 continuous operation. The SQ1 series allows simple setup with DIGITAL LINK, based on

the HDBaseT standard, connecting video, audio, and control signals to external devices with a single LAN cable. A built-in 4K USB media player eliminates the need for an external media player. The SQ1 Series features an Intel Smart Display Module (SDM) slot, which makes it possible to customize the display and its connectivity for a customer’s application needs.

MATROX MAEVEX 6020 MULTI-ENCODER/ RECORDER

This product came out of a collaboration with Matrox and Panopto to deliver a fully integrated appliance for Panopto’s popular video management system for businesses and universities. The compact Maevex appliance brings several benefits to the Panopto system. Key feature set includes two 1080p inputs with multiple on-device quality recordings per input and two channels of 1080p live streaming while recording. Multiple recordings of different qualities can be recorded simultaneously to the device’s solid-state memory and uploaded while the session is in progress. These on-device multiple recording qualities can later be used to address the best-possible quality match for any viewing device. The recordings are encoded and ready for use as-is, without any quality loss or time loss (no transcoding, decoding, or re-encoding required). This workflow enables quality video on demand from the event to be made available to viewers much faster. As part of this dual-stream appliance approach, when there are no active streams being broadcast, the two sets of recorded streams are delivered to the Panopto VMS simultaneously during the live event, as cloud transcoding is eliminated. If there are live streams being broadcast, the recorded streams are delivered immediately after the live streaming event ends, again with no cloud transcoding required.

YAMAHA UNIFIED COMMUNICATIONS ESB-1080 ENTERPRISE SOUND BAR

The compact ESB-1080 Enterprise Sound Bar brings clear, dynamic, full-range speaker output to the conference room via two built-in subwoofers, a bass-reflex port, two dome tweeters, and two woofers. Its

conference-mode preset is specialized for installation in conference room spaces. Versatile mounting options make it flexible for various enterprise needs and designs. The sound bar is available stand alone, or as part of the bundled solution with the Huddly IQ AI-powered conference camera. The camera provides 150-degree wide-angle 1080p video, an embedded mic array, automated AI features, and the Huddly InSights analytics API.

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2019 RDL D-BT1A WALL-MOUNTED BLUETOOTH AUDIO FORMAT-A INTERFACE

These unique devices are Bluetooth audioreceiving modules compatible with RDL Format-A twisted pair receivers designed to send, receive and distribute analog audio over three pairs of a standard, dedicated CATx cable and connectors. The fourth pair of the CATx cable is used to distribute power to connected modules. When connected to a Format-A receiver, the D SERIES-BT1A becomes a wall-mounted stand-alone Bluetooth receiver. Bluetooth audio is available from the Format-A receiver, which also powers the unit. RDL also offers products that interface Format-A products to a Dante network, allowing the D SERIES-BT1A to operate as part of a larger Format-A and/or Dante network audio system. The D SERIES-BT1A features a stereo/mono switch (set during installation) that permits summed mono audio to be sent over one switch-selected pair to the Format-A receiver. If set for stereo operation, an additional Format-A source (set to Pair A) may be daisy chained with the module to a three-pair Format-A receiver. If set for mono operation, up to three modules may be daisy chained to a single three-pair Format-A receiver. Users can customize the module name and programming password through the Bluetooth connection using a compatible smartphone, computer or tablet terminal program.

CRESTRON ROOM SCHEDULING

Crestron’s ever-evolving room scheduling platform continues to expand with new additions to supported apps and platforms from Ad Astra to Zoom and pretty much every thing in between that enterprises use for third-party scheduling. New touchscreens for the platform debuted at InfoComm, both supporting direct-connect scheduling.

PRO VIDEO INSTRUMENTS VECOAX BROADCAST

This is a broadcast-quality, one-stop integration that offers a simple, affordable option for the 4K broadcast needs of corporate, hospitality, government and houses of worship. Technologies are condensed in one box, supporting rackmount, dual power supply, 24/7 operation and hot swap customizable modules. An integrated IP switch allows clean separation between management and IP streaming for max security in big installations. Multiple input cards can accommodate OTA antennas, dish antennas, HDMI and SDI AV Video source feeds, incoming

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IP streaming from Internet or other sources, 4K video sources, IPTV, videowall processors, media an computer players, and any other combination of TV signal feeds. Integrators can combine multiple units for additional channels, high-density DTV processors, while conserving rack space.

SONY EDGE ANALYTICS: AI-BASED VIDEO ANALYTICS SOLUTION

Sony’s first Artificial Intelligence (AI) based Edge Analytics solution, carries and integrates decades of Sony expertise in production and display, allowing users to create video content in real time, without the need for specialized training, additional staff or equipment. The compact and lightweight REA-C1000 uses its advanced AI-based video analytics technology to analyze the input it receives from connected cameras and automatically extracts the object in focus to combine it with other images in real time. This unique technology, using motion/face detection and color/ shape recognition, effectively makes the REA-C1000 the powerful brain of any connected camera and AV setup, allowing education, government and corporate organizations to cost-effectively create professional, engaging content. A range of ingenious optional, a la carte graphics features can be trialed and added, including handwriting extraction and overlay; Chroma key-less CG; focus-area cropping; close-up by gesture; as well as support for PTZ auto-tracking. The REA-C1000 will support 4K/HD input and output, and will be able to connect directly to Sony’s PTZ cameras, including its range of XDCAM camcorders. Additionally, with HDMI network connection, the REA-C1000 can seamlessly integrate into various common AV setups involving either multiple displays, large screen projections with monitors, or live-streaming projects.

