Sound & Video Contractor - February 2022

FEBRUARY 2022 // VOLUME 40 // ISSUE 2

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contents

FEBRUARY 2022 // VOLUME 40 // ISSUE 2

32

FEATURES 32 | Expo 2020 Dubai:

Technology Shines Through

By Cynthia Wisehart The Covid-delayed Expo opens and succeeds beyond expectation as AV goes above and beyond.

26

Supplement

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6 | O n the Circuit

By Chief Editor Cynthia Wisehart

Case Studies

8 | Restaurant: Streamlined System 10 | Immersive: Round Sound 12 | Immersive: Sleek Immersion 14 | Immersive: Immersive Tracking 15 | Immersive: Holiday Map Tech Showcases

31 | Technologies for Worship

16 | Outdoor AV

RF, intelligibility, and multisite

31

By Mary Bakija

26 | PTZ Cameras and Streaming

By Bennett Liles

Sound & Video Contractor, Volume 40, Issue 2, (ISSN 0741-1715) is published monthly by Future US, Inc., 130 West 42nd Street, 7th 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 1051, Lowell, MA 01853. 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. ©2022 Future US, Inc.

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on the circuit

Volume 40 Issue 2

February 2022

WWW.SVCONLINE.COM

T

By Cynthia Wisehart

Find me online cynthia.wisehart@ futurenet.com www.svconline.com/ proav-today

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his month, during the Omicron surge, I heard a story from someone who works in national-level live events.

The house crew tests every shift and wears masks.

Visiting talent and crew set their own policies. For a recent show, the house crew tested in, as usual. One of the touring crew members arrived later than their colleagues and unwittingly participated in the house testing, and tested positive. So, the rest of the touring crew was immediately tested. Mostly positive.

The show was cancelled.

Nobody was visibly sick, but this highlights the dilemma of Covid safety in the workplace, which can also extend beyond the workplace in ways that are not so simple. Covid safety has a price; Covid not-safety has a price. Inconsistencies are obviously rampant and impossible to avoid. We’ve never done this before and there’s not an easy win situation, no matter how pundits may want to pretend that there is.

Like all workplace safety issues, Covid, prevention (and prevention theater) can impact lives, livelihoods, opportunity, and revenue.

People have different agendas for who and what matters most in the equation—that’s a time-honored workplace tension. But in other ways this is unlike any other work safety equation most of us have ever experienced.

In my time in professional theater, workplace safety was mostly a help (and sometimes an irritation, like when I couldn’t sweep up slippery fake snow because I wasn’t authorized to touch a broom). Overall during my time in events, safety was a plus and it mostly wasn’t going to cost anyone their jobs to implement it. At times it was dumb, but we could mostly afford it. We didn’t have to worry too much that others who relied on us would feel the impact of a workplace safety issue.

But now there are are sacrifices asked of everyone no matter what their Covid-safety needs, views, or circumstances are, some more than others.

By extension, personal responsibility can mean different things. It can be taking responsibility for oneself and well being. It can revolve around impact on others. I know people whose personal responsibility is rooted primarily in not being the person who spreads Covid to their grandparents or someone else’s grandparent. For some it’s rooted in not getting sick because people depend on them. Some people I know have to go to work, also because people depend on them, and Covid comes second. Some have loved ones in health care and understand their situation and sacrifices and don’t want to add to their burden.

Some don’t have a luxury of choices. Some are more sensitive to the costs beyond Covid. For my sister, it’s about the harm of all-remote learning and her responsibility to be there for her students. She uses all the available tools, but her personal responsibility is to something other than Covid.

Everyone has to weigh it all up as best they can—every individual, business, and government—no one can avoid the equation, the mutual impact, or the mixed bag of policies and rules. As we head into the two-year anniversary, I hope your imperfect workplace safety plan is manageable, I hope any personal sacrifices and losses have been bearable, and that unforeseen positives have happened too.

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 Group Art Director Nicole Cobban Art Editor Rob Crossland 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 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 1051, Lowell, MA 01853.

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the buzz CASE STUDY / RESTAURANT

STREAMLINED SYSTEM Todd Bermann started TAB Technical services in 1978, specializing in restaurants with a client roster that grew to include hundreds of franchise-wide locations of California Pizza Kitchen, Islands Restaurants, and over 300 worldwide locations of The Cheesecake Factory. The Hollywood Bowl and Walt Disney Concert Hall are also among their bespoke clients for services including CCTV, MATV, and back-of-house systems.

For an upcoming Cheesecake Factory in North Beach, Miami, Bermann and his team designed in two brand new products from Allen & Heath—the AHM-32 and AHM-16 matrix audio processors. TAB has been a longtime user (and fan) of the now-discontinued A&H iDR8 matrix mixers and has widely deployed them for The Cheesecake Factory.

In adopting the just released AHM-32 and AHM-16 and eventually standardizing on them, the TAB team will benefit from the innovations of another popular A&H product—the flagship AHM-64. The from the wire AHM-64 debuted two years ago and For more case studies, visit has found wide adoption in worship, svconline.com/the-wire.

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theater, corporate, retail, and education. The AHM-64 was designed to support industry requests for scalable I/O and remote control, rapid setup, and Dante integration. The 96kHz FPGA engine supports quality audio and low latency. Ready-made remote-control options include an array of PoE remote controllers and the BYOD-friendly Custom Control app.

Now technical features of the AHM-64 have been scaled into these two smaller options, making the AHM series more accessible and, as it turns out, perfect for the new Cheesecake Factory. Two purpose-built touchscreens are new part of the install range as well. The CC-7 and CC-10 will allow TAB to simplify the system design and give the Cheesecake Factory everything they need and nothing they don’t.

According to Bermann, part of the appeal of the new AHM processors is their remotefriendliness—instrumental when supporting hundreds of worldwide deployments. Additionally internal control capabilities, including the ability to potentially control third-party elements like Direct TVs, allows for a simplified, less Crestron-dependent economy of scale.

“The system we have now with a combination of Crestron and the iDR8s and BSS processors is very powerful, more than we need,” says TAB engineer Mark Casselman. “And while it’s an amazing platform, it’s difficult to access remotely; we’re looking forward to more remote accessibility, and our client will benefit from the price point. We’re also excited about the ensemble approach to the product with the app and the dedicated touch panel.”

Casselman says initially they’ll be dropping in the new AHM-32 and AHM-16 processors to replace iD8s and BSS processors in new designs and upgrades. From there they plan to optimize with Crestron control, and then explore whether the entire system can be A&H. ‘There are lots of interfaces and endpoints on the audio side; we’d like to see what it can do with serial and IR and how it evolves.”

“We’ve been using Allen & Heath product for 30 years,” Bermann says. “We trust the consistency and support and I have no doubt that this product will bring new capabilities and economies to The Cheesecake Factory systems.”

the buzz CASE STUDY / IMMERSIVE

ROUND SOUND The new Shanghai Astronomy Museum, now the world’s largest museum devoted to the celestial sciences, echoes the ‘music of the spheres’ with its bold curvilinear exterior devoid of any straight lines or right angles.

On the inside, the museum’s two primary venues enhance stellar visual programs with complementary Meyer Sound immersive audio systems supplied by Shanghai Broad Future Electro Technology Company, Ltd. Designed by Ennead Architects of New York, the 39,000 square meter museum encloses three main exhibition zones—Home, Cosmos, and Odyssey—with the free-flowing architecture encompassing three dominant architectural features: Oculus, Inverted Dome, and Sphere.

Occupying the interior of the Sphere is the 8K Dome Theater, which hosts from the wire an audience of 250 for a 20-minute For more case studies, visit all-enveloping spectacle covering svconline.com/the-wire.

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4.6 billion years of cosmic evolution. Designed using Meyer Sound’s MAPP 3D system design and prediction tool, the theater’s immersive audio system comprises of 32 Meyer Sound UPJ-1P loudspeakers that encircle the 20-meter dome in three tiers. A cluster of four 900-LFC™ subwoofers delivers visceral low frequency emphasis, while three-dimensional spatial sound trajectories are created using the Spacemap feature in CueStation. Up to 64 tracks of audio program source are available from the DWTRX recording/playback module of the D-Mitri digital audio platform.

The Optical Planetarium, nestled inside the Home Zone, combines stunningly realistic recreations of constellations and planetary movements with a film about nature and the universe. Here the audio system encircles the audience with 36 UPJunior loudspeakers on four levels, again augmented by four 900-LFC subwoofers for low frequency effects. Loud-

speaker optimization is provided by one GALAXY 408 and two GALAXY 816 Network Platforms.

“The Shanghai Astronomy Museum is currently the largest museum focused on the astronomical sciences in the world, and we are honored to be part of the project,” says Zhu Sihai, managing director of Shanghai Broad Future Electro Technology. “The linear sound reproduction and immersive technologies offered by Meyer Sound help make the experience here unique and breathtaking. We expect to bring this heightened level of experience to more venues around the country.”

Opened earlier this year in Lingang New City in the Pudong New Area district, the Shanghai Astronomy Museum is the latest addition to the larger Shanghai Science and Technology Museum. The museum has been awarded a three-star rating in China’s Green Building System, the highest level attainable.

the buzz CASE STUDY / IMMERSIVE

SLEEK IMMERSION What does it take to be a member of the New Zealand All Blacks rugby team? How does it feel to step out in front of the cheering home crowd in Auckland’s Eden Park and perform the haka? How do you prepare for a game at this level? How do you deal with the pressure as you stand ready to deliver a game-changing penalty kick?

The new All Blacks Experience, arguably the world’s most immersive sporting visitor experience, allows each and every follower of the game to answer these questions for themselves.

Conceived by Ngai Tahu Tourism and New Zealand Rugby and overall concept designed

by Workshop E, it offers a guided, visceral, and interactive journey through the New Zealand rugby story, showcasing the All Blacks, the Black Ferns, and the Maori All Blacks.

The technical components of the Experience were implemented by Wellingtonbased Toulouse—an AV, lighting and from the wire technology consultancy focused on For more case studies, visit museum exhibitions and themed envisvconline.com/the-wire.

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ronments—and powered by BrightSign players supplied by Midwich Australia.

The All Blacks Experience sits across one floor of approximately 1,800 square meters, adjacent to a number of high-end hotels in Auckland’s popular Sky City district. It comprises ten ‘zones,’ each with a unique set of hardware supporting the storytelling, drawing the visitor into the experience of being part of one of the most successful sports organizations in the world. The zones immerse visitors in the history, culture, and the people, as told by past and present legends of the game. Visitors get the chance to test out their rugby abilities, matching their kicking, catching, line out, and accuracy skills against New Zealand’s best players in the “hands on” interactive zone. Through the use of innovation and technology, they receive insights and direction from coaches and players to understand what it’s like to perform under pressure on a high-performance team. Finally, they are offered the chance to be a part of the iconic haka, through a four-meter-high screen

experience that draws them into the center of the jaw-dropping, knee-trembling event.

One element that made this project exceptionally demanding was the anticipated level of use. Visitors are guided around the Experience by a well-trained, enthusiastic, and highly knowledgeable host. Tours depart every fifteen minutes, twelve hours a day, seven days a week.

The hardware is used intensively, delivering a wide range of content, synchronization between edge-blended screens, and multi-channel audio playback—to small intimate screens, large interactive touch screens, and huge projection screens with equal quality and reliability.

The unique needs of each zone required individualized solutions that had to be carefully worked through. For example, the Shaping Zone offers interactive games that demonstrate the psychology and emotional development stages of All Blacks training—presented on 26 individual touch screens that allow each participant to pitch their skills against the opposing team. At the other end of the scale, the Haka Zone pres-

the buzz ents a stadium pre-match on a four-meter-tall and 17-meter-long blended projection screen, with sound belting out through 14,400 watts of amplification when the haka is performed. The Step-Up Zone presents a completely different challenge to both the visitor and the Toulouse AV designers. Here a series of playing cages with four-meter-tall portrait projection screens are the game surface of choice as visitors compare their skills against the All Blacks themselves when they kick, pass and throw a rugby ball.

Simpson, Managing Director of Toulouse, selected BrightSign players due to a long history with the product. “It is robust, flexible, responsive, and easily adaptable to our needs. Given that we were installing during the pandemic, making supply lines challenging, we needed a product that could guarantee availability and ease-of-use and reliability for the client. Delivery was within the installation timeline, and the players worked across the range of platforms – from intimate to large-format projection.”

The All Blacks Experience is powered by 36 BrightSign HD224 players and thirty HD1024 players supplied by Midwich. Screens vary in size from 32-inch Signage Screens to a 13-meter-wide edge-blended, curved, 3x projector screen.

