Installation January 2015 digital edition

AV INTEGRATION IN A NETWORKED WORLDwww.installation-international.com

Pan-European distributionNot always possible, says COMM-TEC’s Sprinzl

p20

ISE 2015, Bett previewsWe look ahead to Amsterdam and London shows

p28, p34

Class actThe changing face of educational technology

p46

Issue 175 / January 2015

NEXTSTAGEWhy audio consoles are playing a new theatrical role p38

For informationand your FREE

Exhibits-only Pass

Conference: April 11-16, 2015 • Exhibits: April 13-16

See pages 44-45

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Ihave a question for you: when do you think Integrated Systems Europe reached the 25,000 visitor mark? There are, in fact, two di�erent answers: in 2009 (rounding up slightly), and on 5 February 2014. That’s right: according to the

o�cial figures, the Wednesday of last year’s show drew an attendance (25,961) greater than that of the entire event just five years earlier (24,912). When you’re dealing with an increase on that scale, it’s hardly surprising that Mike Blackman and his team have bitten the bullet and taken the decision to extend the show to four days from 2016.

The timing of the announcement – at the start of December – was just right. Exhibitors need time to make their plans and set their budgets for 2016. Although the

exhibition will become 33% longer, it seems their costs won’t go up this much – I understand that the increase in the cost of stand space will be much less than pro rata. And as most exhibiting company sta� are in Amsterdam for around a week, an extra day here and there shouldn’t represent a massive rise in their travel and accommodation costs.

It will be interesting to see how the fourth day a�ects the pattern of attendance at the show. With ISE 2016 running to a Friday, I expect that more visitors will be tempted to extend their stay in Amsterdam over the weekend; but conversely, many of the others may head for home at an earlier time than in previous years. It remains to be seen if ISE will add anything to the programme to encourage attendees to prolong their last-day stay.

The extension of the ISE show sends out a clear signal to the world about the strength of our industry. The growth in visitor numbers is coming mainly from specifiers rather than the channel – so the event is drawing in a wider range of types of attendees with each successive year. As 2015 gets underway, let’s raise a glass to the continuing success of ISE – both for itself, and as a bellwether for the whole AV and electronic systems integration industry.

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Editor’s comment

Paddy Baker, [email protected]

Editor: Paddy Baker [email protected]

Managing editor: Joanne Ruddock [email protected]

Sta� writer: Duncan Proctor [email protected]

Head of Design:Jat [email protected]

Designer: Tom Carpenter [email protected]

Sales manager: Gurpreet Purewal [email protected]

Account manager: Peter McCarthy [email protected]

US sales – Executive vice president: Adam Goldstein [email protected]

Production manager: Jason Dowie [email protected]

Digital content manager: Tim Frost [email protected]

Publisher: Steve Connolly

Contributors: Mike Clark, David Davies, Rob Lane, Ian McMurray, Steve Montgomery, Phil Ward

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A sister title to SCN

‘The Wednesday of ISE 2014 drew an attendance greater than that of the entire event just five years earlier’

WELCOME 03January 2015

Cover image: Staatstheater am Gärtnerplatz, Munich, courtesy of Lawo

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News & Data06 Update12 Appointments22 Industry Data Touchless human-machine interaction set for growth26 Regional Voices: Denmark

5856

Technology51 New Products54 Demo of the Month Userful 4K Network Video Wall 56 Showcase Large-format displays

Solutions58 UniCredit Tower, Milan: Italy’s tallest tower embraces multimedia technology 62 Hazza Bin Zayed Stadium, Al Ain: A FIFA-standard UAE stadium

04 CONTENTSJanuary 2015

People14 Opinion Rob Lane on Oculus Rift David Labuskes on exceptional AV experiences Xavier Pion on the importance of building trust20 Interview COMM-TEC’s Rainer Sprinzl talks about his two decades in the European distribution market

Show Previews28 ISE 201532 Bett

Features38 Theatre Audio Consoles: Discerning customers have high expectations44 Education: How AV kit is bene�tting students

44

20

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06 UPDATEJanuary 2015

Upon them hath the light shinedVideo services provider TDC (Technical Direction Company) delivered large-format 3D video projections to locations across Sydney for Christmas using over 20 high-brightness Barco projectors.

For the Lights of Christmas show, at St Mary’s Cathedral, TDC partnered with AGB Events for the fourth year in a row, with the 2014 edition extended to 17 nights from nine. The Lights of Christmas is the largest light show in Australia over the festive

period; it drew an audience of 200,000 visitors in 2013 and is streamed live on the internet.�

“The massive surface of the 75m high by 33m wide sandstone cathedral façade is transformed using the latest 3D video mapping and projection of still, animated and video content,” said Kain Jones, special projects manager at TDC.

“Preparation and planning for video projection mapping is everything. Working with a 3D model of

the façade, we pre-visualise the entire building and accurately map every pixel onto the architecture of the cathedral. This ensures the precision of our delivery.”

“It’s always a great challenge to tell a story that is not only visually spectacular but also compelling,” added Anthony Bastic, creative director at AGB Events, who created the content for the event along with AGB Events’ art director Giles Westly.

www.tdc.com.au

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On your marksHarman’s UK and Ireland distributor Sound Technology has specied a pair of JBL Professional Intellivox-DC430 to combat a reverberation time in excess of ve seconds at the Athlone Institute of Technology’s indoor athletics arena. The €10 million arena is an IAAF-standard six-lane track surrounded by 1,500 spectator seats.

The two speakers were installed side by side opposite the viewing stand – principally to reproduce speech but also to handle background music. At the same time some of the existing speakers were recongured, at the client’s request, to act as delayed inlls and to deliver background music.

www.soundtech.co.uk

New PartnersTripleplay has announced that it will be partnering with digital solutions provider SingTel to deliver IP media solutions into Singapore. The pair will design, deliver and support integrated IP media solutions into sectors including hospitality, healthcare, banking and nance.

www.info.singtel.com

www.tripleplay-services.com

Audio Visual Material is now distributing videoconferencing systems and large-format displays from Sony. The announcement comes as Sony expands its family of VC systems with the new PCS-XC1, a compact, integrated unit designed for huddle rooms, conference rooms and o�ce spaces.

www.avmltd.co.uk

www.pro.sony.eu

Attero Tech has agreed an exclusive Canadian distributorship with SFM. The manufacturer, which provides Dante networked audio interfaces, prides itself on having ‘out-of-the-box’ solutions for virtually any connection scenario. SFM carries a number of complementary brands including QSC and Symetrix.

www.atterotech.com

www.sfm.ca

LG Electronics has appointed Tech Data, Maverick, as distributor of LG Hotel TV in the UK. The partnership is aimed at achieving an increased focus on the hospitality and healthcare markets and encompasses LG’s full range of Hotel TV, including the Interactive Ready, Fully Interactive and Smart solutions.

www.lg.com

www.techdata-europe.com

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Skating with colour

Elation Professional’s SixPar Series of indoor and outdoor PAR colour changers is providing colour wash for skateboarders at the StreetDome skate park in Haderslev, Denmark.

Designed by CEBRA Architects, StreetDome is an open playground and the biggest skating facility in northern Europe with both indoor and outdoor areas for skateboarding, BMX, bouldering, street ball, parkour, rollerblading and street dance.

The 1,500sqm StreetDome Igloo is central to the StreetDome complex with its primarily indoor activities. Unheated and lit mainly by sunlight during daylight hours, the dome-shaped roof hovers over a large open �oor divided between a �at zone and a bowl zone, which consists of ‘pools’ scooped out of the �oor.

The roof is divided into 12 equal triangular sections, 11 of the sections with an Elation SixPar 300 Par colour changer mounted at its apex with each housing 18 12-watt six-colour LED multi-chips. The lighting is controlled via a PC-based controller.

“The client wanted to colour the ceiling in light but wanted a low-power solution as well so we recommended the SixPar,” stated Michael Henriksen of Unico Gruppen. “We placed one �xture to colour wash each section of the ceiling for a nice uniform look. They can colour the whole ceiling one colour or shade each section a di�erent colour. Besides the low power consumption, reliability and long LED life was also important for the client as the �xtures are hard to access and shouldn’t require much service or bulb changes.”

Although SixPar Series colour changers o�er the possibility to strobe and include a selection of dimming curves, as well as colour and chase macros, for safety reasons StreetDome only uses the e�ects during special events, as �ashing lights or quick colour changes could disorientate the skaters.

However, the �xtures’ large variety of colour choices are incorporated into the daily lighting scheme, often accompanying music, and can be customised for special occasions such as Halloween. The venue’s windows allow colour schemes to be seen from outdoors for a tasteful architectural lighting look.

www.elationlighting.com

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12 APPOINTMENTSJANUARY 2015

Former CEO Yoshi Tsugawa is moving to an MI role in Japan

Yamaha-owned manufacturer appoints CEO

Nexo has appointed Jean Mullor as its CEO to lead the loudspeaker manufacturer into 2015. He follows Yoshi Tsugawa, who has been at the helm for the past

three and a half years.Mullor comes to Nexo from Yamaha

Music Europe, where he spent nearly four years as managing director of the French subsidiary, in charge of the domestic distribution of musical instruments, commercial audio products, audio video products and music schools network development.

He brings with him a wealth of management experience and a passion for music. He previously worked for US petrochemical giant Mobil before joining the French branch of Yamaha Corporation in 1992.

Mullor described his appointment as “a remarkable opportunity to join a company that has a 30-year record of technical

achievement and an industry-leading reputation. With its flagship technology making inroads at the very top of the international market, and a slate of new products scheduled for release, these are exciting times for Nexo, and I’m looking forward to being part of its talented team.”

Yoshi Tsugawa is returning to Japan, where he takes up new responsibilities as the general manager for band and orchestra products in the MI & Audio Sales and Marketing Group of Yamaha Corporation.

Nexo

www.nexo-sa.com

The move re�ects a growing workload in the sector

Jon Britchford has joined Polar Audio as a business development manager in the company’s Installation sector. He moves from a position as account manager at AVM Impact where he specialised in the education and public sector AV markets. Working under head of installation Stuart Leader, Britchford will reinforce a team that is enjoying an increasing workload in the sector.

Britchford’s role will be focused on client relationships and he will be involved in the provision of large-scale system solutions. He said: “The need to constantly evolve knowledge and keep on top of developments in the industry means there’s never a spare moment and that very much suits my nature.”

Distributor adds to Install team

POLAR AUDIO

www.polaraudio.co.uk

Industry veteran to drive US and international growth

Home audio specialist SVS has announced the appointment of Walter R Schofield as director of global sales, bringing with him over 25 years of experience in audio and consumer electronics. He will help drive US and international growth and play a key role expanding retail distribution while supporting online direct e�orts.

Schofield was most recently vice president of sales and marketing for Sound Solutions. Previously, he served as president of Meridian America and global vice president of sales and marketing, Mark Levinson, for the Harman Specialty Group.

He said: “I’m excited to join such a vibrant, future-facing company and look forward to bringing the SVS audio experience to more happy listeners.”

New director of global sales

SVS

www.svsound.com

AudinateJoshua Rush has joined Audinate as vice president of marketing. He will lead the company’s global marketing function with a speci�c emphasis on driving awareness for Dante enabled products with the channel and end users. www.audinate.com

d&b audiotechnikSabina Berlo a has been appointed director of marketing for d&b audiotechnik. Berlo�a has experience working as a marketing and sales executive in both multinationals and startups having worked at IBM, GE and Informix Databases. She has been tasked with expanding brand awareness, developing new markets and accelerating the growth of the company.www.dbaudio.com

Biamp SystemsAhmed Sabra has joined Biamp as technical projects manager for the Middle East. As part of the applications engineering group, Sabra’s responsibilities will include providing technical assistance to Biamp customers, consultants, and sales representatives, as well as leading the company’s training e�orts throughout the region. www.biamp.com

Planar SystemsGabe Carruana is one of four additions to Planar’s US sales force. He will work from Redondo Beach and manage the Southern California region. Nick Frush is based in Oklahoma for the US Midwest. Ken Snare, will manage the east-central region from Columbus, Ohio. Finally, Terry Goldstein is sales manager for Texas.www.planar.com

CIE-Group Lloyd Wilson has been named AV account manager for CIE-Group in South East England. He joins from AVM, where he was responsible for internal sales for the UK and Ireland. Wilson has over 15 years experience in the AV industry and already has knowledge of working with some of the company’s suppliers and customers.www.cie-group.com

Robe Lighting Craig Burross has joined Robe Lighting as regional sales manager of the western US. Burross has more than 25 years of industry experience and was most recently with Barco/High End Systems as the national sales manager for North America. www.robe.cz

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14 OPINION: ON THE AGENDAJanuary 2015

Rob Lane Oculus Rift: Paradigm shift

Is Facebook’s latest acquisition a game-changer for VR?

When the $2 billion Facebook deal to buy Oculus Rift was made public late afternoon on 25 March I was wearing my PR hat, gently encouraging journalists to attend

the launch of the FLUX Innovation Lounge the following day. We already had very healthy attendance confi rmations, but when the balloon went up on the Oculus purchase my iPhone exploded into life. All those who had previously said they were too busy to attend the launch were suddenly, miraculously available. The reason? We had an Oculus Rift alongside the other interactive tech.

So far, so predictable. After all, this was a huge global news story. What’s more interesting is that most of the journalists who were suddenly free to attend the launch were interested in OR for the same reasons that the previously confi rmed-to-attend journos had been – which were, by and large, also the same reasons why Mark Zuckerberg had decided to fork out a gobsmacking $2 billion to own it. In other words, not necessarily gaming.

As Zuckerberg commented on – you’ve guessed it – Facebook, when the acquisition was announced: “This is really a new communication platform. By feeling truly present, you can share unbounded spaces and experiences with the people in your life.”

Okay, very Facebook-speak, ‘sharing with friends’, yada yada, and of course he discusses gaming as well, but the key phrase here is ‘new communication platform’ with ‘experiences’ the key word. Indeed, Zuckerberg talks of making Oculus “a platform for many other experiences”, adding: “Imagine enjoying a court-side seat at a

game, studying in a classroom of students and teachers all over the world or consulting with a doctor face-to-face.”