BIAMP DESONO

Biamp has launched the next phase of its desono speaker family with a new constant-voltage, in-ceiling sound reinforcement speaker. The IC6 medium-format, in-ceiling loudspeaker is designed to deliver full-range music in larger common areas, including airports, warehouses, casinos, and factories. The new desono IC6 6-inch in-ceiling loudspeaker features a six-position; constant-voltage 70V/100V tap (1.8, 3.8, 7.5, 15, 30, and 60) with an 8-Ohm bypass, allowing designers the flexibility to specify the exact number of speakers needed to support fine-tuned speech reproduction. The speaker joins the existing desono lineup of pendant speakers.

ZOOM ROOMS

* INCLUDING ALMO • JABRA • MAGEWELL • NEC SV C ON L I N E.C OM | DEC E MB E R 20 1 9 | S VC 47

ZOOM ROOMS

ACHIEVING INTELLIGIBILITY

Five new Nureva HDL300 audio conferencing systems are helping Massachusetts’ Bristol Community College improve engagement for students in remote classrooms that are conducted via audio and video conferencing. Students had been frustrated with the poor quality of the audio from the college’s legacy conferencing systems, which included all-in-one microphone, speaker, camera bars, tabletop mics and a lapel mic for the instructor. These traditional solutions inhibited interaction and collaboration because the students in satellite campuses could not hear or be heard adequately during class discussions. With the adoption of the HDL300 system, which is powered by Nureva’s Microphone Mist technology and features true full-room pickup, every student can hear and be heard and feel engaged in the class. Audio conferencing is vital to Bristol’s use of distributed synchronous classes. This is an approach that allows students gathered in meeting rooms in Bristol’s four locations to attend the same class held by the same instructor by tuning in through audio and video conferencing. This allows the school to gain a critical mass of students for classes that might not attract enough students at a single location. The school can offer – and students can attend – more classes. But there was an audio problem: In group collaboration where

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there were multiple people speaking at once, all the audio streams got truncated into one stream. Students in distant locations couldn’t hear properly so they couldn’t participate. With a tabletop system, side conversations overpowered the instructor’s voice. A lapel mic solution meant only the instructor could be heard. The response from faculty to the new HDL300 systems has been overwhelmingly positive, and complaints from remote students about bad audio have stopped. The simplicity and ease of use of the HDL300 systems have also been game changers for IT staff at the college. The wall-mounted systems can be installed in 30 minutes or less and feature continuous auto-calibration that provides optimal performance no matter how a room is configured. Since instructors and students find it easy to start and use the systems, IT staff are saving many hours each week that they previously spent attending to issues with the traditional systems, time they can now devote to higher value tasks. When combined with the Nureva Wall visual collaboration solution or other interactive display, the HDL300 system can also be used as the primary source for audio and video playback. The HDL300 system is designed to work with Zoom and most other third-party conference applications.

ZOOM ROOMS

CONFERENCE CULTURE

ith roughly 200 local offices serving more than 27 million mostly rural customers, utility company Black Hills Energy relies heavily on video conferencing for employee collaboration and communication. Over a recent six-month period, the company logged a total of 8.8 million meeting minutes across more than 29,000 meetings. In order to maximize meeting efficiency and provide all employees with a reliably great collaboration experience, the company has standardized their meeting rooms with Jabra PanaCast cameras that offer 180-degree video coverage, attractive pricing and simple installation and use. According to Brandon Olsen, Manager, Unified Communications at Black Hills Energy, it’s crucial to maximize the efficiency and simplicity of the company’s meeting spaces and digital tools. Like many other companies today, most Black Hills Energy employees join video conferences from small meeting rooms or huddle rooms that seat six to eight participants around a table and include a wall-mounted display, video camera and microphone. The 180-degree field of view is what first caught Olsen’s eye when he began looking for a better small-room camera solution three years ago. He started testing Jabra’s unique PanaCast cameras, which utilize three camera lenses and integrated artificial intelligence to create an