“In addition, these players can perform many of the functions of a control system,” Simpson adds. Doors and lighting are controlled by the guides using handheld remotes interfaced to the BrightSign players. The players coordinate the tours, forming the front end of a sequential queuing system warning guides if they are in danger of catching up with or conflicting with the experience of another tour. They also collect data from the RFID scanners that visitors use to swipe into games. The BrightSign players transmit data from the visitor’s wristband to the ticketing server that stores the details and returns a personalized greeting or other appropriate message to the screen.

“The All Blacks Experience needs to be exactly the same for the millionth visitor as it was for the first visitor,” Simpson explains.

“Content is delivered over a ring-fenced Gigabit network. This is to avoid any unintentional changes or updates without care and consideration. As control over new content is critical to maintaining quality, we decided to not utilize

FE B R UA RY 2 02 2 | SVC 13

an automated content management system. This gives us complete confidence that the Experience will power up every morning without fail, no screens of death, no updates, no issues.”

Simpson is justly proud that the Toulouse team delivered such a technically complex and demanding project on time and on budget, working largely in lockdown. “Even though we opened during a global pandemic, the reac-

tion we saw from visitors was everything we hoped for and more,” said Phil McGowan, General Manager of the All Blacks Experience. “Rugby fans emerge very emotional.

The All Blacks Experience has performed flawlessly since opening. Blank screens or screens displaying incomplete content would destroy the magic and the atmosphere we have worked so hard to create.”

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the buzz CASE STUDY / IMMERSIVE

IMMERSIVE TRACKING Sound Designer Gareth Owen’s utilization of a zactrack SMART automated follow system to track on-stage sound for “MJ The Musical” marks Broadway’s first implementation of zactrack integrated with d&b Soundscape immersive sound design solution. ACT Entertainment is the exclusive distributor of zactrack in North America.

Owen previously used a zactrack PRO system with Soundscape for the Andrew Lloyd Webber musical “Cinderella” in London.

Now, zactrack SMART with Soundscape is making its Broadway debut on “MJ The Musical,” which was scheduled to open February 1 at the Neil Simon Theatre starring Miles Frost. The new musical centers around the making of Michael Jackson’s 1992 Dangerous World Tour and features the singular moves, signature sound, and creative genius that made Jackson a legend.

Owen tracks every cast member using 28 active trackers. Six cast members wear two trackers each. “They are all from the wire singers and dancers, so they are conFor more case studies, visit stantly in motion,” he notes. “Thanks svconline.com/the-wire.

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to zactrack SMART we can track anything, anywhere accurately and with minimum latency.”

As the Sound Designer for “MJ The Musical,” Owen found the show’s challenges to be twofold. “First, there’s the expectation of the audience: Every person on the planet knows what every single song of Michael’s is supposed to sound like – there’s no room for interpretation, no margin to be anything other than perfect,” he says.

Secondly, “the show’s producer is former Sony executive Lia Vollack, an accomplished sound engineer in her own right. She has extremely high expectations and an incredible breadth of technical knowledge,” Owen points out. “So it was daunting but flattering to be picked to do this job.”

For the last few years Owen and his team from Gareth Owen Sound have been on the bleeding edge of a new generation of spatial audio sound processing systems, which create the 3D “cocktail party effect in live sound,” as Owen describes it. “We’re nudging up against 10 major musicals where we have used this technology.”

With spatial audio sound processing systems,

on-stage sounds are not sent directly to speakers. Instead, sound from cast members’ radio mics are sent to objects placed within the processing engine, which then decides how much sound to send to each speaker to create a realworld, 3D audio environment. On our first outing with SoundScape tech, objects remained motionless, static in one position. Evolving from there we started to move objects manually, requiring that the sound engineer triggered thousands of manual movement cues as the cast travelled around the stage, which was obviously “unrealistic and impractical,” says Owen.

Using a tracking system seemed like a practical solution, and at about the same time the zactrack SMART system, the world’s first plug-and-play automated follow system, was released. “We’d had a great experience with zactrack PRO and decided their new SMART system was worth a try,” says Owen. “Sound Associates acquired zactrack SMART, and Greg Reif supplied it to us for ‘MJ.’ Sound Associates’ owner Peter Fitzgerald has been extremely supportive of us over the years, and we’re very grateful for the leap of faith they took with us.”

the buzz IMMERSIVE / CASE STUDY

HOLIDAY MAP Immersive technology artists, Lumen & Forge, brought a magical holiday experience for the internationally-renowned Streetmosphere at Grand Canal Shoppes inside The Venetian Resort Las Vegas. This 17-minute projection mapping show, “Holiday Spectacular” was displayed in front of the St. Mark’s Square Clock Tower. The production

features custom animated content accompanied by live, holiday-inspired entertainment with an Italian twist provided by the Streetmosphere cast that performs in conjunction with the animations.

“We love holiday activations. Illuminating the St. Mark’s Square Clock Tower at Grand Canal Shoppes was an exciting project,” says Palmer Nicklas, Creative Director of Lumen & Forge. “We partnered with BESTAgency to produce ‘Holiday Spectacular,’ using projection mapping to augment the architecture with custom video effects that leave guests in awe and in the holiday spirit.”

Lumen & Forge and Senior Animator Chris Butcher worked with Christie Digital, utilizing a 30K lumen Christie Boxer 4K30 projec-

tor and custom media server to animate the Clock Tower and transform it into an immersive experience designed to whisk guests away on a wintery 3D journey to an Italian “Vacanze” holiday using lights and sound.

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from the wire For more case studies, visit svconline.com/the-wire.

TECH SHOWCASE

OUTDOOR AV

By Mary Bakija

Outdoor AV applications are on the rise, both video and audio.

Performance expectations rise along with that. Here are some of the options for AV that can stand up to the elements and deliver the fidelity needed to overcome outdoor conditions.

The AMK DS84-B-X is a Dante audio network addressable and self-amplified ceiling speaker system. The weather and water-resistant speaker is powered by PoE+ network switch, so no external power supply is required, plus it includes a Class D amplifier. The audio network system is also compatible with AES67, which makes it flexible with other audio network systems. The network system is also Dante Domain Manager Ready. The system comes with an 8in. coaxial 40W loudspeaker driver, the CX802, that has excellent dispersion, wide bandwidth, and a smooth frequency response, ideal for overhead commercial applications.

The commercial-grade, all-weather outdoor digital signage display enclosures that are part of the Apollo’s affordable Apollo PRO-X line offer ultra-high bright (1500-4000) nit outdoor applications for 49- to 75-inch ultra-bright displays in portrait and landscape. All-aluminum, powder-coated, and anti-reflective. Tight-Seal Technology combines with thermostatically controlled and filtered multi-fan air-flow system to protect from temperatures ranging from -4 degrees to 122 degrees F, in addition to rain, dust, and insects. The power cable is 9ft. outdoor rated; signal cables are protected by a watertight cover entrance (or choose direct conduit for both). Weatherproof articulating or non-articulating wall mounts are also available.

To withstand the harshest environments, AtlasIED Strategy Series SM63T surface mount

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AMK DS84B-X

AtlasIED Strategy Series just about any surface, though care should be taken to prevent the Apollo SM63T from being exposed to direct PRO X precipitation. The design provides speakers are constructed of weathersmooth, even sound coverage (120°H x resistant materials: UV-resistant, talc 120°V). The high-frequency section is symimpregnated, polypropylene injection molded cabinets; polypropylene woofer cones; metrical, for equal coverage in both vertical and powder-coated aluminum grilles, and all brass horizontal cabinet mounting positions.

The Bose ArenaMatch Utility compact loudhardware. The Strategy Series speaker systems include a versatile C-bracket designed to pro- speakers were designed as a turnkey solution vide easy vertical or horizontal installation on for entire outdoor sound installations; the range

Bose DesignMax DM6PE

TECH SHOWCASE

Bose ArenaMatch Utility

includes both array and utility loudspeaker options for consistent zone-fill coverage and easier equalization of complete systems.

Designed and built for zone-fill coverage or high-SPL foreground music, the four new Bose ArenaMatch Utility loudspeakers (AMU208, AMU206, AMU108 and AMU105) feature similar tonal balance to ArenaMatch DeltaQ array modules but in compact designs. They have the same EMB2S compression driver as ArenaMatch arrays and the same IP55 weather rating. Users may deploy them for zone-fill coverage in sports stadiums, arenas, outdoor entertainment centers, and more. Or they may be utilized to provide intelligible, high-level sound in any outdoor area — from niche venues such as breweries and fairgrounds to larger settings like resorts and outdoor shopping centers. These speakers provide wide, even coverage via a constant-directivity high-frequency horn, which can be rotated for horizontal or vertical installation. The largest model (AMU208) features 70 Hz – 18 kHz frequency range and 126 dB maximum peak SPL, with all models supporting the lowest vocal range. ArenaMatch Utility modules can mount easily with included stainlesssteel U-bracket. ArenaMatch loudspeakers also integrate with Bose PowerMatch amplifiers, ControlSpace DSPs and ControlSpace Designer software, which simplifies setup and monitoring, saving users time with loudspeaker presets for EQ, limiter and crossover settings.

The Community Professional R.35- 3896EN from Biamp is a high performance, compact loudspeaker for fill and supplementary areas in larger venues, and for smaller venues wanting to conform to EN54 standards. With outstanding voice and music quality, the R.35-3896-EN is equally suitable for indoor and outdoor use in a wide variety of applications, including background and foreground music and announcement systems. The R.35- 3896-EN is a fully horn-loaded triaxial three-way, full-range loudspeaker system, designed to provide high-quality voice and music reproduction that can be

Crestron Saros Community Professional R.35

clear even at swimming pools, stadiums, cruise ships, theme parks, and more. Featuring Community’s MultiSource Waveguide horn design, the output from the dual midrange compression drivers and 1-inch exit HF driver are combined into a single time-coherent source, resulting in excellent musicality, intelligibility, and dispersion consistency.

In addition to excellent speech intelligibility and full, rich music reproduction, Crestron Saros SR6T-B-T-EACH speakers deliver solid, weatherized construction and other features that ensure years of reliable performance. The Saros SR6T model is a 2-way surface-mount speaker featuring a 6.5- inch woofer and a horn-loaded 1-inch dome tweeter. A built-in 60 Watt multitap transformer allows for use with 70 and 100 Volt distributed speaker systems. Power handling at 8 Ohms is 150 Watts (program), with a frequency range from 70 Hz to 18 kHz (-10 dB). Its weatherized construction allows for use in outdoor entertainment venues, decks, patios, locker rooms, and swimming pools. Addition-

ally, a weather boot is included to protect the wiring connections from moisture.

Danley Sound Labs’ OS12CX is a high output, fully weatherized outdoor loudspeaker in an ultra-compact box. The OS12CX features a coverage pattern that’s 90 degrees conical, an operating range of 69Hz -21.7kHz +/-3dB, and an output of 124 dBSPL program/127 dBSPL peak. It’s constructed of a thermal molded poly-composite and includes a heavy-duty aluminum mounting bracket and angle strap, making it ready for tough environments including sports venues like hockey rinks and swimming pools, and entertainment venues like cruise ships, race tracks, and water parks.

Designed for the outdoor installation market, the “DX” finish of the D.A.S. Audio WR-6412DX protects the cabinets from the elements thanks to a fiberglass exterior and ISO-flex interior protection, augmenting their weather resistance when used in direct exposure situations. Stainless steel threaded rigging points and optional mounting hardware are also available. The WR-6412DX employs a single 12AV woofer for low-frequency reproduction.

A M-75 compression driver with 3in. titanium

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TECH SHOWCASE

Danley OS12CX

D.A.S. WR6412DX

EAW SMS3

ElectroVoice MTS Series

diaphragm attached to a 60-degree x 40-degree rotatable horn provides exceptional high-frequency reproduction. The birch plywood cabinet construction offers an ultracompact design and is available in black or white.

Designed for outdoor use, the Draper Nocturne projection screen is available in a motorized version (Nocturne Series E) or as a crank-operated model (Nocturne Series C).

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Both are equipped with a weather-resistant solid aluminum head box that includes an installation hinge. They ship in sizes from 65in. to 133in. diagonal with standard cable guides and a weighted dowel. Among the surfaces that can be specified are Matte White, Contrast Grey, ClearSound Perf, ClearSound White Weave, and ClearSound Grey Weave.

Compact design and several mounting options make the EAW Commercial SMS3 (black) and SMS3W (white) compact two-way loudspeakers ideal for use in business music systems. The woofer is a high-excursion, carbon fiber design. The mylar dome tweeter is mounted on a constant directivity horn to provide natural, smooth sound reproduction and high resistance to weather. Installation of the SMS3 is fast and efficient using the accompanying adjustable wall-mounting bracket. Four M6 threaded inserts add to the speaker’s flexibility.