So, clearly, as we’re all well aware, Oculus Rift is an exciting tool for the integration and experiential industries – for fun and practical applications – but what’s di� cult to predict is just how important it will be a year from now. Zuckerberg certainly wouldn’t have splashed that much money if he wasn’t convinced OR would be more than a platform for gamers.

There have already been examples of Oculus Rift in non-gaming action reported in these pages and others, including a Peugeot 308 experiential tour (Arcstream AV), surgical training enhancement (MOVEO Foundation), viewing of museum artefacts (Cross Design Group) and the compatibility of Oculus Rift with Holovis’ RideView simulation app. But what else has OR been used for?

Scientists have been reportedly working with Oculus Rift to o� er long-haul astronauts a simulated trip back to Earth, to break the monotony of space-time. Researchers at the Neukom Digital Arts Leadership and Innovation Lab in Computer Science (DALI) at Dartmouth College in Hanover, US, reckon that VR trips back home will help astronauts to feel more at ease.

And the BBC produced an immersive news broadcast ‘experiment’ in June, using 360º cameras to ‘stitch together’ footage from newsroom, editing gallery and newscaster. The broadcast was made available to members of the public at the time and is still available as a free download for OR development kit owners.

We’ve only scraped the surface of what’s possible with OR, but it certainly sounds as if the

industry shares Zuckerberg’s excitement that this is much more than just a gamer’s fantasy made (virtual) reality.

“Oculus needs to quickly demonstrate that virtual reality isn’t a gimmick and that it has real-world applications beyond the gaming community,” Imagination digital client director James Watson told me, adding that OR will be commercially successful provided it is used for specifi c tasks.

Linda Duggan, portfolio manager at Holovis, agrees – “Oculus Rift is not only applicable to the gaming industry but also the commercial and manufacturing sectors” – as does Steve Blyth, founder and managing director of Engage Production, who reckons VR will receive a boost: “The immersive and interactive potential for OR is only limited by our imaginations and it should push VR to the forefront of people’s thinking for interactive communication experiences.”

But it is Andy Millns, co-founder and creative director at Inition, who appears to be the most enthusiastic, identifying something approaching a paradigm shift as a result of OR: “The applications for the Rift and VR in general are endless, it’s as if we’ve been working with radio and someone’s just invented the TV.”

It isn’t di� cult to envisage Zuckerberg putting all his fi nancial muscle behind TV, had he been around during its 1920s gestation. If Oculus Rift has just a fraction of the impact of the goggle box, that $2 billion will have been a wise investment and you should all reap the rewards.

Rob Lane is founder/director of PR/marketing agency Bigger Boat PR Ltd and failed to mention above that the porn industry will probably be the largest benefi ciaries of OR tech.

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16 OPINION: ON THE AGENDAJanuary 2015

David LabuskesCreating exceptional experiences

With user expectations constantly rising, the industry needs to raise its game to ensure its continued prosperity

More than a year ago, InfoComm International’s Board of Directors decided to include an element of the organisation’s strategic plan to define, deliver and share

exceptional experiences. Why was this decision made? Consider the

people who manage facilities and events that use AV equipment. The solutions that the industry provides to these customers need to be delivered collaboratively through a consultative process that not only focuses on technological solutions, but also on the role of enhanced communications in formulating and executing organisational strategies.

InfoComm decided to hire Gravity Tank, an innovation consultancy, to research what comprises an exceptional AV experience, and how we can help industry players achieve a higher level of satisfaction with its customers and end users.

The proliferation of prosumer solutions, along with the growing ease of consumer solutions, is influencing our customers. They are looking for easy, seamless experiences. In addition, the commoditisation of AV products means that the industry needs to deliver more than technology to survive. We need to put ourselves in the customer’s shoes and help create experiences that will accomplish their goals.

Because, in the end, AV is all about creating experiences.

For the purposes of our research we chose to focus on six common use cases. These included schools, meeting places, museums, performing arts, houses of worship and live events. What we

found was that exceptional experiences achieve the goal of the activity, exceed expectations and engage participants from beginning to end. We found that it takes a lot more than functioning equipment to create an exceptional AV experience.

We determined that there is a spectrum of end goals of AV experiences. On one end, the goal of the event is to inform, or transfer information, in a cut-and-dried way. Think of a flight delay announcement. On the other end is the goal of entertaining, which is to delight, amaze or amuse. A rock concert or theatrical event could represent this goal.

We looked at the type of participation. Is the experience highly interactive – with participants engaging in or shaping content in real time?

By identifying these goals InfoComm’s members will be able to clarify the client’s end goal. This will enable AV firms to deliver an exceptional experience to end users. With help from Gravity Tank, InfoComm was able to identify three components to every AV experience – content, space and technology.

Content is the material that is being shaped or conveyed. Examples include presentations, art exhibits and live music. In many instances, the audiovisual professional has no control over the

content, but could o�er advice.Space is the place where experiences

happen. It could be a boardroom – or even a digital device. In most cases the audiovisual professional will have little control over the architecture of the space, but may have input towards the interior design.

Technology is the method by which content is delivered. Projectors, speakers, microphones, control systems and displays are a few examples.

Together, content, space and tech are greater than the sum of their parts. If we are to move ahead as an industry, we need to create immersive, total experiences that communicate something rich in meaning. The components of an exceptional experience are fluid, based on the goal of the experience.

In 2015 you should expect to see more from InfoComm on exceptional experiences. We will be launching a new Exceptional Experience microsite, featuring case studies and information. We will be discussing exceptional experiences at roundtables around the world. And we will be o�ering webinars and seminars at our shows exploring this topic. Plus, InfoComm will be taking a hard look at some of the experiences we o�er at our shows and conferences, and striving to improve them.

David Labuskes is executive director and CEO of InfoComm International.

www.infocomm.org

‘It takes a lot more than functioning equipment to create an exceptional

AV experience’

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18 OPINION: LIFE LESSONSJanuary 2015

Xavier PionThe importance of trust

Even as sales models evolve, customer peace of mind remains a constant goal

If there’s one rule I work by that stands out above all others, especially in the complex world of entertainment and AV technology installation, it’s this: say what you’ll do; do as you said. In all industries, but maybe even

more so in ours, you have to build trust – firstly within your own company, and then among your customers and partners. It sounds like a very obvious thing to do, but it is something I often say to students and young professionals.

It is necessary to know the rules of business, of marketing and of international regulations, but when it comes to selling a product to a customer, make it simple. For our customers, decisions are based on the evaluation of risks and opportunities, and the person standing in front of the customer must be the harbinger of safe and profitable opportunities.

You also need to adapt to your environment as it changes. In this industry, I have dealt with people from every sector – rental companies, engineers, designers, integrators, distributors, international partners, and many more in many di�erent countries. On the technical side expectations are similar everywhere, but in terms of business you have to understand and adapt to sometimes very di�erent approaches and cultures. Even if the product o�er is e�ectively universal, the way to sell it can be very di�erent according to whom you are talking to, and in what part of the world you find yourself. The challenge is to adapt but, at the same time, to be yourself and to keep within the ethos of your organisation.

In any B2B industry, your product must meet a real need and be a genuine solution for users who are going to make money with

your product. One mistake I have made in the past is to spend a lot of time and energy on a project and then realise, when it was quite late in the day, that the product did not bring enough added value for the money being spent on it – there would never be a return on the investment. On the other hand, making business is also about taking risks, so a certain margin of error must be allowed.

What I have learned is that people don’t just buy a product. They don’t even buy quality, reliability or ease of use, which are necessary, of course. They buy peace of mind about the

relevance of their investment within their organisation, and about the level of trust they have built up with you, both as a person and the company you represent. And this is even more important in the pro-audio industry where you have the unique pressure that dictates ‘the show must go on’. Professionals don’t take minimum risks, and failure is not an option.

A reputation can be broken by a minute of silence during a production, so your customers must be able to fully trust their equipment – and of course the people who provided it – so they can focus on making their customers happy.

I once moved from the digital console world to the speaker system world. While these products are technically very di�erent, on the sales and marketing side the markets are very

similar and follow the same basic rules. But in terms of distribution, things have changed a lot in the last decade. The traditional independent distribution model is not the universal rule any more, and a lot of alternative models have emerged. The very good distributors have kept growing while others have disappeared, being replaced by direct models, intermediate models, subsidiaries or joint-venture models. On the marketing side, since my job move in 2008, things have also changed a lot as companies spend their marketing budgets di�erently. Look at the evolution of trade shows in Europe, for example: it’s obvious that manufacturers and distributors have changed their approach to exhibitions and new models are developing. They are smaller, shorter and focus on business-to-business networking. Actual product launches tend now to be reserved only for Prolight & Sound in Europe and Asia, ISE in Europe and at NAMM in the US.

The biggest change in my career was to move from the automotive industry to the pro-audio industry. These worlds have very little in common: the culture, the codes and the modes of communication are very di�erent. This kind of move forces one to be quickly adaptable and is also an opportunity to use skills and experience in other ways, which certainly nurtures creativity. But, in the end, business is about human interaction and exchange. For this to be mutually profitable in the long term, there has to be a bedrock of trust between vendor and client.

Xavier Pion is the former international sales director at APG. He was talking to Phil Ward.

‘The challenge is to adapt but, at the same time, to be yourself and to keep within the

ethos of your organisation’

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20 INTERVIEW: RAINER SPRINZL, COMM-TECJanuary 2015

COMM-TEC’s managing director has seen a lot of changes in the marketplace after nearly 20 years at this major European distributor. He talks to Paddy Baker about the challenges involved in maintaining and growing a pan-European distribution portfolio

Not like other distributorsHow did you start your career in the professional AV industry?After graduating from university in business studies with a focus on sales & marketing, I went into business working for the export department of WMF, a company that serves hotels and cruise ships worldwide. I did that for four years and joined COMM-TEC, and that’s where I began my time in the pro-AV industry. I started as export manager in 1995. My knowledge of export sales fitted well with COMM-TEC’s pan-European concept.

How do you think the function of a distributor has changed during your time at COMM-TEC?A key point I should make – from our perspective, COMM-TEC is unique compared to other distributors. We work pan-European, are a value-added distributor but also act as a logistics distributor. We provide all technical expertise, pre and post sales support, training seminars – we do a lot of knowledge transfer to our customers. In providing that, the major change is that the pricing and margins to be earned by the whole chain have been shrinking from year to year. This is a major change for us – we provide a lot of support with shrinking margins.

So your margins are shrinking while the market expects you to add more value. How do you address that contradiction?For us it’s a matter of selecting which product groups or product segments this value-added distribution model applies to: for us, that’s integration products – it doesn’t apply any more to brands that are sold at a logistic level, like document cameras for example. We di�erentiate in our company between integration products and fast-moving products.

With our solutions approach, we carry significant brands and portfolio areas that we want to combine as a one-stop o�ering to dealers, to integrators. It’s a broad line di�erentiated in four di�erent segments: presentation, conference, signal management and control, and racks and mounts – a large variety of brands and solutions like Barco, BrightSign, Gefen, Vidyo, Televic, ClearOne Mediasite, dnp, Da-Lite and Middle Atlantic Products that we want to put together.

How do you approach adding brands to your portfolio?Our portfolio covers a lot of the needs of integrators and resellers. We have core brands in these segments, and we always look to improve our portfolio, but the improvement should come from major brands that fit into these segments.

It’s also the case that at COMM-TEC we’ve always had major brands in our portfolio which drove our business and drove the solutions approach. For many years we distributed AMX in certain countries, and today we are heavily involved in collaboration with Barco, with ClickShare and corporate AV projectors – that is a star in our portfolio.

Have you found that other distributors have copied your value-added approach?Very much. It’s a two-sided thing when it comes to competition. There are distributors who concentrate on pure logistics without the value-add, but some competitors have tried to take the value-added approach. But our situation is quite unique: we work Europe-wide and we have a wide portfolio with di�erent segments. Most of our competitors only have one product segment, and most of them aren’t working Europe-wide – so that’s a big di�erentiator.

How many countries do you operate in?We have dedicated operations in Germany, Switzerland, Italy and Spain and even started COMM-TEC Asia in Hong Kong last year. However, that’s not the full answer because in many other European countries we have sales o�ces with dedicated sales people on site with the local language; logistics, backup supplies, value-add, pre and after sales support are carried out by the head o�ce in Germany. We are adding these country by country – currently we are present in France, the Netherlands, the Czech Republic,

Slovakia and Poland. Our export sales managers travel in countries where we don’t have local presence. The UK? That’s a core market with many strong distributors already present, so we don’t have dedicated additional plans for the UK.

What have been the biggest changes for you and for the company over the years? Entering the pro-AV industry with COMM-TEC was a big change in my business life. I had some big results in new export countries like Austria but also in more remote ones in Eastern Europe. Then the major change obviously came eight years ago when I became a shareholder of the company and also managing director, in charge of all the sales and marketing for COMM-TEC Germany and the countries we cover from here.

For a distributor, the major changes are always changes to the portfolio – for instance going out of AMX and going in with other major brands like Barco – this has been a big transition period. The success of COMM-TEC is always driven by making the best of the portfolio we carry – the best for us and also the best for the manufacturers we represent. There is a long line of manufacturers who are interested in being distributed by ourselves. Many of them are not well known in Europe to the biggest extent, but others are major companies. For us, the decision to include a manufacturer is always dependent on what we already carry in a segment – we’re not keen to put head-to-head competitors in our portfolio.

Mergers and acquisitions have also been a big topic for us in previous years. Big companies acquire smaller ones to get a bigger presence in Europe, or distributors look to buy other companies. In fact COMM-TEC Switzerland was bought like this and renamed afterwards.

Do you have some brands that you only distribute in certain countries because they have other distribution arrangements elsewhere?This is obviously the case for us – a major point we need to cope with and accept is that our pan-European approach is often not possible with manufacturers any more. If COMM-TEC is interested in distributing a manufacturer throughout Europe, these are generally niche manufacturers, maybe from Asia or the States, who do not have a big European presence. So for

‘We need to accept that our pan-European approach is often not possible with

manufacturers any more’

20 21 Interview v2PB.indd 1 11/12/2014 15:20

INTERVIEW: RAINER SPRINZL, COMM-TEC 21January 2015

these manufacturers it works, but most of the core ones drive a policy of setting up di�erent distributors throughout Europe. This has been a change on the manufacturers’ side – despite Europe having opened up its borders, they work with di�erent distributors in di�erent parts of Europe, choosing the strongest distributors in a pattern of countries that fits together.