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ultra-wide 180-degree view. Since then, Black Hills Energy has integrated more than 50 PanaCast cameras into meeting rooms at its Rapid City, South Dakota headquarters, and another 50 throughout various satellite offices. The company plans to convert every video conferencing room at every location, leaving about 100 to be outfitted with PanaCast cameras in the future. Olsen explained that meeting rooms developed around the PanaCast camera are more cost-effective than their previous standardized solution, which relied on expensive components from a traditional enterprise solutions manufacturer. In addition to cutting purchase and maintenance costs, the marriage of PanaCast cameras and the Zoom platform simplifies setup and operation. When activated, PanaCast’s Intelligent Zoom feature uses artificial intelligence to adjust the field of view to include all participants in the conversation. Olsen explained that even without considering the large cost and time savings, video conferencing is critical for the company’s interoffice communications, especially in winter when some offices located in the Rocky Mountains can be cut off by snowfall for several days. Currently, employees can book a meeting room through scheduling software on an iPad located in each room

ZOOM ROOMS

ZOOM IN A BOX T

successful implementation of the his fall, Almo Professional required hardware, and will have A/V announced the launch of Small Huddle Space the knowledge to accurately specify its fully-kitted Zoom Room (1-2 people) the appropriate camera, microphones Hardware Bundles for the U.S. • MXL AC-404-Z Low Profile Conference and audio for the room,” he points and Latin America. Almo also entered Microphone out. into a distribution partnership with Hudlly • Logitech BRIO “With that in mind, we realized and offers Zoom-approved Huddly Cam4K Ultra Highthat there was a need for identifyeras with the “Huddle Room” bundle. Definition Camera. ing key hardware components for Integrators got their first look at these a successful Zoom Room implebundles during this year’s E4 Experience mentation that could fit across and at Zoomtopia, Zoom’s annual user a large percentage of small- and conference. medium- sized rooms. This was Almo Professional A/V executive VP solidified after we met with Zoom and COO Sam Taylor says Almo spent and listened to them talk about the several years evaluating collaboration Huddle Room same need. For Zoom, it’s all about software options to arrive at the Zoom (2-7 people) the user experience, and since they partnership with an eye to the particular • Huddly IQ Camera don’t make the hardware they want needs of AV integrators who need all the Videoconferencing to be sure the appropriate hardware certified components in a single box with Camera is chosen that will provide the best a single SKU, and with the confidence that • MXL USB Conferencing possible user experience for their the components will perform to an AV Microphone Kit clients,” Rhatigan says. standard in terms of signal quality, inte• Lenovo ThinkCentre “We carefully selected the comgration and control interface. Zoom Room M920x Tiny PC ponents of our bundles, taking Bundles can also be combined with Almo’s • Samsung Galaxy guidance from Zoom and using Managed Services for Digital Signage, Tab A 10.5-inch only products that have specifically providing a recurring income for support• JBL PSB-1 2.0 been certified by Zoom. This takes ing content creation for a Zoom-driven Channel Active Soundbar the guesswork out of the equation signage network and its employee-facing for integrators looking to specify content. equipment for these rooms. AddiBrian Rhatigan, director of business development for Almo Professional A/V, Almo’s very first BDM tionally, many of the components are physically small, so if you (Business Development Manager), says that ZoomRooms and soft think about a large rollout that will cover 50+ rooms, the chances of codec-based systems in general provide a big market opportunity for having little boxes misplaced or put in the wrong room, etc. become Pro AV integrators, many of whom have been installing traditional great. By packaging every component needed for the room in a single hard codec-based systems for many years. Statistics published by Frost box, which can be ordered as a single SKU, it greatly simplifies the and Sullivan state that 70% of all video conferencing room meetings logistics for integrators.” When the Zoom Room Bundles are combined with Almo’s Managed will be in huddle rooms by 2022, and that as of 2017 there has only been a 1.9% penetration rate of conferencing systems in these spaces, Services for Digital Signage, integrators can also provide content for which is expected to grow to 17% by 2022. “Pro AV integrators are Zoom Room signage mode so, when the screens are not in use, they already in these spaces,” he says “and with the expected growth in can serve as digital options or corporate communications boards, and at soft-based codec systems, this presents a big opportunity to provide the same time, provide recurring revenue options for integrators. Almo hardware solutions required for these applications such as cameras, Digital Signage services include content templates, such as widgets with easy-to-deploy information like news, weather, custom calendars, waitmicrophones and loudspeakers. “While the IT department will likely deploy the actual Zoom Rooms ing lists and tickets. Almo also offers standard content templates for software and manage the licensing, the AV integrator still plays a cru- Digital Menus and Lobby Directories. These templates can be added to cial role in the project as they are the key professionals relied upon for the Zoom Room bundle like a product.

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ZOOM ROOMS

THE FUTURE IS DATA By Aurangzeb Khan

hich sense would you rely on most when it comes to making judgment calls? As humans, sound and sight are arguably our most important. But with the rise of artificial intelligence, we’re at the tipping point of giving machines the ability to make greater sense of their surroundings through video, and the potential big data and AI impacts are starting to surface. Perhaps you’re in an HR or organizational role, or responsible for CRM. Or maybe you’re trying to make decisions reliant on broader business intelligence. Regardless, the range of data we have available to make these decisions with is growing each day, and thanks to new technologies, we’re entering a period in which cameras can operate as sensors. And when we apply AI algorithms to these video streams coming from cameras that act as sensors, the data lakes we can generate offer insights that can change the face of business to make sense of sight and sound.