Connections are made to recessed color-coded, spring-loaded terminals. Wattage taps, voltage adjustments, and 4-ohm operation are selectable by means of two detented rotary switches. The enclosure is constructed of high density, scratchresistant polystyrene and includes a protective perforated steel grille and connection cover.

In August the Electro-Voice MTX series was announced, expanding the company’s portfolio for stadiums and sports venues. These full-range, high-output, long-throw, point-source loudspeaker systems feature four 15-inch woofers and dual coaxial mid/high frequency compression drivers. The system is capable of generating more than 151 dB peak SPL with exact directivity for very-long-throw applications. The MTS

Draper Nocturne series includes 16 unique models. These are based on two standard three-way configurations (MTS-4153) with 60 degrees x 40 degrees or 40 degrees x 30 degrees coverage, and two cardioid configurations (MTS-6154) that provide the same coverage patterns with enhanced low-frequency directional control.

The 60 degrees x 40 degrees models can deliver extremely high SPLs: 151 dB peak (music) and 154 dB peak (speech) down to 55 Hz at -10 dB; the 40 x 30 models are capable of 152 dB peak (music) and 155 dB peak (speech) down to 50 Hz at -10 dB. All MTS loudspeakers have an IP55 rating, indicating that they are highly impervious to dust and water ingress. The loudspeakers were designed using exclusive High-Performance Computing (HPC) clusters, running proprietary modeling software designed by EV engineers. The engineering team iterated hundreds of FEA simulations to achieve ideal system performance. This work led to new EV technologies, including the dual lossless Hydra waveform converter that that drives a large constant directivity waveguide with a coherent arc source, ensuring pattern control to below 350 Hz. MTS is engineered for use with amplification and processing from Dynacord as part of a SONICUE-driven hardware/software ecosystem. Proprietary speaker settings and limiter functions ensure exceptional performance with long-term reliability at extremely high output levels. A complete package of design files is provided for advanced acoustical and mechanical system simulation in venues. MTS design files are available now for project planning. MTS begins shipping in Q4 2021.

TECH SHOWCASE

Elite MosicGO system

Holosonics AS-24i

JBL Control 31

Leon B115LX Elite Screens, MosicGo (Movie Music Power Go) 360 System bundles a UST projector with the Elite Yard Master2. The package incorporates the MosicGO portable outdoor DLP, LED UST tablets while sharing photos and videos at the projector (with optional built-in battery). The same time. An adjustable tripod support and set includes a free-standing tripod and Yard a power cord with (US) Type-B, 15A 3-prong Master2 (OMS58H2) 58” folding-frame, out- power connection included. The ultralight teledoor projection screen, plus wireless speakers scopic tripod attaches easily with the projecand power source. All can be carried and set up tor to provide ground clearance with variable by one person. The included MosicGo projec- height settings. The bundled Yard Master2 tor by Elite Projector is a line of stand-alone OMS58H2 is a fast folding and free-standing portable outdoor UST projectors that feature portable outdoor frame projection screen with a a 3-in-1 design. The bundled DLP projector is 58” size in a 16:9 aspect ratio.

The Holosonics Audio Spotlight AS-24i a 1000 lumen Osram LED (20,000-hour lamp life) ultra-short throw (UST) projector with a offers the strongest output and deepest lownative full HD with 20,000:1 contrast ratio. It is frequency response of all models. It is designed IPX2 certified against water droplet ingression. to compete with noisier environments or areas The built-in Hi-Fi sound system can be used to requiring more coverage, making it great for amplify other audio devices. Wireless speaker museums, trade shows, supermarkets, outdoor connectivity allows end users to wirelessly applications, and many retail environments. It stream audio though the projector’s 2 x 8w easily replaces standard 2x2ft. ceiling tile with (75Hz-20KHz) wireless stereo speakers. With no additional hardware. It includes a built-in the integrated power source comes a USB Type- microSD player, and balanced and unbalA charging port and a USB-C video/charging anced audio inputs are standard. Bluetooth and port to accommodate cell phones, laptops, and motion sensor options are available, and it has a

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standard VESA100 mounting pattern.

A two-way, high-output monitor speaker, the JBL Control 31 features a highly outdoor capable design with its included WeatherMax multi-layer grille, plus optional marine-kit grille for salt-air environments. The enclosure material features high impact polystyrene (HIPS) with 10 percent glass fill plus patentpending internal 5mm foamed polyurethane secondary mold for additional cabinet density.

The grille is a zinc-plated and thermoset-composite coated steel, with WeatherMax multilayer foam with a tight-weave mesh vapor barrier. The high-output 2414H-C compression driver has a 25mm exit, and patented design and high-temperature polymer diaphragm. It offers extended bandwidth, extremely smooth frequency response, with 110 degree x 110 degree symmetrical coverage.

The Leon Boundary B115LX from Leon Speakers comprises one 5” outdoor aluminum cone woofer for durability and performance and 1” aluminum/magnesium dome tweeters designed to maintain audio accuracy and imaging in outdoor use. Available in matte black, matte white, and custom colors with a UVresistant finish. Everything from the marinegrade driver to the perforated metal grill to custom mounting brackets is made in America.

In 2018, Leon acquired Maine-based Terra Speakers and their product range including the popular Terra AC line of outdoor speakers and sub. The modern, angular Terra FIVE outdoor range has been influenced by the acquisition.

The FIVE line consists of Terra’s all-climate UniCavity enclosure models, designed to withstand continuous exposure to the elements. The FIVE’s modern, angularly molded Polypropyl-

TECH SHOWCASE LG XE4F

Lowell OS150-TB

ene enclosures keep the elements at bay, and reduce sonic distortion. The line includes three sizes of speakers and a sub. The 50, 50-MT, and 50 MTM are all supported with 5.25” cast frame woofers (two in the MTM). The MT and MTM incorporate Terra’s unique 1.1” inverted Titanium dome fluid cooled tweeter with a computer-optimized crossover; they are

available as 70Volt with a switch for 8W, 16W, 32W, 64W taps or 8 ohm. All three speakers are designed with color to permeate all the way through. Connection is a water-tight 4-foot pigtail; a universal mounting bracket eases installation. The sub is a waterproof, partial-burial unit. Its ACAD™ (Anodized-Ceramic Aluminum Diaphragm) cone is stiff, responsive and

element-proof. The driver’s motor structure includes a large ceramic alloy magnet and a vented 2-inch aluminum edge wound voice coil. Its surround is a half-roll rubber composite that’s also impervious to the elements including salt spray and chlorine mist (as is the rest of the system).

The Lowell OS-150-TB is a 150W indooroutdoor loudspeaker made for applications requiring pattern control. The horn-loaded compression driver controls high-frequency dispersion for systems requiring longer throws or using live microphones. The enclosure is a weather-resistant, UV-resistant polypropylene that can be painted to suit the installation’s needs. The grille is a weather and UV-resistant powder-coated aluminum mesh grille in black.

An adjustable, black, U-shaped bracket for horizontal or vertical installation allows the speaker to rotate 90 degrees, depending on install orientation.

TECH SHOWCASE

Terra FIVE

PixelFLEX FLEXStorm

Martin Audio CSX118 NEC S[quadrat] Q-Series

MirageVision Platinum The LG XE4F models are slimmer, lighter and higher-brightness (4000 nits) in 55- and 49-inch options with HDBaseT connectivity. The screen brightness is automatically adjusted depending on ambient light, increasing during the day for better visibility and decreasing at night or in the shade for efficient power management. Quarter Wave Plate technology enables clearer visibility even when the viewer is wearing polarized sunglasses.

The displays are IP56 certified as waterproof and weatherproof; they are IK10 certified helping to assure protection from external impacts, and the glass is replaceable. The series features a high operating temperature range from -22°F to 122°F. The XE4F series is supported by LG’s webOS Signage smart platform.

The Martin Audio CSX118-WR is a compact, high-performance subwoofer that extends the low frequency operating range of the combined system to 35Hz. It features a long-excursion 18in. /4in. voice coil driver with a water-resis-

Peerless-AV Xtreme High Bright

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tant cone and triple roll surround in a compact reflex enclosure. The design of the 18in. driver maximizes output while minimizing power compression and distortion, and the four reflex ports have a large frontal area to reduce turbulent air noise at very high levels. The enclosure is constructed from highdensity MDF, and its perforated steel grille is pre-curved to withstand physical damage.

The MirageVision Platinum Series 55in. outdoor televisions are equipped with a proprietary software-driven, internal video processor/ scaler (MVVP), which enhances the TV’s brightness, color, sharpness, contrast, image depth, and picture clarity, which provides the best possible picture image when used in outdoor direct sunlight viewing. The Platinum Series is built for

outdoor use: the cabinet has been sealed; there are rear guard breath vents, moisture-resistant internal circuitry, and a water-resistant input cabinet; plus a UV sealer on the outside of the cabinet and enhanced backlight and contrast provide increased brightness/visibility outdoors.

When combined with the company’s Backyard Portable Outdoor TV Cart, it becomes a wireless, portable unit that allows for movement and multiple viewing options.

With pixel spacing options of 2.8mm, 3.9mm, 4.8mm, 6.2mm, and 7.8mm, NEC S[quadrat] Q-Series provides an optimum display resolution regardless of viewing distance. The S[quadrat] Q-Series outdoor dvLED is ideal for live event venues, DOOH, airports, and train and bus stations. Low power consumption and less heat dissipation make Q-Series an environment-friendly option, and a high efficiency LED chip plus black mask provide a high contrast ratio.

Peerless-AV’s Xtreme High Bright Outdoor Displays are the perfect digital signage or entertainment solution for any professional application. Featuring an IP66 Rated design, XHB displays are fully protected against water, dust, moisture, and insects. With an operating temperature range of -31°F to 140°F, XHB displays are designed to thrive outside year-round.

The PixelFLEX FLEXStorm is designed to withstand adverse weather conditions and provide a dependable outdoor LED display option.

FLEXStorm can be used as outdoor advertising, entertainment, and more. Displays can be updated from anywhere with the click of a button using cloud-based content management.

The IP-65 fully-rated outdoor product is key to

TECH SHOWCASE

Planar VVR Series

guaranteeing the longevity of an outdoor LED display billboard. FLEXStorm has brightness offerings between 6500-7500 Nits, providing variable brightness for any condition day or night. It is fully adjustable to the surrounding outdoor conditions via sensors that talk with the screens, control system, making sure the screen

looks best at all times of the day. FLEXStorm utilizes data and power connections that are fully water tight, allowing for stable and reliable connections between each outdoor LED display cabinet.

Featuring 2.9, 3.9, 4.8, 5.9, 7.8 and 10.4 millimeter pixel pitches and high brightness of 5000-nit, Planar VVR Series LED outdoor video walls provide excellent contrast, a wide color gamut and exceptional image quality in high ambient light conditions. The video wall is built with flexibility to easily adapt to various designs, including hanging, stacking, wall-mounted and floor-mounted applications.

With an IP65 Ingress Protection Rating, Planar

Platinum Tools Waterproof RJ45 Coupler

VVR Series outdoor models feature a dust-tight enclosure to protect the LED display in harsh outdoor conditions.

The Platinum Tools Waterproof RJ45 Coupler System was designed for installs where ethernet connections need ruggedized protection due to exposure to water, dust, corrosion, harsh elements, and vibration. It is rated to IP67 to meet harsh environmental conditions commonly found in outdoor and indoor installs, such as wireless towers, security systems, outdoor entertainment venues, industrial manufacturing, LED lighting, emergency communications, marinas, and more. It works with RJ45 (8P8C) connectors, for UTP and STP applications.

The PreSonus WorxAudio I/O-4 is a smallformat, high-performance sound-reinforce-

TECH SHOWCASE PreSonus WorxAudio I/O-4

QSC AD-S12

ment system designed for indoor and outdoor applications where music and speech reinforcement are specified. Its small size and unique appearance make it ideal for restaurants, retail environments, bars, hotels, and other applications where high-quality music systems are specified. A standard mounting bracket provides flexible aiming and easy installation. The versatile I/O-4 utilizes a dual-element array of high-output, 4-inch (101.6 mm) woofers. Its horn-loaded highfrequency waveguide is positioned between the two elements to ensure a coherent and balanced high-frequency response.

The Protective Enclosures Company TV Shield PRO Portrait Touch is a weatherproof digital signage solution designed for wayfinding, interactive movie theater posters, menu

boards, and more. It is a weatherproof, secure outdoor touchscreen display and weatherproof TV enclosure that is made in the U.S. Combining the company’s TV Shield PRO Portrait enclosure and its IP-65 rated IR touch frame, the TV Shield PRO Portrait Touch can be used with any flatscreen TV, completely enclosing it to turn it into an indoor or outdoor interactive touch screen.