Why do the manufacturers do that?They want to have the best presence and power in dedicated countries. They start with the core ones – UK, France, Germany – then go further into territories like Scandinavia and eastern Europe. If they are a strong manufacturer they already have business in the new countries and they want to make sure that if they work together with a distribution company they have the strongest partner available in those countries.

Some companies do go with one distributor across many countries: in the case of COMM-TEC, we carry Barco ClickShare in Germany, Austria, Switzerland, also Eastern Europe, Italy, Spain – so huge coverage; some manufacturers only work with us in the German-speaking countries and follow other distribution concepts elsewhere.

Also, manufacturers usually don’t jump from having a local presence via six or seven distributors in 15 countries, to just one distributor – that would be too risky a change to make.

COMM-TEC has carried branded products of its own for a few years now. What is the thinking behind that?It’s for products where the COMM-TEC brand is much better known in Europe than the Asian manufacturer’s name – it’s an OEM approach. The other aspect is that we sometimes identify niche products that are not available with the feature set that we think can be sold – then we draw up a design and a feature set and have the product manufactured by partners. And, to return to portfolio issues, we have exclusivity all around the world on COMM-TEC branded products.

How much has COMM-TEC’s business been a�ected by AV-IT convergence?It has changed a lot, and it still changes day by day. In recent years we have had more and more IT system integrators as customers, because we carry products that they need. A good example is ClickShare – it’s a conference room collaboration product, but IT integrators work inside conference rooms so they see the need for these kinds of products. On the other side, we make marketing approaches towards the IT channel, o�ering solutions and brands that they need.

There has also been a major change among pro-AV integrators: either they have seen the need to embrace IT technology or they have been confronted with it. We have done webinars,

seminars, training sessions on IT equipment in pro-AV installations. We have been driven by manufacturers who brought more and more IT products into our portfolio, and we made sure that we were a partner for pro-AV integrators to get the training and the products that they need.

If you could wave a magic wand and change one thing about the industry as a whole, what would it be?There is no clear certificate needed in the pro-AV industry – almost anyone can open up an integration company and start work. This is not the case with the IT industry – there you need to have certificates to buy certain brands. With the pro-AV industry there are no standards where integration companies need to prove that they are capable of doing things. What InfoComm is doing on certification hasn’t really ended up in the German-speaking market.

It would benefit end users, manufacturers and integrators: often currently the end user is working in good faith with what he thinks is a professional company, and he gives the order to the cheapest bidder without knowing that the project he will get in the end will be di�erent from what he would get from a strong integrator.

Finally, do you have any unfulfilled ambitions – either personal or professional?The answer is no. The only thing I can say here is I want to make COMM-TEC even bigger and stronger. It’s good already, but I’m aiming to make it better – the ambition is to keep it growing.

Rainer Sprinzl – a brief biographyRainer Sprinzl, born in 1966 in Geislingen, Germany, graduated in 1991 in business studies, focusing on sales & marketing. He spent the rst four years working in the export division of WMF, a worldwide manufacturer

He joined COMM-TEC in 1995 as export manager, where he was successful in building sales in new export markets

In 2006 he became shareholder and managing director, sales – responsible for all sales and marketing activities for COMM-TEC Germany and other countries run from this o�ce www.comm-tec.de

20 21 Interview v2PB.indd 2 11/12/2014 15:21

www.touchdisplayresearch.com

Touch Display Research has analysed the touchless human-machine-interaction (HMI) technologies market and expects that global revenues will reach $42.6 billion by 2020. A range of market applications is investigated, including automotive, TV, mobile phone/tablet, PC, wearable device and home/building automation. Gesture control, voice recognition, eye tracking, proximity touch, and motion sensors have gained momentum in the past few years. Apple, Google, Microsoft, Amazon, Samsung, LG, Intel and Qualcomm are all working on touchless devices. They have all acquired, or will acquire, small companies with touchless technologies.“Touchless human-machine-interaction is the next big technology,” says Dr Jennifer Colegrove, principal analyst at Touch Display Research. “It provides bene�ts of hygiene, safety, power saving, convenience, fun and coolness. We forecast that the global revenue for touchless HMI market will grow rapidly across all market sectors over the next �ve years with a CAGR of over 28%.”

Touchless human-machine interaction has evolved and is set to expand rapidly, reports Steve Montgomery

Hands o�!22 INDUSTRY DATAJanuary 2015

96 companies make the US the most active country in the touchless HMI market, followed by

Japan and then GermanyHome & building revenue (estimated, $bn)

2.5

2

1.5

1

0.5

02015 2016 2017 2018 2019 2020

Global revenue (estimated, $bn)

50

40

30

20

10

02015 2016 2017 2018 2019 2020

Other countries

Taiwan

Canada

Germany

Japan

USA

47%

25%

4%

4%9% 11%

Companies developing touchless HMI systems

Source:

22 Data v2PB.indd 1 11/12/2014 15:22


www.ihs.com

Wearable devices are going from geek to chic. Apple, LG, Sony, Asus, Motorola and Samsung are setting new standards for personal devices and aiming to develop new markets by improving usability through designs with high-resolution colour displays.

The display panel market for all types of wearable electronic items is forecast to enjoy growth in excess of 80% annually for the next four years, with exible and stretchable displays eventually displacing rigid ones.

“Most of the next wave of wearable products will come from smartwatch computing,” remarks Sweta Dash, senior director for research and display at IHS. “This �eld of wearable technology will be diverse, ranging from gaming to infotainment to health monitoring.”

Wearable devices need outdoor visibility, low power consumption and exibility in form factor and design. However, the report warns that a clear value proposition is needed before consumers fully accept the design and available applications provided by these new devices.

Major device manufacturers are looking towards wearable electronics for the next mass-market technology trend, discovers Steve Montgomery, but flexible displays are critical

Wearing well24 INDUSTRY DATAJanuary 2015

57% more viewing area on a round

watch than a square device (whose diagonal matches the

round watch’s diameter)

Source: IHS

Global revenue forecast for wearable displays ($bn)

25

20

15

10

5

02014 2015 2016 2017 2018 2019 2020 2021 2022 2023

Wearable display market value (%)

Flexible 26.5%

Rigid 73.5%

Stretchable 30.9%

Rigid 11.0%

Flexible 58.1%

2014 2023

24 Data 2 v2PB.indd 1 11/12/2014 15:23


According to the IMF, Denmark has the highest minimum wage in the world, and the lowest level of income inequality. But how are things going in its AV installation sector? Our latest country survey finds out

DENMARK26 DATA: REGIONAL VOICES January 2015

What advice would you give to a manufacturer looking to enter the AV installation market in your country?

‘Before entering, make a lot of research regarding the form of distribution. Do Scandinavia in one go.’

‘Backend support is essential.’ ‘The market is not big enough.’

0.8% GDP growth, 2014 forecast

Source: European Commission

1.0%Budget deficit, 2014 forecast

Source: European Commission

Grow more than 5%34%

Grow up to 5% 22%

Reduce by up to 5% 16% No change/no answer

28%

How do you think your company’s revenue will change over the next 12 months?

To what extent do these challenges apply to your business?

GREATLY

Recruiting/retaining employees

Managing complex projects

Getting paid on time

Ensuring existing sta� keep updated

The need to expand into new verticals

Maintaining a good project pipeline

Cost pressures

SLIGHTLY

26 Regional Voices v2PB.indd 1 12/12/2014 16:18


ISE 2015: Brain foodThree high-level conferences and the Opening Keynote provide plenty of intellectual stimulation and industry insight at ISE 2015

At 18:00 on 9 February, futurist Lars Thomsen will present the ISE 2015 Opening Keynote. Thomsen specialises in advising businesses strategically on anticipated 10-year shifts in society and markets. The keynote will explore ‘520 Weeks into The Future: Trends and Tipping Points in the Electronic Systems Industry’.

The presentation will cover areas such as artificial intelligence and robotics 2.0, alongside expected shifts in media, marketing and consumer expectations.

According to Thomsen, a tipping point is the point in time when a new paradigm comes into being. When a technology becomes su�ciently inexpensive that mass adoption becomes possible, for example – it’s reached a tipping point. For a futurist, it’s about making an educated estimate of the point at which a visible trend will cause a significant – disruptive, perhaps – change in the way things are.

What can ISE visitors expect from his keynote address? “Well, I hope they won’t come hoping to see a

lot of slides – because they won’t,” he tells the ISE Daily. “I’ll be focusing on making people think. What I’ll be trying to do is to leave the audience with two or three vivid pictures of the future in their heads that they want to go home and discuss with their friends and family.”

He continues: “If I can do that, I’ll have succeeded – because when we talk about the future, we change it and create it.”

The Opening Keynote is followed by ISE’s Opening Reception at 19:00 in the Auditorium Lounge. Both events are free of charge to attend.

SMART BUILDING CONFERENCEEarlier on that day, the Smart Building Conference will return. Since its inaugural presentation at ISE 2013, the conference has been held in London and Berlin in addition to Amsterdam, with Milan planned for May 2015.

Chaired by Bob Snyder, editor in chief, Channel Media Europe, the conference will continue its popular twin-track formula with sessions

that focus on residential and commercial smart building technology and applications.

As well as providing views on the latest trends and market data within the smart building sphere, the ISE 2015 Smart Building Conference will have two particular focuses: lighting and the Internet of Things (IoT).

A number of high-profile speakers will be sharing their expertise at the conference. The morning keynote will be given by Rogier van der Heide, chief design and marketing o�cer at Zumtobel Group. A former director at Arup – global business leader in lighting design – van der Heide went on to become chief design o�cer for Philips Lighting. “I’d say he’s one of the top people in the world in lighting,” says Snyder. “He’s going to address the topic of ‘Why Light Needs Smartness’ –the networkability of the new LED lighting and how it all comes together in a dramatic way for buildings.”

On the commercial track, Deepak Raval of Cambridge Consultants will talk about smart sensors in ‘Building the Smarter Possibilities’. Snyder explains: “If you combine these with clever algorithms, what are the possibilities to make buildings smarter than they are today? That’s what Deepak will zero in on. These smart sensors are like the engine of the IoT, so it’s good to go a bit deeper into

what can they do, where can they go – I think it’s be a very interesting session.”

One doesn’t generally see Apple executives speak at events like this, but Snyder has got pretty close with Nick Graves of Aquilla Europe, who spent 22 years with Apple in di¢erent senior management roles: he headed the European platform management group and his most recent job was to create, build and manage the accessories business for the online and retail Apple stores.

He will be giving his thoughts about Apple’s recently announced HomeKit and how it will be used in the residential market.

Snyder observes: “This is as close as I can bring delegates to how Apple thinks, what Apple might do, and someone who follows everything that Apple does.”

Snyder believes that the Smart Building Conference provides an opportunity for delegates to make an informed decision about which aspects of the rapidly changing smart building landscape a¢ect their

Futurist Lars Thomsen will be looking at the next ten years in the electronics

Another successful event returning to ISE for a second year is AudioForum

28 IN INSTALLATIONJanuary 2015

28-29 ISE v2PB.indd 1 15/12/2014 11:52

business, and to what degree. He told us: “Any digital transformation polarises its industry: there are people who want to believe in it and the people who don’t. There’s always a degree of hype – but how much is hype and how much is real? One reason to go to the Smart Building Conference is to decide for yourself. We’ll give you the intellectual content that’ll help you decide for yourself how this fits into your business.”

AUDIOFORUMAlso on Monday 9 February, AudioForum returns to ISE for its second outing in Amsterdam, following a recent Italian-language edition in Milan.

The focus of this latest edition of AudioForum – organised once again by Italian industry publication Connessioni – will be the digital tools that help audio designers and systems integrators perfect the designs of audio systems, installations, speakers and components. The conference will investigate topics such as electroacoustics, simulation software, measurement instruments and design tools.

Francesco Galarà, AudioForum project advisor at Connessioni, says: “People who are normally involved come from system integration environments. This is an opportunity to break from their busy schedule in order to provide clear information about their contribution to the technical field, ultimately allowing the market all the information necessary to o�er the best solutions to their customers. AudioForum wants to o�er to these professionals an immersive day in which they can sit and get information, or compare their knowledge with the latest technology innovations introduced by the industry. AudioForum o�ers an incredibly valuable day of conferences to the world of audio specialists and system integrators.”

SPORT FACILITY INTEGRATION SUMMITThe conference programme continues after the ISE 2015 exhibition opens. The second annual Sport Facility Integration Summit takes place on 12 February. On this occasion, organiser SVG Europe has partnered with leading audio consultant and project manager Roland Hemming to devise a more far-reaching programme that will address every aspect of sports venue integration.

The founder of RH Consulting, Roland Hemming has worked on countless landmark projects,

including serving as audio manager for the 2012 Olympic Games. In addition to co-programming Sport Facility Integration Summit 2015, he will chair the day’s proceedings.

“The real purpose of this summit is for all the di�erent groups of people involved in a stadium to have a better understanding of what each other does,” he says. “Because these projects involve so many di�erent people – from conception through design, installation and operation – many never get a chance to meet and to properly communicate the challenges they encounter which may have been caused unwittingly by people at earlier stages in the project.”

Highlights of the programme include:• A panel session in which leading audio integrators discuss their preferred approaches to audio system design and implementation for large sports venues;• The Great Convergence: AV, IT and the New Networked World’ – a session featuring, among others, Andreas Hildebrand from Ravenna networking technology developer ALC NetworX and Jan Jenca, co-founder and CEO of ColosseoEAS;• Dimitri Huygen, who heads the European Stadium and Safety Management Association (ESSMA) and is involved in the Belgian FA’s preparations for EURO2020, will close the programme by discussing the future of the sports venue.