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Colin Anderson Productions pty ltd

While the advent of video collaboration systems in the workplace is not new, a few key changes in these systems are starting to unlock far greater potential. Firstly, advances in video have helped spur mass adoption of the medium; be it via YouTube, Snapchat and Instagram, or video calls on FaceTime or WhatsApp. Secondly, cloud-based video collaboration solutions like Zoom or Microsoft Teams are increasing in ubiquity as standardized workplace collaboration tools. In fact, we’ve seen cloud deployment continue to rise across enterprise as a whole. A recent Morgan Stanley CIO survey showed that cloud usage across platform and infrastructure services has risen 10%, just between Q1 last year and this year. So, we’re at a point where cameras are standard in purpose-built collaboration workspaces, in a time in which the workforce is increasingly globalized. Now, with advances in AI and camera technology, multi-camera arrays are able to act as sensors that provide AI algorithms the best opportunity to make sense of the video information and create data from it. And because Panoramic-4K video

isn’t distorted like in an ultra wide-angle lens, it enables AI algorithms to detect objects correctly. This ability to capture and interpret large amounts of anonymized people data is starting to unlock major productivity gains.

ZOOM ROOMS In the 2018 paper “The Digitization of the World, From Edge to Core,” David Reinsel, John Gantz, John Rydning discuss AI driving even more automation into businesses, “feeding processes and engagements that will deliver new levels of efficiency and products that are tailored to business outcomes and individual customer preferences.” Companies are already leveraging data to improve customer experience, make employees and processes more productive and create new sources of competitive advantage, and cameras will vastly improve those capabilities. For example, by knowing how many people are present or if any person is present, we can create software control signals which enable systems to automate room reservation and release, or autonomously turn off power consuming equipment when it is not needed, or analyze the seasonality and patterns of use of corporate real estate to decide how best to optimize it. Several major multinationals we work with have over 30,000 collaboration spaces worldwide, so if you imagined being able to correct a 10% misuse rate with something like meeting room bookings, that turns out to be a pretty big deal across that business. Just knowing something like how often and by how many people a space is used is incredibly valuable. Over the space of a year, that data

repository can offer a lot of business intelligence, and with the rising cost of real estate, utilizing it efficiently is a priority for most companies, as it affects everyone’s bottom line. This is anonymized numerical data, and it gives you the basis for data-driven decision making, which has been historically very sparse in real estate, for example. In the future, it could be used to build heat flows for architectural design, creating smarter buildings and cities, and saving businesses millions. As Frank Bien, CEO and President of Looker said, “data is now fundamental to how people work and the most successful companies have intelligently integrated it into everyone’s daily workflow. Data is the new application.” Mary Meeker surfaced this overall rise in her 2019 Internet Trends Report, and I am most excited about the data and collaborative power of workplace video in the coming year. Whether you’re looking to develop your people and organizational management, create new data streams and business intelligence, or simply boost employee efficiency, video will be key. And while video will be essential for businesses both for their employees and customers, utilizing the data lakes available from these video cameras is where the real advantages will lie in the future. Aurangzeb Khan is SVP Of Intelligent Vision Systems, Jabra

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ZOOM ROOMS NEC INFINITYBOARD This platform from NEC was the company’s response to the need for a good viewing experience with the latest applications for sharing, reviewing and editing content. NEC sees the future of offices as teamfocused open areas, reinforced with technology. They see zones for people to gather and for them to interact with media, data, and remote co-workers. They see a need for a consistency of platform so that users can focus on conferencing, brainstorming, reviewing and collaborating on a platform that feels consistent for everyone. InfinityBoard is open, modular and software-agnostic; it integrates with any VC platform of their choice, such as GoToMeeting, Zoom or Microsoft Teams, and can integrate with their choice of software. It’s a flexible platform supported by a Windows 10 Professional computer that can be tailored by the integrator to the customers’ requirements and preferred software. As a modular solution available in 55-, 75-, and 86-inch sizes, as single or dual screen, it can be deployed with a variety of camera positioning, mounting options, height adjustment, and audio support. For ease of installation, the OPS slot-in PC can be set up and configured ahead of installation. The embedded PC can easily be upgraded at any time. The InfinityBoard platform includes a full license of Mosaic Connect wireless, presentation tool. With Mosaic Connect, multiple presenters can wirelessly share video and document content from any device to the NEC InfinityBoard. It works securely with any network configuration, including corporate Wi-Fi, guest Wi-Fi, mobile data, a hotspot or any combination. In addition every Mosaic Connect meeting is protected by a unique ID, 4-digit PIN and is encrypted end to end. The compatible FlatFrog Whiteboard combined with FlatFrog InGlass touch technology provides a unique combination of highperforming pen, touch and object differentiation capabilities on the NEC InfinityBoard, simulating an analog whiteboard with the ability to save, share, send to printer and import and manipulate images. The compatible Huddly Camera Application allows control of the Inifini-

PRODUCTS tyBoard camera view. The compatible Hoylu Inspiration Suite enables team brainstorming, process planning, project ideation and markup and rich group. InfinityBoard also integrates with the Sennheiser TeamConnect wireless microphone and the Phoenix Audio Condor Beamforming Microphone array. NEC support and integrated three-year warranties apply to multi-device/app packages.