Featuring tough metal housing that encases the screen and a high-strength, shatter-resistant, anti-glare polycarbonate front shield, this water-resistant interactive display solution eliminates the risk of having to replace an expensive outdoor touchscreen TV or interactive digital sign if the screen breaks.

The QSC AD-S12 is a 12-inch weather treated woofer with a 1.4-inch compression driver and 75 degrees of conical DMT coverage, which ensures smooth, uniform frequency response over the coverage area. AD Series loudspeakers are qualified for outdoor use using demanding tests for salt, fog and humidity, and have been tested to QSC internal temperature standards between -20 degrees and 50 degrees C. Additionally, the X-Mount

system enables the loudspeaker to be easily installed and deployed at a variety of angles with no slippage over time.

The RCF P6215 is a weatherproof full range, wide-dispersion, coaxial two-way loudspeaker system for high-output and long-throw applications. The high-frequency section is a constant directivity CMD horn loaded to a 1.3in. RCF Precision compression driver with a 2.5in. diaphragm assembly for smooth, wide dispersion. The low-frequency transducer is a 15in. woofer with a 3in. voice coil. The cabinet is equipped with 12 M10 brass inserts, a stainless steel U-bracket and pair of spacers for 90-degree mounting. The cabinet is a single piece, rotational moulded in medium density polyethylene, fully UV protected, and is waterproof to IP 55 code.

The MSE Audio Rockustics Cherry Bomb is a direct-burial landscape speaker. It features a patented three-way, dual-chamber, design.

This design puts the subwoofer in the same cabinet that houses the midrange and tweeter, in an effort to avoid phasing issues and simply installation and performance. It’s an 8 Ohm speaker with a frequency response of 42 Hz

The Infinity Screen by Samsung Protective Enclosures

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Sonance SurfaceMount

RCF P6215

TECH SHOWCASE SoundTube IPD-XT850

Rockustics Cherry Bomb

– 22 kHz, and a maximum program power of 100 watts.

In July, Samsung Electronics America and SoFi Stadium revealed the official name of the 70,000 square-foot, dual-sided centerhung video board at Los Angeles’ SoFi Stadium: The Infinity Screen by Samsung. Named for its unique design Yamaha VS6 and groundbreaking technology, the Infinity Screen features what Samsung describes as the most LEDs ever used in a sports or entertainment venue. With nearly 80 million pixels, each panel can be uniquely or congruently programmed with statistics, live and/or animated content. It anchors SoFi Stadium’s end-to-end 4K video production workflow. The process of naming the video board at and tap selector to speed up the installation SoFi Stadium took many months of consider- process and provide a clean appearance. The ation and testing, with the team reviewing more weather-resistant construction is IPX4, Mil than a dozen names that communicated Sam- Spec 810, and UV IEC 529, allowing them sung and SoFi Stadium’s overall vision. The to be used in either indoor or outdoor appliname “Infinity” comes from Samsung’s long cations. They are available in both black and history with bezel-less displays and the video white (paintable) in 4in., 5.25in., 6.5in., and board’s unique design. Built for the future and 8in. 2-way and an 8in. woofer with UL 1480 positioned 122 feet above the playing field, The and UL 2239 certification.

The SoundTube Entertainment IPD-XT850 Infinity Screen by Samsung has the largest LED content playback system ever deployed. from MSE Audio is an 8-inch, two-way, PoE With nearly 80 million pixels spaced 8 mil- outdoor loudspeaker with Dante-functionality. limeters from center to center, each panel can The two-way outdoor 360-degree loudspeaker be uniquely or congruently programmed with carries a 40-watt PoE amplifier and is designed statistics, live and/or animated content. The for easy installation on IP-addressable Dante different sizes of the video panels are designed networks. The frequency response is 38 Hz – 22 to serve spectators in every seat, from the side- kHz with 101.0 dB maximum SPL. The sealed, line to the upper deck, according to Samsung. in-ground enclosure is designed to support Teams on the sidelines and fans sitting in the low-end response and 360-degree off-axis perlower bowl of the stadium will view the inside formance. The IPD-XT850 is IP55 approved, of screen as it sits directly across from their line AES67 compatible, and includes anti-theft of view, while guests in the upper bowl will brackets and water-tight strain relief. It’s pitched at full-range background/foreground view the outer panels of the video board.

The Sonance Professional Series Surfac- music and paging.

The SunBriteTV Pro Series Model is eMount speakers feature Sonance’s FastMount bracket and a front cable connection designed for permanent outdoor installations,

SunBriteTV Pro

featuring EST Technology to guard against isotropic blackout and an ultra-bright 1,000- NIT panel that provides high readability in any lighting. The 32in. Pro Series model is durable, with its ruggedized, tempered glass shield to protect the LED screen and watertight cable entry systems. All Pro Series displays are equipped with a powder-coated aluminum exterior to protect against rust and prevent inclement weather conditions, including rain, snow, dust, salt corrosion, and insects from affecting internal electronics. SunBriteTV’s Pro Series is designed to perform in temperatures from -40 degrees F up to 122 degrees F. A blend of aesthetic simplicity and functional sophistication, the Yamaha VS6 delivers highquality sound in a variety of indoor and outdoor settings. With a 6.5in. woofer, the VS6 features a 1in. balanced dome tweeter and is available in black or white. Its waterproof construction meets the IEC60529 IPX3 rating requirements for outdoor usage. Internally mounted transformers allow operation in 70V or 100V distributed sound systems, while a dedicated, color-matched steel U-bracket is enclosed for horizontal or vertical installation.

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TECH SHOWCASE

PTZ CAMERAS AND STREAMING DEVICES

By Bennett Liles

1 Beyond Hawk

Developments in the past two years have catapulted conferencing to the killer Internet app while at the same time making live streaming a matter of survival in the house of worship arena. AV manufacturers have responded with cameras, streaming hardware and capture devices that integrate sophisticated capability with ease of use. The items surveyed here illustrate those current trends and highlight that innovative industry response to what have been the most challenging of times.

The conferencing solution for small to medium sized rooms is the 1 Beyond Hawk with its dual PTZ cameras that switch between wide angle and close-ups on the participants. Each camera has a 12x optical zoom that can bring in small detail while using the unit’s built-in audio-locating microphones to find the featured presenter from one moment to the next. A variety of room microphone systems can be used to route the far end audio to the device for echo cancellation.

The AJA Helo is an H.264 streaming and recording stand-alone appliance that can record H.264 files to either SD, SDHC or SDXC cards, USB storage and NFS/CIFS mounted network based storage simultaneously. It takes signals on its 3G-SDI and HDMI source inputs and

encodes 2-channel stereo audio up to 24-bit 48kHz. It also has error logging for quick analysis of streaming issues and a web based GUI preview window. The device is small enough to travel easily and fit just about anywhere.

Designed to capture video up to 1080P and provide 3G SDI, HDMI, USB 3.0, and HD video over IP, the Apantac AP-1080P-PTZ-20x has also incorporated the NDI protocol into its capabilities. This technology allows video and audio sources to be shared bi-directionally across a network and it gives the camera a wide range of applications. The camera supports NDI|HX, USB, IP, HDMI and SDI outputs. Control options include standard IP VISCA, serial, TCP/ IP, and Pelco-P/D control protocol.

The Atlona AT-HDVS-CAM-HDMI can be

AJA Helo Apantac AP-1080P -PTZ-20x NDI

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used in conferencing, capture and online learning while its video signal is sent out on HDMI and USB ports simultaneously. It integrates with the Omega Series and AT-OME-MS42-KIT for a complete, automated conferencing system. The HDMI output can be used with a video conferencing codec, lecture capture appliance, or PC equipped for video capture. Its auto-focused video can go up to resolutions of 1080p/60 over HDMI and 1080p/30 for USB 2.0. The system is capable of H.264 or H.265 streaming over IP with support for RTMP and RTSP protocols.

When connected to any HDMI video source, the AVPro Edge AC-MXNET-1G-E encodes the audio/video signal to a multicast data format capable of being routed to any decoder endpoint within the installation project. The unit connects

Atlona AT-HDVSCAM-HDMI

TECH SHOWCASE

BenQ DVY23 Barix MA400

Blackmagic Web Presenter 4K

AVPro Edge AC-MXNET1G-E

Bolin Technology D Series

Aurora VPX-TC1

via category cable (CAT 6 recommended) to the MXNet Switch (AC-MXNET-SW48) or any other compatible multicast-capable managed L3 network switch. It then transmits a full 4K 4:4:4 60Hz HDMI video signal along with audio, control, power, and HDR metadata signals.

The Aurora VPX-TC1 uses Aurora’s new Mimix CODEC technology to stream video and graphic images at resolutions up to 4K60 4:4:4 over 1G networks. It can be configured as a transmitter or receiver and with no fan, it uses as little as 8W power producing only a single frame of latency at the output. When the unit is used as a transmitter and connected to an off-the-shelf 1G RJ-45 Ethernet switch audio, video, data, and control can be sent securely to one or many receivers. When set up as a receiver, a user can select the local HDMI inputs or an IP source.

Whether in a permanent installation or out on the road, the Barix MA400 provides a link between devices using standard SIP protocol in peer-to-peer mode or through a SIP server.

It is the perfect device for audio distribution or contribution and intercom in a SIP based environment using its Opus encoded bi-directional mono link with microphone or line input and line and speaker output. The amplified 8-ohm output is 5W. The unit is PoE powered and has USB soundcard support.

For those large conferences where it’s a challenge to get all the participants included in the

video image, the BenQ DVY23 has fast movement and a 20x zoom to get fine detail and close-ups while still getting the whole group in the wide shot. Setup is facilitated by the camera’s built-in gravity sensor which automatically adjusts the video image depending on the camera orientation. The system supports streaming formats such as YouTube and Facebook Live. The variety of output and control connections allow it to be easily interfaced with a range of streaming platforms.

The Biamp Systems Tesira LUX IDH-1 can encode and transmit video signals up to 4K60, fully integrating digital audio and video on a single network. Set up through the Tesira configuration software, it simplifies lip sync management and exhibits end-to-end network transit latencies of less than 1.5 frames. Control signals are managed via a separate 1 GB Ethernet port.

The IDH-1 accepts 8 channels of PCM audio for embedding/de-embedding, and includes 2 mic/ line level analog inputs. This model can be used alone or in combination with many additional Tesira devices.

There is live 12G-SDI signal streaming to YouTube, Facebook, Twitter and other platforms with the Blackmagic Design Web Presenter 4K complete streaming solution.

The unit’s built-in USB connections enable a computer to be connected with any streaming software along

with Skype or Zoom. The user can stream to the internet via Ethernet or connect a 5G or 4G phone to use mobile data. The technical monitoring output includes video, audio meters, trend graphs and SDI technical data.

The Bolin Technology D Series Dante AV PTZ cameras include the D412 and the D220.

These bring Dante AV network technology to the PTZ camera world over a standard 1Gbps network. They feature the capability to output a high quality color image up to 4K60/ Full HD with control via the Dante Controller Software. The D412 PTZ provides up to 4K60 3860x2160p: 60/59.94 image resolution with 12x optical zoom while the D220 PTZ provides image resolution up to Full HD 1920x1080p: 60/59.94 with a 20x optical zoom.

The security arena is very active and the Bosch AUTODOME inteox 7000i is at the forefront of technology here with auto tracking, machine learning, and deep neural networkbased video analytics. Running on a new open camera platform called INTEOX, the system can add third-party software apps for customized applications. Built-in Intelligent Video Biamp Analytics uses metadata to add sense and Systems structure to video footage, enabling the Tesira LUX camera to understand and make sense IDH-1

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TECH SHOWCASE ClearOne Unite 200 Pro Camera

Hanwa Techwin QNP-6320R

Bosch AUTODOME inteox 7000i

of what it sees and its low light capability also broadens its application range.

An unobtrusive and capable conferencing camera is available in the ClearOne Unite 200 Pro professional PTZ system. It combines a 20x optical zoom with a 16x digital zoom to enable a very wide array of applications. With 1080p60 resolution, the imaging system can produce fine detail within large meeting spaces. It can be controlled through USB network, RS-485 and RS-232 interfaces while the signal-to-noise ratio of the CMOS sensor combined with 2D and 3D noise reduction algorithms gets clear images in low light.

Using standard Gigabit Ethernet for 4K60 4:4:4 video, the Crestron DM-NVX-351 encoder/ decoder supports HDR10 and HDCP 2.2 with builtin scaling and video wall processing, adaptive bit rate, surround sound to stereo downmixing, USB and KVM routing along with optional fiber connectivity. Other features include secure webbased control and management, autoswitching HDMI inputs, a scaling HDMI output, video wall processing, surround sound to stereo downmixing and native AES67 transmit and receive capability.