Hemming summarises the thinking underlining the event: “The real purpose of this summit is for all the di�erent groups of people involved in a stadium to have a better understanding of what each other does.”

www.smartbuildingconference.comwww.connessioni.bizwww.svgeurope.org

Audio consultant Roland Hemming has co-programmed Sport Facility Integration Summit 2015

28-29 ISE v2PB.indd 2 15/12/2014 11:07

DNP DENMARK

dnp denmark’s focus for the show will be the Supernova XL, billed as the world’s largest optical front-projection screen with an image area of up to 5.3m x 3.0m (or up to 240in in 16:9).

dnp will give an expo presentation and present new frame colour options as well as fi tting dnp’s new white frame, ‘White Sand’, to the Supernova XL on exhibit.

It also plans to compare the 110in Supernova Blade against

a conventional white screen material using a split screen.

Søren Kraemmergaard, dnp global sales and marketing

manager, commented: “There is a lot of marketing spin going on when manufacturers appraise their products. We want to give people a chance to see the di� erence with their own eyes — and nothing is more compelling than a live demonstration.”

dnp will also preview two new high contrast front screens for increasingly important short throw projection applications. One, for single projector use, will have a gain of 0.9, in an improved version of the

existing STS Screen (with greater brightness and a new frame). The other is designed for edge-blending, with a maximum height of 1.5m and o� ering unlimited width.

In addition, dnp screens will be exhibited at several other booths within the show. DPI will be exhibiting Supernova Blade, Supernova One and New Wide Angle Screens, while Vivitek will be exhibiting Supernova Screens and COMM-TEC a 160in Supernova XL.www.dnp-screens.com

World’s largest front projection screen

Showfl oor highlightsOver the next three pages is just a small selection of some of the technologies and products that will be on display over the 12 halls of the Amsterdam RAI in February. We will have a further show preview in next month’s issue

CRESTRON

Crestron’s 3-Series 4K DigitalMedia Presentation System (DMPS3-4K-150-C) will be unveiled at ISE 2015.

“We’ve packed 10 years of innovation, the expertise gained from an installed base of more than three million HDMI and HDBaseT ports, and our award-winning support, all into one amazingly powerful system. Together with the DMPS3-200-C and DMPS3-300-C, this giant leap forward represents DM 3.0,” said Robin van Meeuwen, CEO at

Crestron International. The DMPS3-4K-150-C

is aimed at classrooms, conference rooms and huddle spaces. With built-in 3-Series Control System, the DM is a network grade appliance with high-speed Ethernet connectivity and enterprise-level security. The Crestron AV Framework means it’s ready to use out of the box, with integrators simply connecting the cables with no custom programming required. Therefore, all connected rooms across the organisation

can be centrally monitored and controlled from a single dashboard.

Integrators can create an instant switching system by connecting up to four Crestron Connect It (TT-110) cable caddies. The source selection buttons and feedback work as soon as the USB cables are connected. Meeting or class participants connect their laptops with the Connect It device at the table or lectern and then tap the ‘Show Me’ button to display their content.www.crestron.eu

Crestron to unveil 4K presentation system

ABSEN OPTOELECTRONICS

The new A1.9 4K LED display is the lowest pixel pitch product currently available from Absen and adds to its existing A2 Ultra HD indoor LED display with 4K capabilities. Both are targetted at control centres, shopping malls, conference rooms and other high-end indoor applications.

Both the A1.9 and A2 (2.5mm) products use high-quality black SMD LED to deliver high colour-contrast ratio and excellent performance under challenging lighting environments. Key features include: integrated A3C (Absen 3rd Generation Calibration) Technology, which allows panels from di� erent production runs to work together in one display; and a unique Hot Swap module feature, which means no re-calibration is required on replacement of faulty modules or receiving cards, and also adds to ease of maintenance.

The displays use an Absen patented connector, ensuring seamless connection with precision adjustment within 0.15mm. There is also a user-friendly information window on the rear of each panel that monitors voltage, temperature and total operation time.www.absen.com

4K LED display pitches in

Hot to Swap: The Absen A1.9mm 4K LED display benefi ts from modular design


30 ISE preview v2PB.indd 1 15/12/2014 11:52


MITSUBISHI ELECTRIC

Two new control room display systems from Mitsubishi Electric will get their European debut at ISE 2015. The company will introduce its slim profile DLP rear-projection cube at the show, designed for demanding 24/7 control room applications requiring the highest quality seamless displays in a compact format. The VS-60HS12 is based on Mitsubishi’s unique air-cooled LED projection engine, delivering up to 50,000-hour lifespan with no maintenance.

Returning to its traditional landmark presence at the entrance to Hall 2, Mitsubishi Electric will also show an entirely new range of DLP rear-projection cubes. The new LED-lit 120 Series displays are designed for budget-conscious control room applications requiring a high-performance, low-maintenance bezel-less

display. The 120 Series displays are equipped with Open Pluggable Specification (OPS) slots for maximum versatility and compatibility with leading third-party solutions.

The new displays will be complemented by a number of real-world application examples demonstrated in conjunction with industry partners such as Bilfinger Mauell, Datapath, Advantech, and Matrox Graphics, which will utilise examples of IP camera and digital video recording technology from Mitsubishi Electric’s own security products division.

Mitsubishi Electric’s presence at ISE 2015 will also feature its flagship display wall cube system, the Seventy Series, in the shape of 72in WUXGA VS-72WE cubes featuring its recently upgraded 78 Series LED

projection engines. Its tiled LCD control room display options will be represented by the 55in LM55P1 and LM55S1 models. Other innovative products on show include Mitsubishi’s LED replacement cube engine, which allows existing customers to replace conventionally lit display walls with the latest LED technology for improved performance and dramatically reduced cost of ownership.www.mitsubishielectric-displaysolutions.com

Two European display room system launchesTVONE

tvONE is to showcase the recently launched CORIOmatrix mini for the first time in Europe at ISE 2015. The HDBaseT Output Module for the CORIOmax product line will also be featured alongside it.

The CORIOmatrix mini 1 RU routing switcher is a 12-port scaler, format converter, audio router and HDBaseT extender all in one unit. The C3-310, CORIOmatrix mini uses modular hardware with five AV module slots that o�er signal management options. The CORIOmatrix mini is based on tvONE’s CORIO2 technology and provides modular video matrix switching using

a firmware-based video routing, switching and video conversion platform.

The CORIOmaster and CORIOmatrix range, when equipped with HDBaseT output modules, can be automatically set up to extend HDBaseT 60m, 100m or 150m depending on the receiver used.

The HDBaseT Output Module is a 2-port, HDCP compliant module with scaling that allows the extension of high-resolution digital video as far as 500ft (150m) over a standard Cat. 5e/6 cable. The module can now auto-detect the receiver connected to the system and configure itself without user intervention. www.tvone.com

CORIOmatrix in European debut

The CORIOmatrix mini is a 12-port scaler, format converter, audio router and HDBaseT extender all in one unit



3D STORM / NEWTEK

A system to enable video producers to engage with millions of remote experts and guest commentators using live Skype video calls will make an appearance at ISE 2015.

NewTek TalkShow VS-100 is based on Skype TX professional software from Microsoft for initiating, receiving, monitoring and managing video calls, with a set of live production tools delivered by NewTek.

Distributor 3D Storm says the video calling production tool is designed specifically for studios and live video producers, with the 1RU system o�ering the ability to easily incorporate TalkShow into any live production or studio environment.

It also claimed that a producer of live video with TalkShow has

the potential to reach 300 million monthly connected Skype users and incorporate them as guest speakers into live programmes with full-frame Skype video calls. The system o�ers the capability to manage all aspects of a live Skype video call in the control room like any other video source.

Users have access to customisable settings to fully colour-correct live video calls as well as SDI-embedded audio, and compressor/limiter, equalisation, and adjustable headroom controls for improving audio quality.

The integrated hardware and software o�ers dual channel Ethernet connectivity, two channels (one in, one out) of HD-SDI I/O that includes reference signal, professional XLR audio support, Tally support and more.

Producers using TalkShow with NewTek’s TriCaster multi-camera video production systems will be able to route Skype video calls directly to and from a TriCaster over a network connection without tying up an additional HD-SDI input.www.3dstorm.com

Add millions of Skype callers to live video production

ALCONS AUDIO

The CRS12GT from Alcons Audio is a two-way passive-filtered loudspeaker featuring proprietary multiple-patented pro-ribbon driver technology. Alcons says the speaker is designed to meet all requirements of current and future Digital Cinema immersive surround sound formats.

According to the company, the CRS12GT combines full clarity and intelligibility with an unusually high dynamic range and up to 90% less distortion than traditional cinema surround systems.

Using identical MHF pro-ribbon transducers for screen and surround systems, the speaker aims to provide an exceptionally wide and uniform sound stage throughout the entire listening area.

The CRS12GT consists of one RBN601 6in pro-ribbon driver for HF and a vented 12in mid-bass for LF reproduction. The HF section has a 1,000W peak power input, enabling a 1:15 RMS-to-peak dynamic range with lowest distortion from 1,000Hz to beyond 20,000Hz. The absence of a compression threshold caters for a linear tonal balance at any SPL, claims the company.

The horizontal dispersion of the pro-ribbon transducer guarantees a very stable sound projection throughout the operating bandwidth, both on- and o�-axis.www.alconsaudio.com

High-output speaker aims for immersive sound

Ribbon winner: Alcons Audio claims the CRS12GT o�ers the most realistic surround sound reproduction possible


34 SHOW PREVIEW: BETT 2015January 2015

Leading fi gures from the world of education technology will descend on London’s ExCeL later this month as Bett returns for its 31st edition

Education evolves

From 21 to 24 January more than 35,000 education professionals are expected to take the

trip to London’s Docklands to visit Bett 2015. Through a mixture of new product innovations, workshops and seminars, plus a range of networking opportunities, the show has established itself as the UK’s biggest technology and learning event. And its signifi cance stretches far beyond these shores – Bett Show 2014 welcomed visitors from no fewer than 113 countries.

This international appeal continues in the Technology in HE Summit, which this year features an increased international speakership. Themes up for discussion include ‘Future-proofi ng your university’ and ‘The changing landscape of technology in Higher Education’.

The summit kicks o� at 10:30 on 21 January with a debate on ‘The changing landscape of technology in higher education’. Here a panel will discuss the impact of technology in higher education and its future in the UK. The next day a session at 14:45 will explain ‘how to achieve technology consistency across your university’,

while a case study at 16:25 will look at ‘Moving beyond the traditional learning and assessment’ with Helen Keegan of the University of Salford.

‘Evolving higher education’ with futurist Bryan Alexander looks set to be a highlight on the fi nal day of the summit. Starting at 13:05, this session will reveal how universities are changing to adapt to the modern educational need at individual, institutional and state level.

Ministerial addressesWith the countdown to the UK general election entering its fi nal months, many attendees will be keen to hear ministerial addresses from education secretary Nicky Morgan and shadow secretary of state Tristram Hunt. Morgan’s speech will outline her vision across critical educational policy areas, the school curriculum, school improvement and the establishment of academies and free schools. She’ll outline how reform in these areas

can be achieved or enhanced through education technology. Her opening address will be given on Wednesday 21 January 2015 at 11:00. She will also take a tour of the mile-long exhibition.

Other speakers to look out for include Wikipedia founder Jimmy Wales, gamifi cation and innovation advocate Ian Livingstone, CEO of Raspberry Pi Lance Howarth and director of education for the Bill & Melinda Gates Foundation Vicki Phillips. In all, the show will host more than 200 seminars from over 200 speakers across two venues – Bett Arena and Learn Live.

Exhibition fl oorOf course, like any exhibition, Bett Show’s prosperity is securely tethered to the strength of its exhibitor list. With over 600 companies from every corner of the technology and learning sectors, there

will be lots of food for thought and new technology aplenty.

More than 20 years since introducing the world’s fi rst interactive whiteboard, SMART Technologies is focusing on an emerging market. The company will use the show to emphasise its o� ering of interactive fl at panels. The SMART Board 6065 interactive fl at panel will be on display, along with brand new models that are set to expand the size, feature and price options for customers. For the fi rst time in the UK, Bett attendees will also be able to see the new SMART kapp digital capture board, which was launched in North America last year.

Collaboration will be key for Crestron as the

company highlights its wireless solutions. The company will be showcasing AirMedia, its wireless HD presentation solution for classrooms and small lecture theatres. Featuring plug-and-play installation, AirMedia brings presentation, collaboration and content sharing capabilities to classrooms that aren’t wired for an AV system. Up to 32 people can connect to an existing display over WiFi and wirelessly present HD content from their smartphone, tablet or laptop.

Crestron’s new DMPS3-200-C and DMPS3-300-C all-in-one presentation systems will also be on display.

Casio will mark fi ve years of lamp-free projectors at Bett, and promises to

What? Bett 2015Where? ExCeL LondonWhen? 21-24 January

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34 36 BETT preview v2PB.indd 1 12/12/2014 16:19


36 SHOW PREVIEW: BETT 2015January 2014

unveil a surprise that will further revolutionise the learning environment. Phil Clark, head of projection at Casio, comments: “ Each year, we have built upon our achievements and are delighted to be celebrating five years since eradicating mercury based lamps, though a showcase of our innovations. The Ultra Short Throw projector encapsulates just how far we’ve come, facilitating a large-scale image projected from just 27cm, virtually eliminating shadowing on screen and enabling teachers to interact with the screen at close range.”

Sony will showcase its full range of education technology innovations, demonstrating its vision of technology as an enabler of engaged learning. The company is

keen to demonstrate how multimedia content and interactive learning can be implemented through the latest technology. Products on show will include the world’s brightest 3LCD laser installation projectors, Vision Presenter – its 4K compatible presentation and collaboration solution – as well as the smart 4K BRAVIA touchscreen solutions.

Damien Weissenburger, business head for presentations and communications at Sony Europe, says: “The past year has seen us breaking through technological boundaries to improve our product o�ering. The growing use of new technology within education is already incredibly exciting, and as a result so is the potential for development in

the market.”Ahead of Bett 2015,

Epson has been challenging UK schools to ‘Exceed Their Vision’ in a competition celebrating creative, original projects. Entries will be displayed on Epson’s stand and the winner will be announced at the exhibition on Friday 23 January. The winning school will also receive a suite of Epson products worth £7,500.