MAGEWELL USB CAPTURE HDMI GEN 2 This external capture devices enable all types of computers including laptops to ingest HDMI signals through a standard USB 3.0 interface, with no additional power source required. Featuring driver-free installation and automatic input format detection for true plug-and-play operation, these devices are the easiest and most reliable way to bring HDMI

sources – such cameras or wired screen sharing from other computers – into Zoom Rooms and other popular AV software. The devices’ on-board FPGA-based video processing provides high-quality scaling, de-interlacing, color space conversion and more while leaving the host system’s CPU free for Zoom and third-party software. Additional Magewell USB Capture models are available with DVI or SDI input interfaces.

JABRA PANACAST Jabra PanaCast was engineered to be the world’s first intelligent Panoramic-4K plug-and-play video solution. In October, Zoom Video Communications selected it as the video solution for its new telepresence capability, Zoom Rooms Speaker Switching. Announced in October at Zoomtopia, Zoom’s user conference, the Zoom Rooms Speaker Switching is an added feature to Zoom Rooms, a solution that equips every size conference room with the tools needed to run or join video meetings with one tap. The telepresence feature takes the existing Zoom Room capabilities one step further to deliver a conferencing experience that is even closer to in-person meetings. The new service and its hardware components, including the Jabra PanaCast camera, are designed for a natural and immersive collaboration experience. Jabra PanaCast is certified for Zoom Rooms and was selected as being the first camera that could deliver three individual video streams in a single product. The three 13-megapixel cameras

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ZOOM ROOMS

PRODUCTS

SIP and H.323 video calls to third-party endpoints and services. Zoom also integrates with Teams and other Office 365 solutions, with apps for Outlook, OneDrive, and Skype for Business Server, as well as Azure Active Directory. The partnership will help eliminate the frustration companies often face when trying to interact with another company that’s using a different platform or service and the need to spend money on other programs.

SAMSUNG, HARMAN, AND ZOOM

deliver three different angles to work in tandem with the Zoom Rooms Speaker Switching along with three microphones that detect which side is speaking. Then Zoom Rooms logic will switch to the proper camera angle based on the microphone activity. If no one is speaking, the service automatically applies the full preset mode so that all participants are clearly captured and displayed in their actual size. The Jabra PanaCast’s small form factor allows the device to be placed at eye level, facilitating an eye-to-eye contact experience that removes barriers between colleagues and enables them to communicate as though they’re in the same room.

MICROSOFT AND ZOOM As we go to press, Microsoft and Zoom announced an integration, which will allow Zoom Rooms to join Microsoft Teams meetings and vice versa, all without the purchase Available in early 2020, Zoom Rooms will be able to join Microsoft Teams meetings and Microsoft Teams Rooms will be able to join Zoom meetings, all without the purchase of additional licenses or third-party services. Both companies are promising a one-click interoperability. This modern web app-based approach supplements Zoom’s existing standards-based interoperability solution, Conference Room Connector, which enables any traditional SIP or H.323 endpoint to join a Zoom meeting and also provides the back-end technology that allows Zoom Rooms to make outbound

Last month, Samsung SDS announces that it has teamed up with Zoom to create a fully integrated Zoom Rooms hardware solution, offering a Samsung Zoom Room Kit incorporating products from Samsung and Harman. In collaboration with Samsung SDS, Zoom will offer its Zoom Rooms customers a hardware bundle that claims a “seamless Zoom Rooms user experience,” the companies say. The solutions aim to simplify hardware purchasing and installation for Zoom Rooms customers and to interact with a single vendor to resolve hardware issues. Zoom says its solution tackles the three biggest pain points of the conference room: booking a meeting, starting a meeting, and sharing content.

YAMAHA UC AND ZOOM In October, Yamaha UC confirmed that the YVC-1000 USB and Bluetooth speakerphone had been certified for Zoom; Yamaha’s flagship solution and Zoom Rooms will operate as one simple and unified bun-

dle. Suited for medium and large conference spaces and multipurpose meeting rooms, the Yamaha YVC-1000 USB and Bluetooth audio solution uniquely features a separate intelligent microphone and full-range speaker unit that can be placed close to a display for naturally blended audio and video to enable full participant comprehension. The YVC-1000 can daisy-chain up to five distinct microphones capturing up to 40 people and flexibly fits to various table layouts. It is capable of being paired with two external speakers and other microphone systems via an input jack for even more scalability in larger meeting rooms. This easy-to-use, plug-

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ZOOM ROOMS

PRODUCTS

and-play scalable design makes it a cost-effective and flexible alternative to installed audio solutions for large conference rooms. The YVC-1000 firmware that is compatible with Zoom Rooms will be provided for free in January 2020 at the Yamaha website (uc.yamaha.com).