The Hanwha Techwin QNP-6320R, as part of the company’s Q Series PTZ products, has reduced weight and enhanced its pan and tilt speed. This enables it to exhibit improved sub-

ject tracking capability especially in the tilt range, going from 20 degrees up from level to 110 degrees below. Its 1/2.8in. CMOS imaging produces video resolution up to 1920x1080 and color picture in lighting levels down to 0.05Lux (F1.6, 1/30sec). The 30x optical zoom ranges from 4.44mm to 142.6mm.

The ability to stitch together the video from three cameras for an undistorted 180-degree view is just one new feature of the Jabra PanaCast 50 video bar. High power Edge-AI processing enables it to focus on the active speaker in a conference setting. Video data in Jabra Xpress allows users to analyze their previous meeting history. Intelligent algorithms automatically capture and live-stream whiteboard content in real time. The PanaCast 50 is UC-optimized and plug-and-play but there is also a remote control for manual operation without the user leaving his or her chair.

Equipped with NDI|HX and SRT streaming, H.265/H.264/MJPEG encoding, and VITC (Vertical Interval Timecode) multi-camera synchronization technologies, the JVC KYPZ400N provides high quality, low latency IP video. The camera adds automatic repeat request

Jabra PanaCast 50

JVC 4K KY-PZ400N Crestron DM-NVX-351

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(ARQ) and forward error correction (FEC) to prevent packet loss. There is also stream encryption for content protection. The multicamera synchronization aids its use in live event streaming coverage. The 4K 1.25in. progressive scanning CMOS image sensor sees through a lens with 24.5mm wide angle view and a 12x optical zoom. HD versions of the PTZs, the KYPZ200NW/NB and the more economical HD KY-PZ200W/B, began shipping in November.

The Kramer Electronics KDS-8 high−performance, zero latency, 4K@60Hz (4:4:4) video streaming transceiver can be configured as either an encoder or decoder. This model is a standard and compliant SDVoE codec with compatibility on a variety of streaming systems. A separate KDS–8–MNGR device can provide a central point of management for creating multiple virtual matrices, video walls and multi-view configurations. Features include bidirectional IR control, analog audio embedding and LED indicators for complete function and error monitoring.

Kramer TECH SHOWCASE KDS8

Liberty AV DigitalinxIP IPEX2101

For transmitting HDMI video and audio over 1GB network infrastructure the Liberty AV DigitalinxIP IPEX2101 uses H.264 AVC encoding with a data rate up to 30 Mbps and it supports video signals up to 1080p@60 Hz. The device also has an analog output with de-embedded 2-channel stereo audio from the HDMI signal.

It can run on PoE and operate 3rd party devices via RS-232 while producing that 1080p@60Hz video resolution. The RS-232 port operates in a pass-through capacity to control a third party device such as an A/V switcher or other device.

A central part of their new Encode family of live media encoders is the Magewell Encode HDMI with support for H.264, H.265, and NDI|HX encoding. These devices can use streaming protocols including SRT, RTMP, RTMPS, RTSP, and HLS. This model as well as the Encode SDI can be teamed with Magewell’s Pro Convert decoders for a complete streaming solution. It is capable of accepting and looping through video formats up to 4096x2160 4:4:4/4:2:2 30fps or 4096x2160 4:2:0 60fps. On the sound side, it can support 48KHz, 16-bit 8-channel audio streams.

In January the Marshall CV605-U3 USB-C Zoom-certified PTZ camera with IP debuted.

The CV605-U3 PTZ Camera offers flexible output options with USB-C and IP and HDMI. The CV605-U3 with 5X utilizes a 2 Megapixel sensor to deliver up to 1920x1080p resolution at 60fps. The wide-angle optical zoom lens offers 85-degree horizontal AOV (wide open) with minimal distortion and ability to reach out to 15mm with additional 12x digital zoom.

Real time decoding of four 4K live MPEG2-TS, RTSP, and SRT streams at low latency is no problem for the Matrox

Magewell Encode HDMI

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6152 Quad 4K Decoder. This H.264 decoder integrates seamlessly into existing 1GbE networks and exhibits latency down to 50ms at low network bitrate consumption when paired with the Maevex 6100 Series encoders. The unit achieves secure connections through encrypted transmission over internet. PowerStream Plus software allows configuration of multiple screens including Picture-in-Picture (PiP).

In February, the MAXHUB UC P20 4K 60fps PTZ with 12x optical zoom (16x digital zoom) was announced. This premium 4K UHD camera carries a 8.51 megapixel CMOS image sensor for UHD video quality of up to 4K at 60fps. The UC P20 can zoom up to 192 times, extending capture reach to as far as 656 feet. The camera’s HFoV (Horizontal Field of View) is 71 degrees; tilt functionality equals ± 30 degrees and pan measures ± 170 degrees, with 255 presets. Gravity sensors support ease of installation as does an an RJ45 connector, support for PoE (power over Ethernet), an HDMI 2.0 port, and a USB 3.0 connector.

The demands of high-end video production are easy to handle for the Panasonic AW-UE150 PTZ camera with its 20x optical zoom, optical image stabilizer, High Dynamic Range and Night Mode support. Up to 100 still images can be captured and saved as JPEG files to the builtin camera memory and there is even a large tally light on the lens front. IP image output, settings and control can be performed using a web browser. IP connection from the

Remote Camera Controller Panasonic AW-RP150GJ through a AW-UE150 HUB (switching hub) enables control of up to 200 AW-UE150W/K units.

The PTZOptics SuperJoy, is a PTZ camera joystick controller. The controller features on-screen-display controls, quick camera select buttons, and Power over Ethernet support, plus an enhanced ergonomic experience with rubberized buttons. The SuperJoy supports both serial and IP camera connections making it a flexible 2-in-1 production solution; NDIv4 is also supported.

Operators can save cameras into unique groups, enabling the SuperJoy to be used in multiple locations and even control multiple cameras at once for scene changes. The SuperJoy also includes four custom buttons to take control of other IP-connected devices. Live video preview is supported via HDMI port The new QSC NC Series includes three models. The Q-SYS NC-110 is the first fixed-lens, ePTZ camera available for Q-SYS, featuring a 110° horizontal field-of-view (hFOV) with digital zoom capabilities for smaller, wider rooms. The new Q-SYS

Marshall CV605-U3

MAXHUB UC P20

Matrox Maevex 6152

Speco Technologies O4P25X

TECH SHOWCASE

Sony SRG-X400

Vaddio RoboSHOT 20 UHD OneLINK Bridge System TekVox 79068-4K-12

NC-12x80 (12x optical zoom, 80° horizontal FOV) and Q-SYS NC-20x60 (20x optical zoom, 60° horizontal FOV) both offer motorized pan, tilt, and zoom (PTZ) functionality to enable a broader range of room layouts, sizes and purpose. In addition, all NC Series cameras include hardware to allow mounting above or below displays. As native Q-SYS devices, options open up for routing and delivery including simplifying streaming to standard IT videoconferencing platforms; also users can scale down by combining with Q-SYS Core Nano or Q-SYS Core 8 Flex to expand software-based audio, video & control into smaller collaboration spaces.

The versatile Sony SRG-X400 remotely controlled PTZ camera brings a 1/2.5-type Exmor R sensor complemented by the integrated high-resolution lens that offers zoom capability up to 40x in Full HD (30x in 4K), with an expansive wide-angle coverage of approx.

70°. High-speed movement during preset recall captures the speaker’s every movement; Picture Freeze during transitions PTZOptics SuperJoy

ensures that rapid camera movements don’t disturb the audience.

The PTZ Motion Sync function allows smooth formats work especially well for conferencing, blending of separate pan, tilt, and zoom move- lecture capture and house of worship producments. IP-based live production is augmented tion. Among the control features are RS-232 In/ with support for NDI|HX (via optional license), Out, RS-422/485, rotary DIP switch and LAN allowing flexible configuration with other net- on RJ45. There is also a stereo audio line input worked NDI-enabled devices. Images can also and the camera has 255 configurable preset be reviewed remotely via a web browser, with positions along with advanced auto-focusing support for RTSP (Real Time Streaming Proto- and noise reduction.

Conference rooms are kept clutter-free with col) ensuring smooth, stable streaming of video plus audio (from an optional microphone, avail- the Vaddio RoboSHOT 20 UHD OneLINK able separately) over an IP network. The Ver- Bridge System. This is an Ultra HD (4K) PTZ sion 3.0 update for the BRC-X400, SRG-X400, camera and bridge unit that has simultaneous and SRG-X120 cameras, will support the SRT HDMI, USB 3.0, IP Streaming, and HD-SDI outputs along with a configurable audio matrix (Secure Reliable Transport) protocol.

The Speco Technologies O4P25X can quickly featuring automatic echo cancellation. Power, zero in on anything within its wide range while video and control can be conveyed over a single running on AC or PoE+ and using its 25x optical CAT-5e cable up to 230 ft. The camera has a zoom. In low light its IR range is up to 328ft. 12x optical zoom lens that seamlessly transiand it features 2-way audio. The IP66 compli- tions to a 1.67x digital zoom.

The Vitec MGW Diamond 4K and multiant, weather resistant enclosure protects the system while its Micro SD card slot captures up to channel HD SDI encoder is built road-tough 256GB. The imaging is based on a progressive capturing up to 4x 3G/HD/SD-SDI or comscan 1/2.5in. 4MP CMOS for maximum reso- posite inputs and streaming live up to 8 chanlution of 2560x1440. Network connection is nels. This unit can produce time synchronized on RJ45 and there is an alarm input and out- multiple independent IP streams in a wide range of production environments. The MGW put. Zoom speed has three settings.

For indoor production applications Diamond also supports KLV/STANAG metawhere silent pan/tilt and versatile control- data ingest from various sources (SDI, IP or Serial), real-time image cropping and video lability are high-ranking features, the scaling, Forward Error Correction Tekvox 79068-4K-12 is a first-rate (FEC) streaming and JITC compliant contender. The 12x optical zoom QSC NC output streams. and HDMI/USB video output Series

Vitec MGW Diamond

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EXPO 2020 DUBAI Technology shines through

By Cynthia Wisehart

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xpo 2020 Dubai opened its doors to the world on a pandemic schedule—October 1, 2021.

By mid-January, attendees from 185 countries had registered ten million visits; the Expo will welcome millions more visitors from across the globe through March 31, 2022. While this Expo is unique as the first be held in the Middle East, Africa and South Asia (MEASA) region, it continues 170 years of Expo tradition as well, with cuttingedge architecture and technology.

E

Expo 2020 Dubai occupies a 4.38 sq km site adjacent to Al Maktoum International Airport in Dubai South and was designed as an ongoing attraction around the themes of mobility, opportunity, and sustainability. In addition to the three themed pavilions, for the first time in Expo history, all 192 participating countries have their own pavilions, most of them drafting off the main themes.

From an AV standpoint, this Expo is a showcase of projection and could be said to usher in a fresh chapter for projection technology, in particular the RGB pure laser projectors from Christie, the official projection and display partner for the Expo 2020 Dubai.

Chrstie projection and display technology is used to show content and provide experiences across the entire event site, but nowhere so dramatically as the centerpiece Al Wasl Plaza dome where Creative Technology Middle East was the AV integrator for the world’s largest 360-degree projection surface, and worked in close collaboration with Christie through the design, supply, and installation process.

For the dramatic opening ceremony, a worldwide audience of millions tuned in to witness a 90-minute immersive spectacular with a 1,000-strong cast and crew. Al Wasl Plaza’s incredible dome came to life with

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252 Christie D4K40-RGB pure laser projectors—an unprecedented assembly of visual firepower. The projectors are located in pods around the inside perimeter of the dome; the projectors displayed scenes on the 130-meterwide projection surface, which could be seen from both inside and outside the dome. The projectors utilize a unique power management approach to energy-efficient operation and deliver visuals that leverage the impact of RGB lasers.

No one at Christie is closer to the evolution of projection in general and Expo 2020 Dubai in particular than Bryan Boehme, Executive Director of Enterprise Sales, Americas.

Christie.

“I’ve been involved with Expo for about four years starting very early in the design phases,” Boehme recalls, and cites the technical alignment that the Expo leadership (not always a given in projects like these). “We were literally part of the design and concept, which is really what you want on a project like this.”

Christie team members Doug Starr—director of the IP solutions team—and account manager Hope Mason lived on site for 18 months.

Meanwhile, manufacturing was delivering the first D4K40-RGB products off the line into the highest profile test imaginable, each one certified and tuned for installation.

“It was really a partnership between our team in North America, our local team in Dubai, who continue to offer tremendous support, the Expo leadership, the many contractors from various disciplines, and the integrator

“The Mechanics of Wonder” is an immersive installation that uses seven Christie 3DLP projectors and Christie Conductor software to projection map visuals onto a model of a human brain. The installation was conceptualized and planned by Simpateka Entertainment Group, with video content produced by dreamlaser, and equipment and technical support provided by Big Screen Show.