Tripleplay will add to its array of educational technology solutions with the launch of TripleShow Live Presenter. This new lecture-capture solution enables any institution to record, stream and archive lectures or lessons simply and easily using a web browser for control.

Tripleplay’s chief technical o�cer, Peter

Martin, is delighted to add to the company’s product portfolio: “Educators are real leaders in technological investment and adoption, driving change that many other industries avoid. So, it is important that people such as us are providing high-quality solutions that cater to those needs. By introducing TripleShow we can now o�er any school, college or university an entire, end-to-end, digital media learning platform, saving the need for expensive and time-

consuming integration work and centralising all control and operation.”

Onelan and onemedia will be showing a range of products and services, including a 4K videowall managed by a single user interface. The onemedia Digital Noticeboard will also be available, which o�ers a flexible way of communicating messages to pupils, sta� and visitors using new or existing TVs.

www.bettshow.com

Crestron’s AirMedia collaboration solution will be at Bett

34 36 BETT preview v2PB.indd 2 12/12/2014 16:20


38 TECHNOLOGY FEATURE: THEATRE AUDIO CONSOLES January 2015

A play in fi ve acts

The gradual but now essentially complete migration from analogue to digital has clearly

been the greatest single change to a� ect the use of consoles in theatres during the past 10 years. Quite apart from digital desks’ greater fl exibility and ease of (re)confi guration, these consoles’ more compact form factor has freed up

valuable seating space – bringing obvious benefi ts for revenue.

But in conjunction with this primary shift, the console’s role in a theatre has also undergone an evolution. As digital desks’ feature sets have increased, the need for outboard gear has steadily diminished – to the point where it frequently has little place in new audio specifi cations.

The more frequent need to deploy consoles in di� erent performance spaces has also impacted upon design, while many theatres are now keen to take advantage of full networking. In the absence of one all-conquering solution, this obliges console makers to o� er support for multiple networking technologies.

The overriding impression,

therefore, is that the selection of a permanent audio console for a theatre is necessarily a more scrupulous exercise than ever. A long-term stalwart of the analogue theatre console market, Cadac is now making inroads into the digital domain with its CDC desks, and brand development manager Richard ‘Fez’ Ferriday pro� ers a succinct

summary of customers’ expectations.

“Within fi ve years from now, if you don’t make microphones or mixers or self-powered loudspeakers you really need to ask yourself what it is you are going to be doing,” he says. “With digital mixers, people now expect them to do everything you need to do between a microphone and a self-powered speaker.

Form factor and � exibility tend to top the shopping list for audio consoles destined for installation in theatres. But as David Davies discovers, they are by no means the only expectations harboured by an increasingly discerning customer base

Lawo’s mc266 was installed as part of an upgrade at Zurich Opera House

38 39 40 42 Feature theatre v2PB.indd 1 11/12/2014 15:27

Key Pointsn The vast majority of theatres have now invested in digital console technology

n Customers generally expect powerful snapshot and recall features to assist with the smooth running of dramatic productions

n ‘The more compact the better’ is the general maxim as venues seek to maximise seating capacity

FEATURE: THEATRE AUDIO CONSOLES 39January 2015

They really do have to be capable of fulfi lling a lot of di� erent functions.”

Two- and three-act plays are most common these days, but until the 18th century a fi ve-act structure was predominant. So here, then, are the factors underpinning theatre audio console specifi cation told in fi ve acts…

Act I. TransparencyUsers’ expectations of audio consoles in terms of processing and e� ects have increased exponentially over time – but some requirements are more eternal. Principal among these is audio transparency in an environment where, for drama and stand-up, ‘invisibility’ of reinforcement is pivotal.

“Amplifi ed audio in a theatre requires absolute transparency,” says Ferriday. “The Holy Grail is that the audience should be completely unaware of the amplifi cation. The signal chain from the microphones to the loudspeaker placement… everything should be as transparent as possible.”

For console makers, that equates to the careful selection and deployment of mic pres and converters, as well as “managing latency in the digital system so there is no COMB fi ltering or audio artefacts created by way of the DSP routing internally”, remarks Ferriday.

Act II. ‘Maximum Features, Minimum Spend’Theatre is a notoriously fi ckle business in which much-hyped, big-budget productions can close ignominiously in a matter of months or even weeks. Extended periods ‘in the dark’ can put huge pressure

on venues and operators, particularly in fi nancially straitened periods like the present. So it stands to reason that the cost/feature expectations of consoles in theatres is acute.

“Of course, theatre sound designers and engineers are looking for the maximum features for minimum spend, no di� erent to other application markets, and the demands of a console vary according to the size of theatre, complexity of speaker outputs and the skillset of the operators,” says Sean Karpowicz, Soundcraft product manager for the Si Series mixing consoles. “Facilities can range from highly complex and high-profi le productions on Broadway or in the West End, to local community and school theatres where amateurs or volunteers require a very simple-to-operate surface – therefore easy-to-learn-and-use user interfaces become important.”

Lawo’s latest launch, the compact mc236, chimes with the theatrical market’s need for highly specifi ed but cost-e� ective consoles. Product manager for live & theatre Hervé de Caro highlights the fact that theatre customers “always tend to be looking for high-quality e� ects, so it’s vital that you provide those. Then obviously there are considerations with regard to redundancy and making

sure that the connectivity of the console – to the broadband network, for example – is good.”

Act III. Automation & Theatre-Specifi c SoftwareTheatrical applications don’t necessarily require high fader counts since engineers will necessarily undertake a lot of scene recall and VCA mixing – a fact that has an obvious knock-on benefi t for console footprint [see Act IV]. But that does mean that there is an onus on theatre consoles being able to o� er powerful snapshot capabilities.

“You need to be able to o� er good show/snapshot handling with features like cue isolates, audio crossfading and more,” says Karpowicz.

For Soundcraft, this has translated to some very specifi c features on a console-by-console basis. “When the Vi series was originally designed, the specifi c needs for theatres were very much taken into account with regard to the show/snapshot system and the more advanced features like cue isolates, audio crossfading,” he adds.

For DiGiCo MD and now ProAudio Group CEO James Gordon, “a lot of it comes down to theatre-specifi c software and features to make it easier to handle cast changes, actors changing roles, wearing

‘With digital mixers, people now expect them to do

everything you need to do between a microphone and

a self-powered speaker’Richard ‘Fez’ Ferriday,

Cadac


di�erent costumes and suchlike. It’s not so [much a matter of] channel and bus count.”

In the case of DiGiCo, this recognition has translated to a long tradition of producing theatre-specific versions and software bundles. Most recently, the company introduced ‘T’ software extensions for its SD7, SD10 and SD9 consoles in order to make West End- and Broadway-style feature-sets accessible to smaller and touring theatre applications.

Cadac, meanwhile, is currently fine-tuning a new version of its SAM theatre sound show automation software, which was originally deployed with Cadac’s analogue consoles. Previewed at Prolight + Sound last year, the new, as-yet-untitled incarnation of SAM will be operable

with the CDC digital desks. In a nutshell, SAM creates a recall system for show design, controlling consoles and external MIDI devices (for sound FX) via their scene memories. It yields a series of sequentially chained cues, and also enables recording and editing of MIDI events attached to a cue.

Meanwhile, Soundcraft has worked closely with a variety of leading theatre sound designers in developing the Studer Vista Theatre Workflow software. “This includes many features specifically requested from theatre engineers, including Enhanced Theatre Cue-Lists and Character/Actor Library Event Handling,” says Karpowicz.

Act IV. Form Factor/PortabilityAll of these features need

to be accommodated in a console that occupies as small a form factor as possible. Put simply, less space taken up by audio gear means more free for seats, merchandising and other revenue-generating matter.

Bjorn van Munster is product manager at Salzbrenner Stagetec Audio Video Mediensysteme, whose latest theatre-relevant solutions include the Salzbrenner Polaris scala DSP engine – a fully network-based console that allows multiple users within one production or even di�erent halls to share one DSP engine. He encapsulates the simple economic equation at work here: “Small footprint translates to more space available, which means more seats and greater income.”

Soundcraft, meanwhile,

developed the Vista Compact Remote “with theatres in mind; because of its small footprint it easily finds a place in almost every tiny corner in a theatre,” says Karpowicz. “With the Vista Compact Remote’s 10 faders and a touchscreen deploying the selected bay’s Vistonics screen, it can be used as a full remote control or as a redundant VCA fader box. The Vista Compact Remote can also be used as a redundant desk surface.”

Everyone agrees that the trend towards miniaturisation remains a defining influence on audio consoles for theatre. Indeed, it may actually have been responsible for the downfall of some former stalwarts of the theatre console segment. Ferriday, for example, believes the need for more seats was “pretty much solely responsible” for the demise of Cadac’s once ubiquitous J-Type.

“Go back 10 years and in the West End or [any other major theatrical hubs] and there was a 90% chance that the show was being run on a J-Type,” he says. “But as people started to look more at the logistics of theatres, and the real value of a seat in a theatre show that might run for years, they began to think about getting rid of big analogue mixers. If you can have something that is a third of the size, over

a period of two years you can be looking at an extra £100,000 on the ticket revenues for a show. It’s very di�cult to argue with that if a console is going to pay for itself in a year and continue to gain extra profits.”

The need for compact, portable consoles has been magnified by a less predictable pattern of console placement in theatres. Again for reasons of economics, some auditoriums have favoured moving the audio desk out of the main room altogether.

“A lot of [theatre operators] don’t like putting the console in the theatre and will try to put it in the control room where it has to share space with the lighting console, e�ects and so on,” says Ferriday.

But some, like van Munster, now discern a shift away from the tendency to situate consoles out of the main room on the grounds that in many cases it simply proved to be “impractical”. He observes: “The latest trend is that audio engineers go back into the auditorium, but are bound to work in extremely limited areas and therefore forced to use small-sized audio mixing equipment.”

Act V. Networking CapabilityBy general agreement, theatrical customers have not been slow to

40 FEATURE: THEATRE AUDIO CONSOLESJanuary 2015

Case StudyDutch theatre invests in �ve DiGiCo consolesAn acclaimed combination of concert hall, large theatre and studio, Theaters Tilburg in the south of the Netherlands recently invested in �ve DiGiCo systems to replace its existing analogue set-up.

With its future programming geared increasingly towards music shows and the greater use of in-house personnel, there was a need for “digital systems with a quick and exible work ow”, explains Theaters Tilburg’s Pernel van Herpt.

After extensive comparisons, the venue selected a DiGiCo inventory featuring two SD9s and three SD11s, along with associated D-Racks. All equipment was supplied by DiGiCo’s Dutch distributor, TM Audio.

“All the D-Racks are �tted with AES/EBU output cards to guarantee a full 100% digital signal ow, starting with the 24-bit/96kHz A/D converters behind the preamps in the rack, and ending in the power ampli�ers behind the D/A converters,” explains TM Audio’s Jaap Pronk. “All set-ups can be used individually or in combinations with rack-sharing when using the DiGiCo Little Red boxes, which we also supplied, and bene�t from DiGiCo’s Gain Tracking system.

“A DiGiCo UB MADI USB2 audio interface was chosen for virtual soundcheck and multitrack recordings, which became a very welcome tool during the �rst days of in-house training.”

TM Audio hosted a number of training sessions during the venue’s summer break. Subsequently, the more experienced engineers connected a number of multitracks to the console set-ups in order to help the less experienced engineers gain a better working knowledge of the systems.

‘You need to be able to o�er good show/snapshot

handling with features like cue isolates, audio crossfading and more’

Sean Karpowicz, Soundcraft


41 Analogway_IC-Audio.indd 1 11/12/2014 16:29

42 FEATURE: THEATRE AUDIO CONSOLESJanuary 2015

embrace the possibilities of extensive networking. Audinate’s Dante is increasingly regarded as a first choice, but with a myriad of solutions available manufacturers have been obliged to o�er interface cards and network bridges for di�erent networking technologies.

Examples abound of multiple protocol support. For instance, Cadac utilises its own proprietary digital interconnect protocol, MegaCOMMS, to provide up to 128 bidirectional channels of 96kHz/ 24-bit audio, along with all control data and clock synchronisation. But the company also manufactures a few

network bridges that allow MegaCOMMS to talk to Dante- and MADI-based networks.

Elsewhere, DiGiCo is the only console manufacturer to utilise OEM Optocore fibre ring networking and is currently running the native 2.21 Optocore protocol, but like others has also supported Dante since introducing its first Dante-implemented products at Prolight + Sound in 2011.

In the contemporary, cost-conscious theatre market, these expectations seem to be etched in stone now. But what of emerging factors and features – and the impact these are likely to have on console design over the next few years?

In the wake of Soundcraft’s groundbreaking Si Performer audio console that o�ers DMX lighting control, there has inevitably been discussion about the future scope of consoles to deliver non-audio capabilities as more of a routine occurrence. But in the market generally, there is a feeling that what we might call audio-plus consoles could be relatively limited in their appeal.

“I can see how the audio-plus desks works in terms of the intended market,” says Ferriday, “but if you go to a larger sort of set-up, you are typically going to find one person mixing sound, another running the

lighting and someone else directing video, and those three will need their own user interfaces.”

“I think [that sort of console] could probably do well with the amateur dramatics side of thing, but when you get to a regional theatre [level] the skills of setting the scene with lighting and mixing sound well are very di�erent,” says Gordon. “You tend to be a lampie or an audio person; the crossover is not that great yet. And video is even more complex…”

Whatever the case, console makers in general will certainly need to work harder than ever to establish points of di�erence in a highly competitive sector. Inevitably, they have di�erent (albeit not dramatically so) takes on how they think the theatre console segment will develop over the next few years.

For Lawo, de Caro expects there to be a continued emphasis on “integrating the maximum amount of technology in the console in terms of e�ects, recording capability and so on. There will also need to be continued flexibility in terms of how the user manages the busses and I/O, particularly when they are using a smaller number of faders. That is very important because the user must always be able to feel comfortable with the system.”