MXL ZOOM ROOM SPEAKER SWITCH SYSTEM MXL debuted this multi-mic audio tracking system in October at the third-annual Zoomtopia 2019, Zooms user conference. The new system uses three MXL AC-44 compact USB microphones and harnesses Zoom’s audio tracking software to coordinate with an integrated camera that focuses in on speakers. It will integrate with select Zoom-certified cameras for a heightened collaborative conferencing experience. The bundle consists of a three-microphone array utilizing MXL’s new AC-44 miniature USB microphone, which has an extra-small footprint,

a standard damping rotary-shaft support. Additionally, the UNITE 50 4K is fully compatible with popular applications such as ClearOne’s COLLABORATE Space, as well as Microsoft Teams and Skype for Business, Zoom, WEBEX and GoTo Meeting, among other solutions.

ATLONA AND ZOOM

(measuring only 2.5” x 3”). The three AC-44s will be positioned in a [L]eft, [R]ight, and [C]enter arrangement that automatically tracks to wherever each speaker is located. The integrated camera then focuses in on each speaker’s location based on the audio signals, creating a more dynamic and impactful Zoom conferencing experience. The AC-44 uses MXL’s signature three-capsule boundary design to create a small microphone with a wide pickup arc, which makes it ideal for huddle room and conferencing applications. The MXL Zoom Rooms Speaker Switch System will come with an additional 4-port USB extension hub for easy set up and operation.

CLEARONE UNITE 50 4K Last month, ClearOne announced the immediate availability of the new UNITE 50 4K ultra-wide angle video conferencing camera. It’s plugand-play via USB with a 120-degree field-of-view, digital zoom and easy integration with other equipment, at an affordable $549 MSRP. The camera’s ultra-wide-angle field-of-view is ideally suited for PCbased video conferencing, web conferencing and unified communications, and other collaboration experiences in huddle spaces and small conference rooms. The camera also supports the USB Video Class (UVC) 1.1 standard for maximum compatibility with a wide variety of cloud and room-based solutions/ Along with 4K30 resolution, the autofocus camera features 3x digital zoom and USB 3.0 interface for video and power. It can be easily mounted on any display by using the clip or

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Atlona offers the opportunity to integrate the Velocity Control System with Zoom Rooms and control. Zoom software-based video conferencing right from a Velocity touch panel. This allows a single AV control interface with direct access to the native Zoom Room GUI for Zoom meeting sessions, and also AV system operation for in-room presentations, content sharing, and collaboration. Atlona’s THDVS-300 integrated meeting room AV system brings multi-format switching at the meeting table, plus AV and USB extension to the display. Also available is a high performance, USB PTZ camera, compatible to Zoom and other conferencing applications. At press time, Atlona announced that the second-generation Velocity platform would show at IBC 2020.

Busakorn Pongparnit/Getty images

AV INTEGRATION

DISTRIBUTOR

GUIDE 2019

FEATURING

Shoreview Distribution…60 Stampede…62

From the Editors of

SOUND&VIDEO

CONTRACTOR

ADVERTORIAL

AV INTEGRATION DISTRIBUTOR GUIDE

SHOREVIEW Shoreview Distribution’s philosophy is simple yet powerful: “Feet on the street, with a sense of urgency.” From our knowledgeable account managers and inside support staff, to warehouses on both coasts, we know time is money. We go onsite with integrators, do the demo, work together on the application, and strive to get you the information and products you need—when you need them. Shoreview carries major manufacturers, and we try to maintain a complementary mix of products, so that when a customer is developing a system they have a one-stop-shop to obtain the gear they need. We don’t sell washing machines or refrigerators like some other distributors in the industry—we stick to what our customers want. Shoreview Distribution has always been focused on applicationoriented sales, competitive pricing, and on delivering products in a timely fashion. Our field reps aren’t just salesmen—they are skilled educators and trainers who know the products, because they use them. They can assist with product selection, system design, or any other pre-sales efforts resellers may need. Shoreview’s reps have been able to apply their unique skills to the New England Patriots’ Gillette Stadium, Disney properties, Yankee Stadium, numerous cruise ships, Google’s offices, Northeastern University, Madison Square Garden, Mohegan Sun Casino, and innumerable studios of every size. Shoreview’s Massachusetts-based home office is staffed by employees with an average of 17 years on the job who provide indispensable backup support. When you call us, you will speak to a human—not a computer prompt. We pride ourselves on excellent customer service, and getting you what you need when you need it. After 30 years in the industry, Shoreview Distribution has created very strong relationships with our manufacturers. These relationships help bring the integrator and manufacturer together on large projects. We can also get immediate answers and solutions from manufacturers, when dealers and integrators may not be able to. Shoreview Distribution is a turn-key, one stop shopping resource for integrators and resellers.