CTME,” Boehme says. On the one hand there were taxes, tariffs, and customs to smooth, on the other hand, like any unique themed entertainment adventure, it came down to the people and the creative, architectural, and technical expertise on hand. “No one had ever

Expo Cloud In conjunction with Dubai Media Incorporated (DMI), TVU Networks is producing and delivering cloud-based video footage from Expo 2020 Dubai to anyone around the world interested in the event. Two live video sources from Dubai TV are being offered to TVU MediaSource and TVU Grid customers, and footage from the festival is available to all TVU Search subscribers for free. TVU Networks is offering its TVU One 4K HDR 5G mobile transmitters to visitors for rent or purchase as well as solutions within its cloud-based video production ecosystem: TVU Partyline, TVU Producer, TVU Server, and TVU Grid.

TVU MediaSource is a cloud-based platform that lets users access live source video clips to quickly, efficiently, and cost-effectively create their own news stories. The AI-based TVU Search uses speech, text, and facial recognition to help storytellers locate the precise video needed – down to the very frame – in seconds rather than hours manually searching for feeds. TVU Producer enables multi-camera and full featured live cloud production to traditional SDI infrastructures, as well as streaming to social media channels, websites and web streaming platforms. TVU Partyline’s realtime collaboration and engagement platform enables remote crews, talent, and fans to interact with synchronized HD video and audio. TVU Grid is used by news agencies and media organizations around the world to switch, route and distribute live video feeds over commodity internet.

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done anything this large or with this many projectors together. We were a room full of 25 people and within 72 hours we had designed the pods that house the six projectors.” Among the challenges—how to cool the projectors when the outside air is hot and sandy. “How was the air going to flow around all six projectors?” Boehme mused. It was all part of creating the canvas from a creative standpoint, and insuring technical redundancy and reliability for an attraction that could not go down.

“They also were looking at this for the longer horizon,” Boehme adds. “Forty percent of the attractions are staying in the second phase. Its 10-year mission is to be a technological city that’s supposed to be very green and energy conscious. So that also had to be kept in mind as well.”

For projection veteran Boehme, one of the most satisfying aspects was seeing projectors deliver the Rec. 2020 colors on such a grand scale—“colors in that dome that you’ve never seen before,” he recalls. For Christie—who arguably set the standard for digital cinema

Ducai Media Office

Expo Control

Christie’s role as technology partner to Expo 2020 Dubai saw scope expand to include the Expo Operations Centre (EOC) which co-ordinates activities for the key operational team, is home to three video walls powered by Christie products, including twelve 4K 30,000 lumen projectors and Christie Terra transport, processing and control solutions, as well as support from Christie Professional Services.

The EOC covers all site operations, including roads, transport links and policing, and has video walls installed to afford key stakeholders from these areas a full overview of the site for real-time monitoring and decision-making purposes.

The focal point for the Dubai Police Operating Centre (DPOC) is a huge video wall measuring 27 metres (88.5 feet) wide by 5 metres (16.4 feet) high. Similarly, the Technology Operations Center (TOC) and Main Operations Center (MOC) have 23x5m (82x16 feet) video walls. Each of the video walls is split into five separate screens powered by five Christie Boxer 4K30 projectors, one for each display, and the Christie Terra processing and control equipment.

The specification team chose projection over a flat screen video wall for several reasons, including its ability for 24/7 operation for mission critical operations, the sheer size and desired resolution of the display area, the versatility offered by projection in the shaping, sizing and switching of video wall content, its cost-effectiveness, and lastly, the minimal impact on infrastructure, allowing the space to be re-purposed more easily after Expo 2020 ends.

Full Compass isn’t a call center. We’re a Christie Boxer projectors are running in Ultra High Definition widescreen (16:9) mode and each family-owned business that’s been around since video wall can be split into different combinations of separate smaller screens including 2x2 1977 and prides itself on getting to know and 3x3. The Christie Terra processing equipment you. Our team of trained and certified includes over 100 transmitters and receivers, as well as five controllers managing the different product experts has an average tenure layouts. This set up ensures seamless switching of nearly 20 years in the professional aubetween the multiple layouts and simple and intuitive connection to the myriad sources. The dio, video, and lighting industries. combination of projection and Christie Terra as a single platform for signal distribution, Your certified Sales Professional video processing and remote control has prois ready to create customized vided Expo 2020 with the huge, high-resolution digital canvases needed, while keeping costs solutions that match your within budget.

Christie Professional Services is on hand to specifications, budget, support the Expo Operations Centre with around and timeline for any the clock technical support and service response through Christie’s own Network Operations size project.

Center. Christie’s Middle East service center and valued system integration partners will also play a pivotal role in supporting the EOC. A dedicated team of highly-skilled Christie service engineers will be onsite to provide prompt emergency repair and resolution, ensuring Expo’s display solutions continue to work flawlessly through the duration of mega-event and beyond.

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Call 800-356 -5844 fullcompass.com

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earlier in the century—this was a chance to bring RGB to projection mapping. “You couldn’t do that with the first round of cinema projectors because the laser units were separate from the projector head,” Boehme recalls.

“Expo wanted something that nobody had seen before.” The first all-in-one 40K RGB projector—indeed 252 of them—turned out to be the right convergence of technology and opportunity, a centerpiece worthy of the massive Expo.

In addition to anchoring the Expo, the dome shows an ever-changing program of content over the six months, with pieces by over 15

commissioned artists. In 2019, Christie participated in the testing of the dome in Dubai supported with 4:4:4 10-bit servers so the artists could see the platform and palette.

“We also designed a new software for this as well to control all 252 projectors.” Boehme explains. The Christie Conductor software can monitor and control up to 256 Christie 3DLP projectors on the same network from a laptop.

“When you are doing a project like this starting with serial number 0001, it says something about the way we design and manufacture and the responsiveness of that,” Boehme

says. “I was proud that we saw early on that we could make the product last longer and perform better and we went back to all those units and upgraded them.”

Boehme says the innovation on the 40K RGB played out in lower lumen options, including the Griffyn 4K32-RGB, which Boehme says has “an almost three-dimensional depth of color,” and the M 4K25 RGB with it’s 7000:1 contrast ratio. It all speaks to the resurging relevance of projectors where color resolution, accuracy, and saturation are what make the experience for the viewer.

Expo Audio Genelec joined forces with Business Finland to showcase its Smart IP networked loudspeaker technology at Expo 2020 Dubai. A total of eighty-four 4420 Smart IP installation loudspeakers are incorporated into Finland’s Snow Cape Pavilion, including a ten-channel immersive loudspeaker array that will reproduce specially commissioned sound art by Finnish composer Emilia Takayama, entitled ‘The Land of Snow’. The Land of Snow represents the Finnish seasons of the year, creating an immersive atmosphere through instrumentation, melody, and harmony--plus sound recordings of nature, which are embedded into the composition.

Within the Snow Cape Pavilion, over 100 Finnish companies present world-class solutions in areas such as natural resources and energy, ICT and digitalization, smart cities, technology, education, health, design, and tourism. The Pavilion focuses on ‘Sharing Future Happiness’ by highlighting the symbiosis of people, pure nature, and technology, and Finland’s key strengths: education and know-how, functionality and wellbeing, and nature and sustainability.

In the Snow Cape Pavilion, seventy-four 4430 Smart IP loudspeakers are located in the exhibition area, configured as a custom immersive array, while the other ten 4430s will be handling The Land of Snow sound art content in ‘The Gorge’ area of the building. The entire system is fed via Dante and powered using standard PoE+ network switches; it waws designed by Genelec and commissioned by GSL Professional in Dubai, Genelec’s local distribution partner. The system installation and programming were handled by Audico Systems from Finland.

Twenty-five Italian-made Powersoft amplifiers are handling the audio demands of the award-nominated Italy Pavilion at Expo 2020 Dubai, designed by CRA (Carlo Ratti Associati), Italo Rota, Matteo Gatto & Associati, and F&M Ingegneria. The pavilion centers on a spectacular 3D-printed, 1:1-scale reproduction of Michelangelo’s David created in Powersoft’s home city of Florence.

The pavilion, based on the theme ‘beauty connects people’, had already

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proved to be one of the most popular attractions, with more than 200,000 visits in the first month alone, including the thousands who attended concerts by celebrated pianist Ludovico Einaudi and the Maggio Musicale Fiorentino orchestra conducted by Zubin Mehta.

Key to that popularity is the powerful audio experience created by the pavilion’s all-Italian sound system, which complements a striking, sustainable visual design featuring two million recycled plastic bottles. Powering the system are 25 Powersoft amplifiers supplied by PRO LAB, the company’s exclusive distributor in the GCC countries and Lebanon, and installed by local systems integrator SIBCA. Two of the five Quattrocanali 2404 DSP+D amplifiers are used in the main auditorium and restaurant areas, while another three are equipped in the first hull, the white space, and the skywalk (which offers visitors a panoramic view of the pavilion from an 11m skybridge). Two Quattrocanali 1204 DSP+D, the 2404’s 1,200W baby brother, are installed in the FS Tunnel, a partnership with FS Italiane (Italian State Railways).

Four Mezzo 322 AD are powering the Belvedere, an area featuring a 360° projection of some of Italy’s most famous landscapes, and another four the Teatro della Memoria, where the 17-foot David replica is installed.

A further 322 AD is installed in the VIP lounge. Also from the compact Mezzo family are the two Mezzo 324 AD installed in the cultural space and innovation space, and the two Mezzo 604 AD powering the VIP area and extra VIP space. Five Mezzo 602 AD, meanwhile, are driving the VIP meeting room, education lab, head office and cafeteria, as well as joining forces with the Quattrocanali 1204 DSP+D in the FS Tunnel.

As well as featuring only Italian amplifiers, the Italy Pavilion’s loudspeakers are Italian throughout, with the Powersoft amplifiers powering a range of RCF, K-array and FBT loudspeakers.

TECHNOLOGIES FOR WORSHIP RF, INTELLIGIBILITY, AND MULTI-SITE

* I NCLUDING ABSEN • HALL TECHNOLOGIES

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TECHNOLOGIES FOR WORSHIP

RF RESILIANCE ox Church, a multi-site, non-denominational church whose campuses cover much of New England’s central and southern tiers, from Stanford, Connecticut, to Worcester, Massachusetts, puts a lot of emphasis on music performances and communication from the stage. But operating their eight locations (with a ninth expected to open shortly) in a region of the country crowded with television broadcast stations, and heavily populated with event sites that use wireless mic and in-ear monitor systems, makes for a challenging RF environment.

That’s what Vox Church’s A1 audio engineer Eugene “Geno” Mulcahy was facing when he came aboard several years ago to help the fast-growing church deal with its proliferating number of wireless channels, used for both vocals and speech, and for in-ear monitoring.

Mulcahy came to Vox Church after a decade at the massive Mohegan Sun Casino, about 25 miles east of the church’s main Branford, CT location. Helping build and manage the resort’s sprawling RF infrastructure “was a trial by fire, putting wireless microphones into every aspect of the property,” Mulcahy recalls. “But it really taught me the importance of establishing a good RF infrastructure for wireless.” At Mohegan he also encountered what would become a foundational part of that infrastructure, when he met RF Venue co-founder Chris Regan

V

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as the new brand was first getting its RF product line off the ground.

“Chris really showed me how critical the antenna and its distribution is to a reliable wireless system,” he says.

Mulcahy brought those lessons learned to Vox Church, where he implemented its wireless systems using wireless antennas and signal combiners from RF Venue. “Antennas and distribution are the non-fun part of working with wireless, but they are mission-critical to making any event happen flawlessly,” he says. “The RF Venue products do the one thing that absolutely has to happen with wireless, and that’s make sure there are no dropouts. If you lose audio during a service, especially during the streaming audio that’s going out to other campuses that depend on taking their music cues from us, it’s game over. It’s as bad as losing video. We do what is called point-to-point streaming, where we send various channels to our other church campuses so the band at the remote locations can play along with the main worship band at our broadcast location. If the worship leader’s mic fails, it not only fails in the live performance area but also at the other locations.”