Karpowicz, meanwhile, predicts increased convergence and control of audio equipment located venue-wide from the main console. “We believe that the more you can control and monitor your venues’ equipment from the console, the better, hence why we

have AKG microphone monitoring on our Vi desks, Soundweb London Control from Si consoles, HiQnet integration on all our consoles, and much more,” he says. “We fully expect to keep adding this kind of functionality as it allows the engineer, tech manager and operator the ability to control the tech from one place.”

Ferriday also anticipates continued convergence – including in the form of more inter-company co-operation. “Digital mixers are starting to become more similar to each other and I think we are starting to see the beginning of a convergence [in the market],” he says. “One result of this will be that I think there will be a lot more co-operation between di�erent manufacturers [to help create stronger o�ers]; for example, at the moment Cadac is in the process of integrating Waves’ SoundGrid and plug-in products into its consoles.”

With digital consoles now as firm a fixture in theatreland as jukebox musicals, the main question going forward is quite how much functionality users will expect to have access to on a day-to-day basis as outboard amplification and e�ects become more scarce. Fortunately, it seems that console makers are well ahead of the game in this regard and will be able to provide them with an abundance of choice and price-points.

www.cadac-sound.comwww.digiconsoles.bizwww.lawo.comwww.soundcraft.comwww.stagetec.comwww.tmaudio.nl

Case StudyTheatrical revival provides high-pro�le outing for Cadac’s new digital deskIn arguably the most high-pro�le appearance yet for Cadac’s new digital console, the CDC eight, sound designer Mike Walker speci�ed the desk for the 50th anniversary revival of Joan Littlewood’s epic musical Oh What A Lovely War!.

Following a recent staging at London’s Theatre Royal Stratford East, the production is now set to begin a lengthy UK tour early in 2015.

The desk marked the �rst time that long-term Cadac analogue user Walker had ever deployed a digital desk on a large-scale theatre production. Of the digital CDC eight, he remarks: “The audio quality is stunning. Quite simply, I have never heard such stunning sound quality in a live console before. Until now, no digital desk I have listened to has matched the openness of the big old analogue Cadac consoles, but this is in an entirely di�erent league.”

Among the elements praised by Walker is the desk’s ease of operation. “The interface is incredibly intuitive,” he said. “The combination of dual 24in touchscreens and rotary controls makes operation very easy. Everything ends up just where you need it in a live musical environment.”

For the run at Theatre Royal Stratford East, the cast of 12 was miked with Sennheiser 9000 Series (digital) radio mics, while the �ve-piece band was reinforced with a select combination of condenser microphones from Sennheiser, Neumann and DPA.

All of this was fed to the CDC eight-32 running the latest V2 software via a Cadac CDC I/O 3216 stagebox, sited backstage with the FR racks. A CDC MC MADI Bridge – connected via Cadac MegaCOMMS – integrated QLab with the CDC eight for all the sound e�ects and at one point provided direct outs to a BBC recording truck. Lexicon PCM96 reverbs were interfaced via AES cards on the console.



Install DPS Template.indd 1 12/12/2014 3:53:24 PM

Install DPS Template.indd 2 12/12/2014 3:54:04 PM

Key Pointsn AV equipment and smart devices have radically changed the delivery of education at all levels

n Students are prepared for their future careers using collaborative tools and working in teams

n Multitouch interactivity is an essential component of front-of-class presentation devices

n Interactive projectors and LCD screens are now competing with whiteboards in classrooms

n One of the greatest advantages of online video presentations is in the ‘ ipping’ of lectures

46 BUSINESS FEATURE: EDUCATIONJanuary 2015

Learning for life

The requirement for advanced audiovisual and electronic equipment across

the educational market sector is massive. A recent report by Futuresource Consulting estimated that the global spend on education technology within classrooms reached $13 billion last year, 11% higher than the previous year, and indications are that

a strong growth rate will be sustained for the next fi ve years at least. Around 62%, is channelled towards the purchase of mobile devices as interactivity, collaboration and group learning displace the ‘stand-and-deliver’ approach that has been the mainstay of education for decades.

The current generation of children and young people are highly conversant with digital technology in all

its forms and readily take to interactive networked solutions. The interactive whiteboard (IWB), for so long the staple teaching aid, has evolved to encompass this trend. “Over the past decade, the school model for technology amounted to an interactive whiteboard at the front of the class: essentially a digital tool that allowed the teacher to use a ‘whole-class’ approach to lessons,” says David

Lapides, director, software strategy and channels, SMART Technologies. “Now with sophisticated technology such as tablet computers becoming more commonplace, we see an increased emphasis on one-to-one and small group learning. Some schools are placing two or three interactive displays in a classroom to enable students to work separately from the larger group.

AV equipment, smart devices and applications have radically changed educational techniques at all levels. Steve Montgomery investigates the bene� ts to students, teachers and lecturers

Collaboration and group working using DisplayNote on tablets in class

46 47 48 Feature education v2PB.indd 1 11/12/2014 15:39

BUSINESS FEATURE: EDUCATION 47January 2015

In response SMART has developed a collaborative learning cloud-based software suite called SMART amp. It includes vast amounts of rich digital content and it can work on virtually any device that has a browser.”

Personal touchPersonalised learning techniques and resources have developed over recent years, driving the development and adoption of both hardware and software in schools. “Learner-response systems remain a popular choice to facilitate personalised learning and there has been a definite shift towards one-to-one and BYOD (bring your own device) strategies,” says Ian Curtis, head of Western Europe, Africa & ANZ, Promethean. “By connecting pupil devices with the front of

class teaching solution, our ClassFlow all-in-one teaching platform increases the collaboration opportunities that can be supported, and, equally importantly, helps to increase the teacher’s e�ectiveness. One of the drivers behind the development of ClassFlow is that teachers find the increasing number of classroom technologies and increasing number of lesson resources increasingly unmanageable. ClassFlow helps resolve this by giving teachers one teaching solution to use across all classroom technologies and one solution with which to prepare and deliver lessons and collect feedback.”

DisplayNote is collaborative software used extensively in classrooms and training rooms, with around a million licenses shipped in 2013. Paul

Brown, CEO of DisplayNote Technologies, explains: “The software and app solution allows teachers to share their lessons directly from the classroom display to the student devices. Any presentation, document or image can be shared and any changes made can be seen on all the devices. Using the DisplayNote app, students take screenshots on their tablets and make notes on the lesson content with the ability to share their work back to the classroom display.”

While whiteboards have been the predominant presentation device in the classroom, other technologies are catching up. Interactive touchscreens have become more robust and cost-e�ective at larger sizes, enabling them to compete directly. Tom Gibson, product marketing specialist at Panasonic,

believes they have significant advantages: “The introduction of new technology has certainly allowed teachers to encourage greater interactivity and content sharing; engaging and captivating the minds of young learners. We are dealing with a generation of children completely at home with interactivity, touchscreen technology and immediately available software. Our interactive displays can detect up to six touchpoints, allowing smooth operation of the screen with a finger or stylus pen. Notes can be made on almost anything, from video and photos to presentations and PDF documents, and then saved as an image file or emailed directly from the display to a mobile device, without the need to connect to a PC or install any software. With wireless connection via Miracast students can project or display their desktop, tablet or smartphone on a shared screen simply by connecting wirelessly.”

According to Zulfi Baig at touchscreen solution manufacturer iBoardTouch: “The replacement of IWBs and projectors in classrooms with large-format flatpanel LED touch displays has greatly enhanced the teaching process. They can display bright and vibrant colour

in normal daylight with crisp, legible text and fine image detail and external light reflection is reduced through the anti-glare layer on the screen.

“Schools want the freedom to choose software applications to use on touch devices and we focus on providing tools that enhance those apps, adding functionality and extending their usability. Sharing lesson plans and other materials across di�erent manufacturers’ platforms can be a source of frustration for many teachers. In response we have recently launched software that enables files to be transferred between di�erent interactive platforms such as Smart and Promethean.”

Another alternative to the whiteboard is the interactive projector. “Interactive whiteboards have helped a generation of students, but demand for mobile device integration and new kinds of content are creating a demand for more versatile hands-on technology. Finger-touch interactivity, mobile device integration and ultra-short-throw projection are fuelling an unstoppable trend towards interactive projection,” points out Chris Go�, business manager, Visual Instruments at Epson UK.

“The projectors come with a range of connectivity

Case StudyLecture �ipping at the University of LeedsA new £2 million lecture-capture system has been rolled out at the University of Leeds that will record up to 50,000 hours of teaching activity every academic year, giving students access to video and audio recordings of many of their lectures and other teaching activities in a �exible learning experience. Sonic Foundry’s Mediasite platform allows pre-recorded lectures to be accessed by students before and after class sessions.

“We can then use contact time for discussions and other activities that help to develop learning from the recorded lectures,” commented Professor Neil Morris, director of digital learning at the University of Leeds. “The new technology gives students the chance to learn and study at their own pace and will let them revisit course content at any point in the year. Sta� are talking enthusiastically about trying innovative approaches to teaching that would not have been possible without this investment.

“The traditional model of teaching would be to give a lecture during class and send the students away to read around the topic. With the new system we can share pre-recorded lectures with students before class and use contact time for discussions and other activities that help to develop learning from the recorded lectures.”

‘The introduction of new technology has certainly

allowed teachers to encourage greater

interactivity and content sharing’

Tom Gibson, Panasonic


48 FEATURE: EDUCATIONJanuary 2015

options so teachers can connect their device easily and e�ciently, whether it’s a laptop, smart device or visualiser. Automatic set-up and calibration time is minimal so interactive presentation can be rapidly set up and projected onto any wall or tabletop, allowing students to get closely involved in presentations.”

Projectors are essential in classrooms; however, lack of space means that it is often di�cult to position them e�ectively. Short-throw projectors are a solution to this and manufacturers have been developing devices for this purpose. Optoma recently launched the EH200ST projector for the education market. It is capable of projecting a 100in 1080p resolution picture with a throw of just over a metre, allowing it to be installed between the teacher and the screen, avoiding unwanted shadows on the screen.

Casio’s UST projector incorporates a laser and LED hybrid light source technology to deliver

powerful, bright visuals in the teaching environment without the need for mercury-based lamps. Phil Clark, head of projection at Casio Projectors, comments: “The 3,100 ANSI lumen model can project a large-scale image from just 27cm, virtually eliminating shadowing and enabling teachers to interact with the screen at close range, driving a more engaging visual experience.”

Higher educationAt the higher education level, video is becoming an important element of the teaching process. “One of the most e�ective trends over the past few years is the flipped

classroom in which lecturers produce their own videos, for students to watch as preparation before a lecture,” explains Thorleif Hallen, senior advisor, manager education technologies for UNINETT, a government-owned company in Norway which provides connectivity and IT services to higher education. “Another trend, maybe the biggest one for years, is that of massive open online courses (MOOCs) which allows a university to reach out to hundreds of thousands of users. Video recordings and lectures are made available online and enable teachers to deliver better and more flexible education. It means that

more young people are able to study.”

Mediasite from Sonic Foundry provides extensive capability for recording, managing and streaming rich video. Rob Lipps, executive vice president, explains some of the features: “Lecturers have several options with Mediasite. They can record presentations using camera phones or on their desktops using webcams and combine them with presentation materials such as PowerPoint. Using a personalised My Mediasite environment, they can easily upload presentations to an on-premise or cloud-based Mediasite server for access by students either in conjunction with a lecture series or as revision resources. Lecturers can also capture live lectures in the classroom automatically, using Mediasite integrated appliances to record, stream live and publish rich video presentations to the Mediasite server in an automated workflow that does not burden the lecturer in any way.”

However, Dr Carsten Sørensen, reader in digital innovation at the London School of Economics, notes: “Education has not changed for thousands of years; we have been conditioned to learn in a direct, face-to-face way. Learning based solely on MOOCs o�ers opportunities; however, there is significant drop-out rate and you need to be disciplined to complete a course. The value of online resources is in supplementing traditional teaching and enabling new, better techniques such as lecture flipping. Humans still need to learn from humans and in universities the emphasis is on teacher-pupil time together.

“If digital technology allows you to be anywhere, to learn without constraint, it becomes even more important to choose where you want to be. Education is still about direct learning bolstered by social engagement that allows relationships and networks to be formed for the future.”

The latest generation of AV equipment is having a marked e�ect on the education of students of all ages: not just in making the process of education more e�cient and e�ective, but in preparing the next generation of workers for their future careers. It will undoubtedly mature even further as new technology is introduced and teaching techniques are developed.

www.casio-projectors.euwww.displaynote.comwww.epson-europe.com www.iboardtouch.co.ukwww.optoma.eu http://business.panasonic.euwww.prometheanworld.comwww.smart-tech.comwww.sonicfoundry.com

‘Demand for mobile device integration and new kinds of content are creating a

demand for more versatile hands-on technology’

Chris Go�, Epson

SMART interactive whiteboards now include multitouch capability for group work


www.techandlearning.uk

From primary through to higher education, Tech&LearningUK will engage with those responsible for AV & IT technology throughout the UK education sector. Tech&LearningUK will reach 24,000 decision makers and infl uencers in the UK and provide manufacturers and service providers with the perfect marketing platform for targeting this growing market.

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Tech&Learning UK Fp 220x290.indd 1 11/11/2014 15:08


TECHNOLOGYKit you need to know about This Month

New Products p51

Demo of the Month:Userful 4K Network

Video Wall p54

Showcase: Large-format displays

p56

It’s… a complete revamp of BrightSign’s signage media player portfolio.

What’s di erent? The range has been added to or updated across the board. There’s a completely new line of low-cost players – the LS series – and the existing HD and XD lines have been updated. At the top of the range are the new 4K players announced a few months ago.

Details: The new LS series players are designed for customers who require a low-cost solution but desire a purpose-built device with greater reliability, � exibility and performance. The LS422 is capable of 1080p30 single video decoding, with features such as GPIO and USB interactivity, and S/PDIF for digital sound to outperform any similarly priced device. The LS322 is a fully featured device with S/PDIF connectivity for audio-only installations.

“We do a lot of business in the kiosk space, which is super price-competitive,” BrightSign CEO Je� Hastings tells Installation. “People started buying Android players that are basically consumer devices – they love them at the beginning because of the low price point, but they hate them at the end because they fail – they’re not intended to run 24 hours a day. We wanted to bring BrightSign quality at a price point that matches that.