REGIONS U.S. & Canada

BRANDS DISTRIBUTED • Martin • Alva Professional • Anton Bauer • Matrox Video • Apantac • MXL • Bosch • MyMix • Chauvet • NEC • Chief • Pioneer DJ • Countryman • Rane • Da-Lite Screen • RME Company • Roland • Denon Professional Professional A/V • Electro-Voice • Ross Video • FEC • RTS • Ferrofish • Sactler • Furman • Samsung • Grass Valley • Sonnox • Hitachi • Sony • IDX System Consumer Technology • Sony • JVC Professional Professional • Switchcraft • Key Digital • Tascam • LG • TOA • Littlite • Toshiba • LitePanels • Vaddio • Marantz • Vinten Professional • Yamaha • Marshall Electronics CONTACT

69 Elm Street Foxboro, MA 02035 Phone: 1-800-558-3877 Fax: 1-781-784-4680 Email: marketing@ shoreviewdistribution.com

Left to right: Luke Furr, president, Shoreview Distribution, and Rory Caponigro, sales manager, Shoreview Distribution.

ADVERTORIAL

STAMPEDE

AV INTEGRATION DISTRIBUTOR GUIDE

Ahead of the Herd When it comes to succeeding in today’s changing and evolving custom installation industry, dealers have a choice: play it safe and stay with the pack, or jump out ahead of the herd and ride with Stampede, seizing the opportunities that new technologies present and turning them into long-term revenue streams for their business. Stampede always turns conventional wisdom on its head, pioneering the commercialization of innovative new technologies, platforms, products, and services that make CE systems much more effective—and profitable. Stampede is part of the technology division of DCC plc, a global leader in distribution and a constituent of the FTSE100 Index on the London Stock Exchange. As such, Stampede remains the world’s leading valueadded distributor of integrated AV/IT technology solutions that help resellers meet the expanding technology needs of end user customers in dozens of commercial vertical markets in the United States, Canada, and Latin America. Stampede provides a regional network of nearly 20,000 resellers, with the broadest range of traditional Kevin Kelly, President and CEO pro AV solutions from more than 150 manufacturing partners, and leads the way in the creation of the new product categories and related training and support programs that are unleashing the business opportunities of the future: unmanned aerial vehicles, drone video systems, augmented reality, virtual reality, IoT, unified communications, and low-cost videoconferencing. Through its wholly owned subsidiary Just Lamps, Stampede also offers the world’s largest selection of replacement projector lamps. Stampede helps turn ideas into commercial realities that create new revenue streams while adding value and profit to traditional systems. The continued adoption of drones by businesses around the world has become the industry’s number-one new revenue generator. Forward-looking Stampede understands the urgent need to present the full capabilities of this new technology. So, in addition to drone hardware, Stampede offers a variety of drone accessories and add-ons including sensors, video downlink compressions, GPS, and live conferencing capabilities. Resellers can also tailor command and control aspects to a market, with control categories such as personal, portable, Led, video data management, archiving, storage and retrieval, and live video data sharing. From traditional AV products to cutting-edge new technologies and services, Stampede is the one and only high-value added distribution partner ready and able to provide you with the complete solution to take your business into the future.

REGIONS COVERED U.S., Canada, Latin America PRODUCTS OFFERED • Commercial Displays and Televisions • Hospitality • Medical Displays • Touch Displays • Outdoor Displays and Kiosks • Direct View LEDs • Digital Signage • Display Mounts • Collaboration Meeting and Huddle Room Products • Network Security and Surveillance • Drones Video Systems • Body Cameras and Action Cameras • 3D Printing Solutions • Audio Sources and Microphones • Signal Distribution and Mixers • Speakers • Power Management • Lighting and Staging • Furniture and Racks • Virtual and Augmented Reality • Cloud Solutions • Control Systems BRANDS DISTRIBUTED • NEC • Atlona • ONELAN • Atlas Sound • Optoma • BrightSign • Peerless-AV • Bose • Philips • Christie • Premier • Denon Mounts • Draper • PTZ Optics • Epson • Samsung • Hotel • Sennheiser Preferred • Sharp • InFocus • Sonos • Kramer • StarBoard • Legrand AV • Yamaha • Leyard • Vidyo • Lumens And many • Maxell more... • Mustang CONTACT

55 Woodridge Drive Amherst, NY 14228 Email: kkelly@stampedeglobal.com Web: www.stampedeglobal.com

Ad Index

Advertiser...................................... Page.......................................... Website

Advertising Sales Office VP/Market Expert, AV/Consumer

AC Promedia .............................................................27................................................... www.luminex.com Almo ..............................................................................51..........................................................www.almo.com Analog Way ................................................................29............................................. www.analogway.com A-NeuVideo................................................................37............................................www.a-neuvideo.com Audiotechnica...........................................................17......................................www.audiotechnica.com Blackbox......................................................................23............................................................ blackbox.com Biamp..............................................................................9........................................................... ww.biamp.com Bosch ............................................................................13............................................................www.bosch.us Digital Projection......................................................3.................................www.digitalprojection.com d&b audiotechnik....................................................11...................................................www.dbaudio.com ISE...................................................................................67................................................... www.iseurope.org Jabra...............................................................................53......................................................... www.jabra.com Lowell............................................................................15....................................................... www.lowell.com