The Vox Church antenna, distribution and combiner systems include the RF Venue Diversity Fin Antenna, a multi-purpose antenna that can make an RF system less susceptible to dropouts thanks to a patented cross-polarized design. It provides a diversity solution in a single package by combining one log-periodic dipole array (LPDA) and one dipole

TECHNOLOGIES FOR WORSHIP

antenna in an orthogonal (right angle) configuration (where one element captures vertically polarized waves, and the other horizontally polarized waves). Unlike traditional “paddle” or “shark fin” antennas, the Diversity Fin allows receivers to see a constant signal regardless of microphone orientation, allowing the user to hold a wireless microphone in any position relative to the antenna without signal loss. These antennas interface with RF Venue’s DISTRO4 and DISTRO9 distribution amplifiers, which feed RF to multiple wireless microphone receivers of any brand. The DISTRO4 has dual inputs that combine the two outputs of the Diversity Fin Antenna for distribution to up to five wireless microphone receivers, along with regulated 12 VDC power. Six DISTRO4’s can be connected together to feed up to 25 receiver channels. The DISTRO9 features dual zone inputs for reception from dual Diversity Fin Antennas. Its nine outputs can be used to directly feed wireless mic receivers, or to feed the inputs of additional DISTRO9 units to in turn feed up to 81 receiver inputs. To ensure a consistent signal with in-ear monitors, RF Venue’s COMBINE4 and COMBINE8 can combine the outputs of four or eight wireless monitor system transmitters into a single output to feed the CP Beam Antenna, a lightweight, circularly polarized helical antenna.

Mulcahy has implemented RF Venue products throughout most of Vox Church’s campuses and is adding more as opportunities present themselves, creating what he calls a “soup-to-nuts reliable infrastructure for wireless.” At the same time, he adds, RF Venue allows him to use any wireless microphone and IEM systems he wants. (Vox Church

is using Shure ULX-D for the former and Sennheiser IEM G4 for the latter.) “Antenna choice, placement, and management are the most important aspects of wireless, and RF Venue has made those aspects easy to take care of,” he says. “At our New Haven campus we have as many as six channels of wireless microphones and 12 monitor mixes each Sunday. For our big 10th anniversary show [which took place in September] at the Westville Music Bowl in New Haven, we had 16 IEM mixes plus the eight handhelds. And never a single drop out. RF antennas aren’t the glamorous part of audio, but without them there’s no show.

With RF Venue, there’s never a drop out.”

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TECHNOLOGIES FOR WORSHIP

SVC INTERVIEW

KEEP UP

A multi-site church brings worshipers back with passionate sound With Bennett Liles

hrist Fellowship Miami was a fastgrowing multi-site church with sound systems that could barely keep up. With the help of Summit Integrated Systems, the young congregation is getting set up for better live music just in time to come back together. Summit’s Deron Yevoli and Christ Fellowship’s Garrett Siljee have the story.

C

SVC: Garrett, your church has a very progressive style with plenty of live music. They sound fantastic online so tell us about Christ Fellowship Miami.

Garrett Siljee: We’re a multi-ethnic, multi-site church with campuses in Miami, the Caribbean, and Latin America. Currently we’ve got seven locations in Miami and then eleven internationally across four different countries. Our style of worship is energetic, aimed to engage multiple generations--starting with our students in middle school and high school, and ranging up to all ages of adults. We prioritize our style of ministry and community reach, so we like to have an impact. And we standardize our tech across all the campuses, so that means we use consistent branding. We try to create a consistent experience so when you walk into Christ Fellowship Miami at any of the campuses, it sounds the same, it feels the same, and it looks the same. Our production staff is actually very young. The average age of our team members is 24 years old and they usually have about two to three years of experience. But each of them has learned quickly to create an excellent production experience. We stream live to all of our Miami campuses from our Doral broadcast location. We stream the worship song before the message—all of our campuses are worshiping in that song together right before our pastor comes up and preaches for that day.

You’re the Multi-Site Production Director so that puts you right in the middle of all this.

Siljee: Yes, sir, it means that I’m the one stirring the pot to keep it interesting.

You teamed up with Summit Integrated Systems in Colorado for this upgrade. Deron, that’s your outfit so give us the lowdown on Summit

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TECHNOLOGIES FOR WORSHIP Integrated Systems and what your guys do.

Deron Yevoli: We’re an AVL design/build firm based out of Louisville, Colorado. We’ve been doing AVL integration work since 1997, so what is that, 24 years now? We made the transition to just do house of worship about ten or twelve years ago. We exclusively service churches across the US. We’ve done everything from Miami, obviously, with Christ Fellowship, up to Washington to Boston to California. I’m the Director of Projects at Summit and so I oversee a team of project managers who are doing the system designs, specifications, and working with customers to make sure their installation is working with their visions. We always start with vision from where the church wants to go and what do they want to do in ministry and what are their goals? And then we filter that down into technology. We don’t want to just have the technology drive the church, we want that to be the opposite. With Garrett in particular, he had some great vision around what he wanted his systems to look like and feel like across all campuses Garrett, you got together with Summit for a sound system renovation to make things operate and sound the same at the different locations. That’s a big job with completely different styles of buildings and their acoustics.

Siljee: With a multi-site church, one of the tensions is--what happens when your campuses look nothing alike? We don’t have any two buildings that are the same shape or look. So that’s why having AVL define that standardized experience was a key factor. For us, one of the things we noticed was when we have all different buildings and we have all different brands of PA, there’s no consistency in the sound or the feel of the worship. And then in addition to consistency, we also noticed, espcially at our broadcast campus, we were really lacking a dynamic range. It was very high-end heavy and very low-end heavy and not a lot of in between. So it didn’t have a lot of energy, it didn’t have a lot of punch, and when we tried to push the energy, it hurt. It was harsh. So we were really striving to get a better-sounding experience. But even more important than that, our previous array didn’t match our curved worship center feel and so we had a lot of hot spots. We were looking for a PA that was going to be able to give every seat in

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TECHNOLOGIES FOR WORSHIP

the room a consistent experience and so you could walk side to side and you would still hear the same mix across.

With all the live music you have at your various campuses, what were the advantages of that particular system?

Siljee: Before, we felt like we were kind of held back by our PA. We could only go as far as our PA would let us. The new L-Acoustics system really raised the bar for that. It allowed us to match energy level where we wanted to go, and have headroom. Especially for our students, they really like it louder and they have that ability now and it doesn’t hurt. It’s still smooth to the ear. Because of that we can mix louder and really make the congregation feel the experience without it being harsh.

It was not only the amount of power, but also the smooth tonality of it. It’s a priority to us to make sure it’s an enjoyable experience--not only that it sounds good, but is enjoyable. Because if it’s not an enjoyable experience people aren’t going to want to worship.

Deron did you want to add something?

Yevoli: From a design perspective, churches present challenges to integrators and designers like myself with these fan-shaped rooms. One of the big things I heard from Garrett was a desire for stereo and the ability

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to pan and mix things in a live format. In a fan-shaped room, it really took a different approach than their old system had. We had to look at ways to deliver stereo throughout the entire sound field and not for just the guy in front of house. And then I would also say the other thing that L-Acoustics Kara provided is a low trim height. At almost all of the Christ Fellowship venues there’s a very low trim height. I want to say 20

TECHNOLOGIES FOR WORSHIP feet. We want to make sure that the pastor is not going to run over and bump his head on the PA system. So it was all that--the stereo, the fanshaped room, and the ability to get consistency.

This is a huge investment so I would think that you wanted to audition the system first. How did the product demo work out?

Siljee: The first time I heard the L-Acoustics system was probably about seven or eight years ago at a demo completely unrelated to us. I wasn’t in a decision-making role at the time. I wasn’t even on staff at the church at the time; I was just a volunteer. I was really impressed by not even the Kara and the K1. I mean obviously those are going to be great, but I was actually impressed by the point source boxes and then the fills. The amount of sheer volume coming out of such small boxes and the tonality of it just impressed me. Fast forward to about three years ago when we started having conversations about us not enjoying our PA anymore and we decided to rent the Kara system. It was a much smaller system than we ultimately installed, but even that smaller system was still better consistency and a better experience than the PA that was hanging and tuned in our room. I didn’t even have to get up in front of leadership and say this will be a win. They came to me and said “that was a win”. Just

from having them in our space—just stacked, not even tuned. Our leadership wanted that experience every weekend at our campuses.

You used the L-Acoustics Soundvision modeling software; how does that work?

Yevoli: Like a lot of the manufacturers, L-Acoustics has their own software for modeling. For Doral and Palmetto Bay we started by building the room in SketchUp and then we looked at multiple different designs.

We looked at a mono option. We looked at a stereo option. We looked at different product lines from Kiva to Kara. We showed some models to Garrett to show the kind of output we’re looking at. Soundvision is great at being really fast. We can drop in different speakers and look at their tuning and their optimization within minutes. We looked at different options for fills, different options for the mains, and ultimately landed on something that Garrett felt like really rocked and it did.

With this system, particularly in the Doral location, acoustic isolation must be a tough task because you’ve got Miami International Airport very nearby.

Yevoli: Yeah. I do believe they get some airport noise, a fair amount. I

TECHNOLOGIES FOR WORSHIP

think they’re also in the approach. The roof is concrete and at least two of the walls in the auditorium are exterior walls, so they’re concrete. The sound coming in is definitely apparent; we can’t make that jet engine 200 feet above you not come through the wall. But this room has everything possible to mitigate that. The concrete exterior walls and the roof create some complication inside the room from an acoustic standpoint.

We worked with the church to reuse some panels and buy some new panels and place them in such a way that we aren’t just over-deadening the room. We use a combination of absorption and diffusion. We designed that so that when the PA hits the back wall it’s getting diffused and not just absorbed. It makes this room actually perform well.

What are the sound system components that you’ve got in that Doral location?

Yevoli: Doral ended up being six boxes of L-Acoustics Kara per side in a stereo configuration, so kind of a normal left and right line array setup. There are X12 out-fill speakers up to the sides of those two arrays.

I think there are seven 5XTs for front fill and then seven SB18s for subwoofers. The SB18s are arranged in kind of a line format, so I think they’re about seven feet apart from each other. So we’re creating basically a line source of subs to push the energy to the back of the room.

Garrett, how do you handle the sound mixing especially with a young tech crew?

Siljee: At all of our campuses we run completely Allen & Heath. We actually launched with GLDs probably 10 years ago. The boards are just volunteer-friendly, easy to learn on, easy to train, and they lasted forever. I’ve still got original GLDs running. But at the two new campuses, Doral and Palmetto Bay, we run dLives. They have the same backbone and UI as the GLD, but with a lot more power. We have an S7000 at Palmetto Bay and a C3500 at Doral. We were able to train our volunteers really easily because they came from GLDs before. We run completely volunteer-ran mixes at all of our campuses except for Palmetto Bay because of broadcast. For our mics we run all Shure products across our campuses. At our broadcast campus at Palmetto Bay, just because of all the stuff going on, we run a

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full Axient system. And at Doral, even with our proximity to the airport we’re actually able to run QLXD. It’s super-efficient because it’s digital and we’ve got great antennas in the space. Shure just started developing such a wide range of product and we were just really impressed by its versatility and its lifespan, so about three years ago I just started putting Shure everywhere. And at both Doral and Palmetto Bay going forward, because of dLive’s ability to have multi-input patching, all of our mics run Dante primarily to the consoles, but they also have analog lines so it’s an easy AV switchover to an analog line.

What about stage monitoring?

Siljee: Probably about seven or eight years ago we ditched the stage monitors. We wanted to be able to clean up our mixes and not get that extra ambient noise. And so for all of our campuses our worship leaders are on wireless packs. Even on our broadcast campus our teaching pastor uses an in-ear rather than stage monitors. And we use Allen & Heath ME1s for all of our band members. Most campuses that have in-ear packs run PSM900s, while at broadcast we run PSM1000s because of the size of the space and to make sure we have reliable coverage across the entire stage.

The Miami location has got to be the biggest house and I believe that whole building is undergoing some substantial renovation isn’t it.

Siljee: Yeah, so our downtown location is located right in the heart of Miami and there’s actually a ton of construction going on within blocks of us. There are going to be 14 new high-rises that are going up in a twomile radius of the campus over the next five years or so. So we’re really a beacon of light right there in downtown Miami. Knowing all of this was coming into downtown Miami, we decided we wanted to match the city. We wanted to be able to be the church that we would need to be for all the people that were going to be coming into Miami in the future. Our downtown campus is actually a hundred years old. It had lots of bandaids all over it. So we decided it was time that we temporarily shut down that location to completely renovate it. But because it’s a historical location that just means the construction process is even more fun. We’ve got to go through the historical committees. We’ve got to go through all

TECHNOLOGIES FOR WORSHIP kinds of extra red tape in order to get drawings approved, permits, and in order to keep the construction going. So the process is taking a little bit longer than we had hoped. We actually shut it down January 1, 2019 and we migrated into one of our other campuses about 15 minutes away.

But even with that slower timeline we’re still pushing ahead. All of the architecture portions that are original are being completely restored to what they looked like when the building was first built. And so that means repainting and redoing windows. It looks phenomenal. And now we’re in the part of taking the architectural look and then incorporating modern elements into it. So we created this modern historic experience as you’re worshipping. You’re worshipping with stained glass windows and an LED wall. You’re worshipping with a huge chandelier as well as motion lights. It’s like we’re creating this ambiance that’s going to be a hybrid. And right now we’re on track with the interior worship center.