“For mainstream digital signage, we’re seeing most people wanting 1080p60 and HTML5 – for both content development and interactivity. The new HD series adds those things.”

The BrightSign HD range has been re� ned from three models down to two. Both the HD222 and HD1022 o� er the ability to deliver networked content updates and live data feeds, along with GPIO interactivity, UDP support and videowall synchronisation.

The two models feature a new ‘remote snapshot’ feature that provides a view of the running presentation using local networking and the BrightSign App, or via the BrightSign Network. “The player can be set up to capture whatever is being sent to the screen at some regular interval. You can use it for proof of play or for monitoring.”

Additionally, the HD1022 delivers supplemental interactivity options via USB 2.0 and serial connectivity.

All three of BrightSign’s XD series players have been updated with a faster graphics and HTML5 engine and power over Ethernet (PoE), plus remote viewing capabilities, at the same price points as their predecessors. The RF input of the old series, which Hastings reports was scarcely used, has been removed. The XD232 also boasts interactive capabilities via UDP commands and the BrightSign App, plus GPIO controls and videowall synchronisation. The XD1032 includes S/PDIF output, and control via serial and dual USB 2.0 ports. The XD1132 adds live TV playback via HDMI, even of HDCP-protected content.

The three BrightSign 4K series players are:n The 4K242, with PoE, a powerful video engine that can decode one 4K video and one Full HD video stream simultaneously, and support for HTML5, live media feeds, IP streaming, and more;n The 4K1042, which adds S/PDIF output and a multitude of interactive controls for engaging interactive displays including GPIO, serial, USB and UDP; andn The top-of-the-line 4K1142, which also delivers live TV playback via the HDMI input.

An interactive web-based Product Selector Tool is available to guide customers to the right product for their application by asking them a series of questions.

Available: Now

BrightSign LS, HD, XD and 4K media players

www.brightsign.biz

priced device. The LS322 is a fully featured device with S/

“We do a lot of business in the kiosk space, which is super price-competitive,” BrightSign CEO Je� Hastings tells

. “People started buying Android players that are basically consumer devices – they love them at the beginning because of the low price point, but they hate them at the end because they fail – they’re not intended to run 24 hours a day. We wanted to bring BrightSign quality

“For mainstream digital signage, we’re seeing most people wanting 1080p60 and HTML5 – for both content development

adds those things.” The BrightSign HD range has been re� ned from three

models down to two. Both the HD222 and HD1022 o� er the ability to deliver networked content updates and live data feeds, along with GPIO interactivity, UDP support and

The two models feature a new ‘remote snapshot’ feature that provides a view of the running presentation using local networking and the BrightSign App, or via the BrightSign Network. “The player can be set up to capture whatever is being sent to the screen at some regular interval. You can use it for proof of play or for monitoring.”

Additionally, the HD1022 delivers supplemental interactivity options via USB 2.0 and serial connectivity.

simultaneously, and support for HTML5, live media feeds, IP streaming, and more;n The 4K1042, which adds S/PDIF output and a multitude of interactive controls for engaging interactive displays including GPIO, serial, USB and UDP; andn The top-of-the-line 4K1142, which also delivers live TV playback via the HDMI input.

An interactive web-based Product Selector Tool is available to guide customers to the right product for their application by asking them a series of questions.

Available: Now

www.brightsign.biz

Product of

the month

51 Product of the month v2PB.indd 1 11/12/2014 15:41

It’s… a range of linear ceiling mounting solutions.

What’s di erent? The linear ceiling mounts allow digital signage to be used where wall mounts are not an option. This range of solutions gives installers the option to position digital signage in previously inaccessible areas. Once positioned, they o� er vertical adjustment on each universal display adaptor bracket for post-install levelling and height adjustment. Connecting wall plates create a continuous mounting surface for display alignment, while the quick-connect latch automatically engages the mounting arms to the wall plate.

Details: The mounts can be used in a wide range of applications such as digital menu boards at quick-service restaurants, and for providing information at transport hubs and exhibition halls. There are security features to deter tampering and theft, while the horizontal adjustment allows installers to create a multi-display menu board with a seamless appearance. The mounts also feature continuous and Increlok tilt options, which ensures all displays are aligned correctly and tilted at the same angle.

Available: Now

It’s… four new speaker ranges: Galil, Yarden, Tavor and Dolev.

What’s di erent? The new lines o� er a variety of speaker solutions. The Galil family, at the lower end, is billed as a � ts-all solution; the Yarden family is a higher-end range with targeted use in boardrooms and embassies; the Tavor line are all-in-one speakers for installations aiming to save space and time; � nally the Dolev range o� ers studio-grade speakers.

Details: The Galil speakers are an a� ordable line of in-ceiling round and on-wall speakers supported by constant voltage ampli� ers and Lo-Z to Hi-Z audio transformers. The higher-performance Yarden line contains multiple tweeters that provide varying degrees of dispersion for di� erent purposes. It also features stereo or stereo/mono speakers and Kevlar woofers. The Tavor line includes ceiling-tile speakers, on-wall speakers and subwoofers. The Dolev line is bi-ampli� ed with a 50W, 75W or 100W ampli� er and o� ers low THD even at high volume.

Available: Now

Peerless-AVLinear Ceiling Mounts

Kramer ElectronicsFour new speaker lines

www.peerless-av.com

52 TECHNOLOGY: NEW PRODUCTSJanuary 2015

Barco RLS-W12

Barco expands its projector o� ering with the RLS-W12, aimed at small to medium-sized venues and the rental and staging market. The 12,000-lumen single-chip DLP projector o� ers WUXGA (1,920 x 1,200) resolution and extended warping and

blending. It uses HDBaseT technology to provide video over a single Cat5 cable. Available now.www.barco.com

Sennheiser MobileConnect

MobileConnect provides live audio streaming to mobile devices and consists of a streaming server and a speci� c wireless LAN router. The system provides a closed

network that users can connect to from their smartphone. It uses a WiFi connection to stream lip-sync audio content to the user’s smartphone, which has an app that instantly converts it into a mobile receiver. Available Q1.www.sennheiser.com

Toshiba TD-E Series

The TD-E Series is a digital signage solution, with full HD 1080p resolution and a 178° viewing angle, which can operate for 16 hours a day. For use in a shopping centre or conference room, the display has a variety of connections and can be orientated in landscape

or portrait mode. It also includes an RS-232 port, which allows the user to control the power and input settings from a central location. Available Q1.www.toshiba.com

Vision HDMI Powerline

Vision’s new HDMI Powerline transmitter and receiver runs HDMI and IR signal over existing electrical power cables. It combines 500Mbps Powerline (or Homeplug) technology with H.264 compression. In the Qualcomm chipset the Quality of Service (QoS) set-up has been modi� ed to ensure latency and signal reliability. The transmitter has a two-input HDMI switcher integrated with an HDMI output. For home users it has IR pass-through and cabled IR receivers and emitters are included. Due in stock in March.www.visionaudiovisual.com

www.kramerelectronics.com

52 Products v2PB.indd 1 11/12/2014 15:43


Userful is looking to simplify videowall deployment by reducing costs and creating a user-friendly web-based content management system. Duncan Proctor was invited for an online walkthrough

Wall control for all

The videowall market has experienced 60% year-on-year growth over the past fi ve years, despite

cost and complexity being barriers to wider adoption of the technology. With its 4K Network Video Wall, Userful aims to broaden the uptake by simplifying the technology and lowering costs.

Userful is based in Calgary, Alberta and before developing videowall software spent a number of years working on entry-level virtualisation solutions.

My WebEx chat was hosted by Daniel Gri� n, VP Multiplied Computing at Userful, and included a mixture of slides, online videos and a demonstration of the breadth of Userful’s functionality.

UHD/4K content on a traditional videowall requires expensive video cards, servers that need to be next to the videowall, and in some cases specialised video splitters.

Gri� n outlined: “What we can do is take a single core i7 PC, put it anywhere on the network and from that PC deliver 4K videowalls to screens on that network. We can support up to 25 screens on a single 5 x 5 array or on multiple smaller arrays.

“The essential thing that we do is delivering through the network, which is a very exciting thing for those that want more fl exibility and want the benefi ts of network delivery.”

Industry standardThe Userful solution operates on industry-

standard hardware. The model utilises a server, which does all the processing centrally –ensuring synchronisation – and low-cost, zero-client devices which function as video cards, mounted to the back of each display. This increases the lifespan of the system with the processing carried out away from outdoor elements, reducing the risk of damage. Therefore when the time comes to upgrade, the server is the only part that needs to be changed and not the devices and displays.

The reduction in costs is estimated at 50% compared to traditional videowall solutions. This is achieved through the use of standard hardware, simplifi ed set-up and reduced electricity usage due to low-power zero-client network players.

Following a market outline and a description of how the Userful server works, Gri� n demonstrated the Userful Control Center, which controls the content going to each screen. The browser-based interface is a simple drag-and-drop app that also allows confi guration changes to be made from a smartphone or tablet. The central tab shows each screen numbered and listed next to the content playlist it’s assigned to. It’s also possible to display information about the location and capability of each display so the user knows at what resolution the content will be displayed.

Userful is fl exible

in terms of screen confi gurations: displays can be installed in a standard grid formation or more creatively – some can be rotated through 90º – up to a total of 25 screens per server. The simplicity of the interface means anyone can load content and build a playlist to assign to a screen, with the Control Center resizing content in accordance with its resolution.

Real-time responseOne video in the demo showed a videowall with a test pattern being manipulated to illustrate the web app and how the videowall responds in real time. Another showed Userful’s test lab with a 3D fi shtank displayed on the videowall with 25 screens all run from one PC.

Because the server is the focal point and provides the power for the devices, a number of desktops can be put onto the videowall including

Windows 7, Chrome-based cloud desktops and touchscreens.

Asked about the technology that is unique to Userful, Gri� n explained: “First-generation network videowalls work by having each screen receive the entire image-stream but each screen displays only a cropped portion of it. This works okay for 1080p content, but conventional networks aren’t able to handle streaming synchronised real-time 4K content to 25 screens at once. Userful’s approach ensures e� cient network delivery of 4K and higher content by having the central server do the

splitting before the video stream goes out over the network. Each screen is only receiving the pixels it needs to display. The splitting occurs in real time at the server giving complete content fl exibility and signifi cantly reducing network load as well as the computing power and cost.”

Although there have yet to be any public test installations, Userful says that a number of organisations have been running pilot studies privately, with one operating 24/7 since June 2014.

54 TECHNOLOGY: DEMO OF THE MONTHJanuary 2015

www.userful.com

A single-core i7 PC can deliver 4K videowalls to up to 25 screens on a network

The Userful Control Center allows confi guration changes to be made from a smartphone or tablet

54 Demo of the month v2PB.indd 1 11/12/2014 15:44


56 TECHNOLOGY: SHOWCASEJanuary 2015

Large-format displays

Panasonic recently re-entered the large panel market with the LQ70 98in professional display. It o�ers durability through its robust design and �exibility with a wide range of possible applications.

The LQ70 can be installed in both landscape and portrait modes and is capable of 24-hour operation. Its robust design features a protective glass panel on the front of the display and an aluminium cabinet on the back o�ering high impact and vibration resistance. This is especially useful for rental and staging companies or for use in public spaces, such as transport hubs and shopping centres.

For 4K connectivity, DisplayPort is featured as standard.

The display is also compatible with optional boards for more speci�c applications, such as handling 3G-SDI for use in the broadcast and video production community. The display reproduces full HD and other non-4K sources to a high level of image quality with smooth-moving images through the Panasonic Digital Clarity Processor.

Installation is straightforward: with Digital Link, only one cable is required to carry video content,

audio and control. This model also features the same bracket mounting bolt pattern as previous Panasonic displays, so customers who are upgrading can save time and reduce installation costs.

Panasonic returns with user-friendly solution

www.panasonic.net

Manufacturers compete for the sharpest image and o er features such as interactivity and compatability with a variety of signal types to bolster the 4K market, says Duncan Proctor

The LG 98in UHD display, launched last year, includes a number of features that target the retail industry. The �rst of these is the resolution, which, at 3840 x 2160 pixels, is four times that of full HD. Secondly, there is a removable logo for brand-conscious retailers wanting to avoid misconceptions about a�liations with manufacturing companies.

Previously, for large-format displays without bezels the solution was a plasma screen. However, transporting and installing them required dedicated vehicles and reinforced walls. The introduction of LED/LCD technology has resulted in weight reductions and made displays more �exible, and so has o�ered an alternative to plasma screens. This also allows the end-user more creativity with installations.

Along with saving weight, another bene�t over plasma is that the display can be used in both landscape and

portrait orientations, giving more options and �exibility for placing and positioning.

The UHD display provides an alternative to tiled videowalls, being the equivalent size to a 2 x 2 47in con�guration, with the advantage of an uninterrupted image. Because the importance of resolution increases with screen size, LG is hoping for high levels of uptake from the pro AV industry for this product with its enhanced levels of detail.

LG targets retail with lightweight display

www.lg.com

The eyevis EYE-LCD-9800-QHD-LD 98in display is for more than just showing content as it includes a touch surface option for presentations or collaborative applications. It has up to 32 touch points and can be used vertically as an interactive whiteboard or as a horizontal touch table.

In portrait mode the touch surface can also be used for digital signage, for multi-channel retailing at the point of sale and beyond business hours, thanks to its metal housing and its potential to be equipped with protective glass.

There is also a videowall mode, which allows the depiction of four individual full HD signals without bezels, providing an alternative to 2 x 2 videowalls consisting of four individual displays.

The 98in ultra HD display is said to be simple to assemble, with a single electricity supply and one wallmount.

Interactivity a top priority for eyevis

www.eyevis.com

56-57 Showcase v2PB.indd 1 11/12/2014 15:46

Sony’s 85in BRAVIA screen has 16:9 4K resolution producing over eight million pixels, four times the detail of full HD. In addition to o�ering detailed images, the FWD-85X9600P has a slim design and a range of features to improve convenience and ease of use within business, retail and education environments.