Electronics & Pro Audio Adam Goldstein 11 West 42nd Street, 15th Floor New York, NY 10036 (212) 378-0465 adam.goldstein@futurenet.com

Advertising Sales Prahlad Balasubramanian 307-222-6950 prahlad.balasubramanian@ futurenet.com,

Magewell.....................................................................55............................................... www.magewell.com

Janis Crowley

NEC Display............................................................21, 49.....................................................necdisplay.com

845-414-6791

Opticis...........................................................................33..................................................... www.opticis.com

janis.crowley@futurenet.com

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Sound & Video Contractor, Volume 37 Issue 12, (ISSN 0741-1715) is published monthly by Future US, Inc., 11 West 42nd Street, 15th floor, New York, NY 10036. Periodical Postage Paid at New York, NY, and at additional mailing offices. Postmaster: Send address changes to Sound & Video Contractor, PO Box 8608, Lowell, MA 01853. One year subscription (12 issues) is $39. Outside U.S. is $79. Canada Post International Publications Mail (Canadian Distribution) Sales Agreement No. 40612608. Canada return address: Pitney Bowes International, P.O. Box 25542, London, ON N6C 6B2. ÂŠ2019 Future US, Inc.

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OPEN MIC

ADA COMPLIANCE AND UX By Kathryn Gaskell and Paul Dolynchuk

ne of the intended purposes of the Americans with Disabilities Act (ADA) is to ensure that those with physical disabilities have appropriate accommodation to access and use public venues. As these spaces are increasingly designed and constructed with new technology and become even more interactive, there can be no doubt AV is intersecting ADA. While there are many aspects of the ADA’s regulations that apply to the AV industry, the Standards for Accessible Design Section is perhaps the most critical document for AV integrators. Below is just a sampling of what they need to know about accessible design.

Operable Parts: This ADA regulation identifies accessibility requirements to operable parts which, for AV, typically include things like the drawstrings of a pull-down projection screen, input/output cables for laptops, and PCs/Blu-ray players on lecterns and learning station surfaces. Using the floor as the reference point, an ADA-compliant wall-mounted switch should be installed no higher than 48 inches and no lower than 15 inches. Called the 48/15 rule, it provides a guide for locating switches, control surfaces, and anything else that users — whether standing or in a wheelchair — may need to comfortably access. Reach Ranges: Reach range ensures someone in a wheelchair can reach essential room functionality such as an AV control device, touch display, or other operable part. The ADA defines four kinds of reach ranges: unobstructed front reach, obstructed high front reach, unobstructed side reach, and obstructed high side reach. Designers and integrators should know and understand all four instances to ensure reachable zones. Work Surfaces and Clearance: Lecterns, collaborative tables, instructor tables, and teaching stations should be at least 28 inches but no taller than 34 inches – high enough to accommodate a wheelchair, but not so high that the individual can’t use the work surface. In addition, any keyboard trays/drawers, cable management systems, and under-table-mounted equipment must not limit space underneath for knees and toes. For knee clearance, there needs to be between 9 inches and 27 inches between the

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work surface and the floor. The area between the floor and the first 9 inches above is considered toe clearance, which must have a depth between 17 inches and 25 inches and minimum width of 30 inches. It’s important to note that all these specifications must be met after, not before, any AV components have been installed underneath a work surface. Protruding Objects and Maneuvering Room:Displays and their hardware that are mounted between 27 inches and 80 inches off the floor must not protrude more than 4 inches from the wall. Using an ultra-thin display and in-wall AV storage box, integrators can achieve a 2-inch depth or less. Whether due to the screen, mount, or even architectural challenge, it’s not always possible a display or install be less than 4-inches from the wall. In that case, something such as a credenza must be mounted below the display for it to be detected by someone who is visually impaired. AV systems mounted on posts or pylons have other limits. Wheelchair users also need room to easily maneuver around AV equipment and surfaces. There should be a minimum of 30 inches by 48 inches of unobstructed floor space and room for a turning

The Standards for Accessible Design Section of the ADA is the most critical document for AV integrators. circle or a T-shaped turning space. A turning circle must be at least 60 inches in diameter — enough space for a 360-degrees turn. A T-shaped turning space requires a minimum of 60 inches square, enough for a three-point turn. Each arm of the T must be at least 36 inches wide, obstruction-free within 12 inches of the T-arm, and have adequate space for knee and toe clearance. As technology is added to more spaces, ADA compliance will become more essential. AV professionals should be educated on the laws and standards and seek out advice from the ADA National Network. Those who comply not only obey the law, they also ensure everyone has the best experience — and that’s what this industry is all about. Kathryn Gaskell, Director of Product Management | Chief Products at Legrand AV and Paul Dolynchuk, Director of Product Management | Middle Atlantic Products at Legrand AV

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Published on Nov 20, 2019

Sound & Video Contractor - December 2019

Published on Nov 20, 2019

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