It should be done by fall and AVL will start being able to go in, and depending on how the permitting processes go, we’re hoping that we’ll be able to launch by Christmas of this year.

Well, I hope that schedule holds. I’ve listened to your services online and it’s a great mix on the performers so you’re obviously doing things

right. So Deron, what does Summit have coming up?

Yevoli: What’s coming up with us, obviously this install. I think we can’t stress how different all these rooms are. Palmetto Bay, fanshaped--kind of typical with a balcony room. Doral is a concrete box and a square. And then this downtown location is a 70-foot, domed, almost cathedral-type space. So we’re excited to deploy the Kara system there again for them in a stereo config and very excited about the bandwidth control that Kara brings to that. Currently they’re using come point sources that they’re just kind of blasting energy everywhere. I think the room will sound incredible with this new system.

So that’s obviously one thing we’re got we’re looking forward to.

Coming out of Covid, a lot of our church partners are still trying to figure out how to do broadcast really well. And so a lot of our upcoming projects are still focusing on broadcast video, broadcast audio. We are doing some speaker upgrades, too, as people are going back into church. And so we’re excited for a lot of our speaker manufacturer partners in that respect. But it still seems like the church market is focusing on how do they stream well sustainably? And then with the second goal of how do we reopen well? So that’s kind of what we’re looking on, I think, in the next three to six months.

TECHNOLOGIES FOR WORSHIP

CATHOLIC CLARITY No two Roman Catholic churches are alike, in terms of the architecture, acoustics, and functionality, but they all share a compelling need-intelligibility is central to the spoken word-focused mission. Monte Brothers Sound Systems, a house-of-worship audio equipment integration specialist, has provided sound solutions for almost 2000 houses of worship over the past 50 years. A close collaborative relationship with Audio-Technica has ensured that whatever the challenges, there are flexible wireless microphone solutions available to meet any requirement, including during the increased demand that has come with pandemic.

Two recently completed installations demonstrate the flexibility of Audio-Technica products in meeting the needs of a particular type of facility, says Monte Bros.’ Steve Minozzi. Somewhat unusually, both institutions host some of the major events that typically take place in a cathedral (e.g. ordinations), as well as the celebrations common to a parish church, such as daily liturgies, baptisms, and weddings. These events

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and celebrations involve very different uses of the spaces, he says, making mobile and reconfigurable wireless microphone technology essential.

Both facilities had been trying to fix chronic problems with intelligibility for some time before calling in Monte Bros., says Minozzi. “The problems were typical to most houses of worship – people couldn’t hear.”

Audio-Technica’s microphones and RF equipment were just one component of the replacement sound systems at the two churches, systems that also include the latest technologies from brands including Biamp, Powersoft, and CAMM, a Leon company.

The Miraculous Medal Shrine in Philadelphia, Pennsylvania, and St.

TECHNOLOGIES FOR WORSHIP Mary’s Seminary and University in Baltimore, Maryland, both contacted Monte Bros. for complete sound system overhauls based on the company’s reputation, Minozzi says. Both churches had similar requirements — to accommodate daily mass and other events with just the celebrant and servers at or near the altar, but then reconfigure the microphone system to handle multiple speaking celebrants during ordinations and other large services. The churches can seat about 800 congregants each.

At the Miraculous Medal Shrine, only the microphone at the pulpit, an A-T Engineered Sound ES925/XLR (with MicroLine element), is hardwired. “The ES925 MicroLine capsule was designed by Audio-Technica with consultation from Monte Bros. back in 1987 for Cardinal O›Connor in 1990,” says Minozzi, and was intended to eliminate the pop of earlier microphone models. “That capsule has accomplished our tasks for all these years, so we stay with that mic.” And since there had been complaints from the shrine’s congregants about the previous pulpit mic popping, the ES925 MicroLine was the ideal solution, he says.

At St. Mary’s Seminary, the majority of the microphones are A-T 3000 Series wireless products. Four body packs are paired with two AT899 lavaliers and two BP894 headset mics. There are also four handheld wireless mics available. System 10 PRO bases are paired with ES925/XLR’s with MicroLine elements at the pulpit and the lectern, and a pair of ATW-T1006 Boundary Microphone/Transmitters, one at each end of the altar. A microphone on the piano transmits through a fifth System 10 PRO base.

At the Miraculous Medal Shrine, logistics mobility was similarly an important factor, says Minozzi, with the microphones at the altar again serving double duty. The church now has three A-T 3000 Series body packs plus a handheld microphone, all operating in the UHF band at 500 MHz. “Besides the three celebrants that have the wireless body packs and headset mics on, any additional people speaking at the altar can be heard through the altar microphone, which is a System 10 PRO ATWT1006 Boundary Microphone/Transmitter,” he says.

The boundary mic is not permanently positioned at the altar, he continues, which is why a wireless solution was necessary. “They don’t necessarily use a mic there all the time, only for big events. The whole sanctuary area, where the organ and altar are, is filled with priests when they have ordinations, and during the celebration of the services, multiple priests will speak.”

Two other positions in the sanctuary area, a lectern and a chair, are also covered by System 10 PRO bases, in combination with ES925/XLR mics with MicroLine elements. “Those are moveable to another location in the worship space,” Minozzi says. “Or they may take them out completely.”

Additional System 10 PRO bases provide coverage of the choir. “They are usable with any mobile choir microphone that they might want to employ during special events,” he says, and generally move around depending on the need. For example, he says, “You could use ES925s on stands.”

At a sixth location, a System 10 PRO ATW-T1002 Handheld Transmitter is available for use by the organist or a solo singer, says Minozzi.

“It’s usually on a stand or boom stand for soloists either at the organ, in the rear sanctuary or sometimes in the front, for concerts, announcements or whatever.”

Monte Bros., which has installed hundreds and hundreds of house of worship sound systems since being established in 1969, has shared its expertise through a webinar entitled “Can You Hear Me Now?” A primer prepared for the Conference for Catholic Facility Management, which oversees the construction and maintenance of buildings and helps local parishes connect with contractors, the webinar explains the essential component parts of a sound system and offers recommended solutions for six common types of Catholic Church architecture. “We broke it down for them,” says Minozzi, “because we are in a position to share our knowledge so churches have a firm starting point before they meet with their design consultant.”

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PRODUCTS

ABSEN ACCLAIM PLUS

Absen’s Acclaim Plus series is a permanent indoor LED Solutions for broadcast, houses of worship, retail, and entertainment venues. With pixel pitches of 1.2mm and 1.5mm, the Acclaim Plus is thinner and lighter than the original Acclaim series and can be wall mounted or rigged. It also has convenient installation and maintenance with Slidetrack Technology to easily snap the modules into place.

ABSEN CL SERIES

Clear Cobalt Series (CL Series) is the new generation of display products from Absen. The CL series supports 2K/4K/8K for higher HD display requirements and produces stunning visuals. CL Series incorporates a pixel pitch range of 0.9mm - 1.2mm pixel pitch; high brightness of up to 1200 nits; a high contrast ratio of 20000:1 for superior layered visuals; COB technology, that provides protection to physical collision and environmental factors; Absen black coating and calibration technology that creates a deep black, non-reflective surface. CL Series also incorporates flip chip technology that increases power efficiency and reduces heat generation. Finally, CL Series brings a monumental screen with optional edges and wall-mounted frames and provides a quality, simple installation.

HALL TECHNOLOGIES EMCEE200

This is a seamless multiview presentation switcher scaler with Picture-inPicture (PIP) and Picture-Over-Picture (POP) capabilities. It can process up to four 4K@60 video sources with zero latency and gives “CONFIDENCE” and “PRESENT” HDMI outputs in different window layouts. With a built-in dual MIC mixer and a wide range of Audio Embedding and De-Embedding options, EMCEE is a perfect companion for any type of presentation. EMCEE can record the presentation to an external storage device and also provides USB3.0 4K capture to stream live with no additional hardware.

AUDIO-TECHNICA BP898 AND BP899

In November the low-profile BP898 Subminiature Cardioid Condenser Lavalier Microphone and BP899 Subminiature Omnidirectional Condenser Lavalier Microphone debuted. Direct replacements and upgrades to the existing AT898 and AT899, the new BP898 and BP899 are available in a number of different terminations (for wired or wireless use) that suit them to the entire range of lavalier mic applications. The BP898 is available in five black-finished models, all with permanently attached cables and varying termination and power configurations. The BP899 is available in a total of 17 different models, all with permanently attached cables, varying termination and power configurations, with most available in two available sensitivities and black or theater beige finishes. Both microphones’ wide dynamic range and tolerance for high sound pressure levels ensures intelligible, natural-sounding audio that’s ideal for use by stage and television talent, lecturers, and worship leaders, and the low-profile design (a mere 5.3 mm in diameter) is ideal for applications requiring minimum visibility.

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OPEN MIC

GET IT TOGETHER

By Stephen Heywood, broadcast engineer, PTZOptics

W

henever I have a conversation with an AV industry professional who participates in a videoconference or livestream from a subpar home environment, I am reminded of the expression, “The cobbler’s children have no shoes.” Too often, the very same people responsible for our industry’s most pioneering AV solutions are, themselves, stuck in a streaming situation that belies their having any expertise on the subject.

And so let’s look at a few simple adjustments that can make all the difference in your videoconferencing experience.

CONVEY CONFIDENCE TO YOUR AUDIENCE

For AV providers in a socially distanced landscape, your videoconference environment is an extension of your showroom. Perhaps more so than for any other industry—a carefully curated technology setup and a keen awareness of your surroundings are critically important for communicating to colleagues and clients that you are, in fact, an authority in your field.

After all, this is an opportunity to demonstrate to clients how you can improve their communications, and a bad streaming environment not only comes across as less professional, but can even read as less trustworthy. This is no mere speculation: A report published by the Brennan Center for Justice found that streaming used in criminal proceedings has a negative effect on the perceived credibility of witnesses—an impact which is no doubt compounded by less-thanideal videoconferencing conditions and lack of access to a reliable internet connection.

ASSESS YOUR SURROUNDINGS

First impressions are powerful, and so it is important that whatever can be seen on-camera in your videoconferencing environment reflects your role appropriately. A lived-in space is okay, as long as you are aware and intentional about what it communicates about your brand. Try to strike a good balance of not too busy, not too sparse, and not too personal.

Additionally, make sure that any windows or natural light are off to the side and not directly behind you, and be mindful that any potential outside activity could be distracting to viewers. For virtual backdrops, consider using a direct view display positioned behind you in the camera frame. With the exception of the best-executed green screens, direct view displays offer a more seamless, less distracting viewing experience for fellow meeting participants.

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FOLLOW AUDIO BEST PRACTICES

The pandemic laid bare the shortcomings of our videoconferencing technology—with audio being the worst offender of them all. When it came to replicating an in-person meeting experience with naturalsounding and reliable audio, it became clear that our laptops’ built-in microphones and speakers were simply not cutting it.

Headphones and external microphones have become key elements of the new and improved videoconferencing ecosystem. Your microphone should be out of frame—ideally on a boom or arm—positioned so you never have to touch it. A dynamic microphone with highly directional pickup is advised.

There’s nothing more distracting than the sound of your own voice coming back at you as you speak. Headphones can reduce this feedback, but if you’d prefer to go headphone-less for those long recordings and presentations, an audio mixer with mix-minus capability can also minimize the possibility of feedback. And finally, using a digital board, including a noise gate and limiter, will allow you to avoid blowback into your speaker.

GET YOUR LIGHTING RIGHT

When it comes to lighting, a four-point setup is ideal for ensuring that you make a good impression on meeting participants. A primary, or key, light placed slightly off-center acts as your main source of light from the front; a secondary fill light illuminates the shadowed areas that the key light does not cover; an off-center backlight adds contrast and helps draw the viewer’s attention; and finally, a fourth light illuminating the background completes the picture— positioning you in space and providing some context to the viewer.

But when all else fails, even a ring light or Lume Cube will show an attention to detail that clients and partners will appreciate.

APPEAR CRYSTAL CLEAR ON CAMERA

The final component of an effective videoconferencing setup is, of course, the camera itself. A webcam with a wide dynamic range will help improve the image quality under high-contrast lighting conditions, and a 4K camera with EPTZ (electronic pan-tilt-zoom) capabilities and dual output will allow you to create multi-shot recordings with a single camera.

Optimize your video streaming settings well in advance of your meeting to ensure there is no lag, and if possible, use an Ethernet cable instead if Wi-Fi. This will speed up your live video stream, and it is more reliable than a wireless connection.

And for goodness’ sake—make sure you’re not on mute.