The �rst of these features is Hotel Mode, which allows the customer to copy settings from display to display via USB �ash memory. Each screen also has a built-in HTML5 browser for box-free signage, allowing users to create their own digital signage content and send it around the world. For added convenience, NFC one-touch mirroring enables videos, photos and apps to be viewed directly from a smartphone. An integrated media player gives users the ability to play videos and other media content direct from USB �ash memory in di�erent formats and resolutions.

The BRAVIA can upscale standard HD content to 4K and there is the option to turn

the display into an interactive touchscreen with U-Touch overlays, which allow six multi-touch points.

The FWD-85X9600P has the �exibility to be used in many applications, helping to future-proof the solution. As for installation, it can be positioned in portrait or landscape with standard mountings and straightforward operation.

BRAVIA provides up-scaling and content sharing

www.pro.sony.eu

Christie’s FHQ841-T 84in UHD LCD display includes many features to enhance presentations in a corporate environment, while also being suitable for industries that are seeking interactive solutions for collaborative applications.

Interactivity is accomplished through infrared touch technology, which gives the display 10-point multi-touch capability. Used in landscape orientation, the FHQ841-T can be optimised for use as an interactive whiteboards or in meeting rooms. The tempered 5mm anti-glare glass surface adds durability to the display.

Christie goes infrared with collaborative display

www.christieemea.com

The MultiSync X841UHD is an 84in IPS display with 4K UHD (3840 x 2160) resolution and accurate wide colour gamut capability. It o�ers a range of high-end components such as DisplayPort connectivity (UHD at 60Hz), and a range of DVI and HDMI inputs as well as networking and support for OPS Slot-In PCs. Targeted applications include control rooms, CAD/CAM, medical review, professional conferencing and digital signage.

The display can be operated 24/7 and has the ability to upscale lower-resolution content to UHD using a bi-cubic 4 x 4 pixel interpolation algorithm.

The MultiSync includes multi-source management, which allows up to four di�erent images from a variety of video inputs. For comfort there is height adjustability (130mm) and movement with swivel, tilt and pivot functionality.

In addition there are sensors that switch the screen on or o� depending on whether they detect anyone present, so eliminating the risk of the device being left on needlessly. Connectivity options are diverse, with six signal inputs (DVI-D, DP, HDMI, USB) and MHL connection. NaViSet Administrator compatibility gives network-wide asset management and remote support.

MultiSync brings high-end components and split-screen capability

www.nec-display-solutions.com

TECHNOLOGY: SHOWCASE 57 January 2015

Launched last month, the UltraRes 98in Touch from Planar o�ers signi�cant improvements to durability resulting from Planar’s Extended Ruggedness and Optics (ERO) technology. The ERO optical bonding process eliminates the air gap between the protective glass and LCD screen, avoiding heat build-up between the glass and screen and so preventing damage and extending the lifespan of the display. The added durability is particularly important for interactive digital signage applications in public spaces, where the display can respond to up to 32 simultaneous touch points.

The picture quality on the LED-backlit display is described as crystal clear, even when viewed at short distances by touch users; whether 2D or 3D content is shown, Planar describes the image as ‘�awless’. Native resolution is 4K (3840 x 2160), and brightness is 500 nits.

The design features a slim, logo-free bezel. The Planar Pro�le Mount allows the display to be installed 4in from the wall.

Planar combines durability with touch accuracy

www.planar.com

56-57 Showcase v2PB.indd 2 11/12/2014 15:46

of the Month

58 SOLUTIONS: UNICREDIT TOWER, MILANJanuary 2015

UniCredit’s new headquarters, in the tallest tower in Italy, displays the bank’s commitment to the latest multimedia technology. Mike Clark reports

High techITALY

UniCredit is a leading European commercial bank with an international

network spanning 50 markets, almost 8,700 branches and 149,000 employees. The Group operates in 17 European countries, but its origins date back over fi ve centuries to the establishment of Rolo Banca in 1473; more recently, UniCredit was the result of the merger of nine of Italy’s largest banks and the subsequent combination with the German HVB Group and Italy’s Capitalia group.

UniCredit Tower, the group’s new headquarters, is a three-building complex

in the Porta Nuova area of Milan that includes the tallest tower in Italy (230m), designed by Argentinian architect Cesar Pelli and built by Hines Italia SGR. Extremely energy e� cient, UniCredit Tower has received LEED Gold certifi cation from the US Green Building Council and was in the Emporis Skyscraper Awards 2012 top 10.

The group’s commitment to the use of the latest multimedia technology for both its customer services and in-house operations is refl ected in three key areas of the complex: the Boardroom, the Committee Room and the Tower Hall (a meeting room/auditorium). All three are concentrations

of leading-edge technology and design, as are the meeting rooms in all three towers (one on almost every fl oor).

AV, lighting and multimedia specialist CM Srl of Novara was the consultancy for the project’s multimedia technology, as owner Claudio Mazzucchelli explains: “We’d already worked with UniCredit in the past on several projects, such as the UniManagement training centre in Turin. We were initially involved in the UniCredit Tower project in 2007 when, on behalf of Ariatta Ingegneria dei Sistemi Srl Milan, we began designing the buildings’ evac and voice alarm

system. When UniCredit moved in, Giovanni Raimondi, president of Telesystems Professional (Busto Arsizio – Varese), an installer that specialises in the AV multimedia fi eld, contacted us to design all the multimedia systems in the complex – Tower Hall, Boardroom and Committee Room – for which I was audio/video consultant.

“One of the distinguishing features of the 29th

fl oor boardroom is its incredible aesthetic and architectural integration and implementation of leading-edge technologies for interfacing and control of content with tablets and light pens, as well as the projections’ high visual impact.”

The Boardroom’s lighting design features 19 Kap 145 recessed spotlights and two USO 900 recessed cove lights, all by Flos. The

The Boardroom features lighting by Flos and a DIS conference system

About the consultantn CM Srl is an AV system engineering company based in Novara (Italy), founded by technical director Claudio Mazzucchelli, who has over 30 years’ experience in the sector

n The company specialises in CEI 100-55 and EN 60849 evac audio systems, AV/multimedia systems for university and corporate education facilities, and audio systems for teleconferencing and videoconferencing

n Its client portfolio includes Dolce & Gabbana, Giorgio Armani, Louis Vuitton, Prada, Telecom Italia, Costa, MSC and NATO

Phot

o by

Gru

ppo

C14

58 60 61 Solutions 1_Final_v2.indd 1 19/01/2015 10:01


60 SOLUTIONS: UNICREDIT TOWER, MILANJanuary 2015

22 custom suspension units, which follow the lines of the impressive custom steel and leather ‘Astroganga’ table, are integrated with 88 custom spotlights by Viabizzuno and 15m of LED strip, which form a band of light in the fl oor at the centre of the table. Each place at the table has a touch-sensitive button controlling a light in the ceiling (also custom designed), ensuring illumination is precise and e� cient as well as very scenographic, and avoiding light spill on the wall projections.

Futuristic conferencingThe futuristic room has a redundant DIS conference system comprising two CU 6011 central units, SZ 6104 switcher and PS 6000 DCS/LAN power kit. An MU 6040C custom chairman mic unit and 43 MU 6040D custom delegate units are equipped with GM-6622 gooseneck mics. In-room audio comprises 12 Meyer Sound MM4 compact speakers and four Apart Sublime subwoofers, powered by two Biamp MCA 8150 power amps and

controlled by two Biamp AudiaFLEX CM matrixes and a Yamaha LS9-15 console.

Four DIS IS 6132 32-channel interpreter units with BPHS1D headset/mics enable board members to follow foreign contributions thanks to Listen Technologies’ IR simultaneous translation system with 44 receivers.

On screenVideo content is screened on the curved walls behind attendees’ chairs with a pair of projectiondesign F22 1080 projectors with dedicated Calibre warp processors. Video coverage is courtesy of eight Panasonic AW-HE60SE all-in-one cameras controlled via an AW-RP120 controller and mixed by an AV-HS410E.

The Committee room is equipped with a DIS digital conference system with 14 conference units/mics, Biamp-powered Apart speakers, Audio-Technica wireless handheld and headset mics and ListenTechnologies’ IR simultaneous translation system with 28 receivers.

Illumination is via 11 Elite LED trimless recessed ceiling fi xtures and six 75cm x 200 cm Flying Surface fl uorescent luminaires by Jean Nouvel.

Regarding the Tower Hall’s key features, Mazzucchelli continues: “The room has a high-impact four-projector video set-up with edge-blending and top-grade audio quality.”

Video content is projected via four full HD-ready Panasonic PT-DZ10KE 12,000-lumen projectors, aligned with soft edge-blending to cover a screen area of 12m x 2m. Up to 10 windows can be opened in any part of the screen with contributions fed into the system (PC, DVD, Blu-ray, cameras or videoconference). Distribution and processing is based on an Extron XTP1600 modular digital matrix switcher and includes a TV One CORIOmaster videowall processor.

Coverage and recording of events held in the room is handled by six all-in-one Panasonic cameras (four AW-HE120WEJ HD cameras

In the Tower Hall, four edge-blended Panasonic 12,000-lumen HD projectors beam video content over a screen area of 12m x 2mInstalled

Audion Meyer Sound MM4 and UPJ1P speakers n Meyer Sound USW1P subwoofersn Apart Sublime subwoofersn Penton RCS5FTS speakersn Apart H2OG weatherproof hornsn Apart MP16-G sound projectorsn Apart SDQ3TW speakersn WORKproCA CS6T and CS60T speakersn Yamaha VS4 speakersn Yamaha YST SW 012 subwoofers n Biamp MCA 8150 power ampsn Biamp AudiaFLEX CM matrixesn Yamaha LS9-15 and LS9-32 digital consolesn Biamp AudiaFLEX CM matrixesn Yamaha RX-V375 and RX- V475 AV network receiversn Sennheiser EM2050, SK2000 body packsn Sennheiser MKE 2 and MKE 40 capsulesn Sennheiser SKM2000 handheld micsn Audio-Technica ATW 73W, T310, 371BD, 3100BD micsn Ateis IDA4 systemn Biamp AudiaFLEX CM digital signal processorsn Biamp IP2 input cards, OP2 output cardsn Biamp AudiaFUSION MF networked ampli¥ ed processors n InOut S01 audio ¥ le playersn DIS CU 6011 and 6110 central conference unitsn DIS MU 6040C custom chairman mic unitn DIS MU 6040D delegate unitsn DIS IS 6132 interpreter unitsn Listen Technologies IR simultaneous translation systems

Videon projectiondesign F22 1080 projectorsn Panasonic PT-DZ10KE projectorsn Calibre HQView 320 warp processorsn Panasonic AW-HE120WEJ HD and AW-HE60SE camerasn Panasonic AW-RP120 and AW-RP655L controllersn Samsung digital signage displaysn Panasonic AV-HS410EJ video mixern Extron XTP1600 digital matrix switchern TV One CORIOmaster videowall processorn TV One FC-677 3G/SDI convertern Extron SMX 88 HD-SDI 3G/SDI matrix switchern Datavideo DAC-50 downscalersn Panasonic DVD recordersn Extron XTP T USW 103 HDMI and VGA transmittersn Extron DA 4 HDMI bu§ ersn Crystall wireless receiver kitsn Barco ClickShare wireless kitn Extron XTP T HDMI transmitters, XTP R HDMI receivers

Lighting n Flos Kap 145 recessed spotlightsn Flos USO 900 cove lightsn Viabizzuno custom spotlightsn Elite LED trimless recessed ceiling ¥ xturesn Jean Nouvel Flying Surface ̈uorescent luminaires n ETC D22 LED luminairesn Rosco Miro Cubesn DeSisti Leonardo LED Fresnels

Controln Cue ELITE-A-12 touchpanel control systemn Crestron MC3 control system

Photo by Gruppo C14


SOLUTIONS: UNICREDIT TOWER, MILAN 61January 2015

and a pair of AW-HE60SE pan/tilt models).

The impressive control room hosts a Panasonic AV-HS410EJ video mixer and two AW-RP655L camera controllers; other video hardware includes a TV One FC-677 3G/SDI converter, an Extron SMX 88 HD-SDI 3G/SDI matrix switcher, two Datavideo DAC-50 downscalers and two Panasonic DVD recorders.

Connectivity is ensured by four Extron XTP T USW 103 HDMI and VGA transmitters, two Extron DA 4 HDMI bu�ers, four Extron XTP R HDMI receivers, two Crystall wireless receiver kits, a Barco ClickShare wireless kit and two Extron XTP T HDMI transmitters.

The room’s Meyer Sound set-up features six UPJ1P front speakers, two USW1P subwoofers and 10 MM4 recessed speakers. Audio is mixed on a Yamaha LS9-32 digital console and processed via two Biamp AudiaFLEX CM matrixes. The Sennheiser microphones include seven EM2050 receivers, 10 SK2000 body packs, four MKE 2 omnidirectional capsules, six MKE 40 cardioid capsules and six SKM2000 handheld mics.

The DIS simultaneous translation system, based on a DIS 6110, includes four IS 6132 consoles, four BPHS1D headset/mics, two RA 6013 IR radiators, a DT 6008 IR transmitter, and 50 DR6008 receivers with DH6021H headphones.

Event lighting features eight ETC D22 LED luminaires, nine Rosco Miro Cubes and seven DeSisti Leonardo LED Fresnels, controlled via a Cue ELITE-A-12, a relayCUE-8, two iPads, a Crestron MC3 control system, DIN-DALI-2

interface and CGDMX-512BI external interface with two custom touch PCs for control.

Mazzucchelli continues: “All the complex is interfaced with the evac system and the background music management system.”

Voice alarm systemFive IDA4SW units and 13 IDA4SWS slave units are the basis of the impressive Ateis stackable voice alarm system. The set-up also includes six evac boards (each able to provide the system with 32 digital alarm inputs), 64 IDA4SU fault back and 100V line switching units, and 15 PSS96DT touchscreens with programmable and monitored security and paging microphones.

Processing and connectivity is courtesy of Biamp. The system consists of six AudiaFLEX CM digital signal processors with 44 Audia IP2 dual-channel input cards and 12 OP2 dual-channel output cards, 14 AudiaFUSION MF networked amplified processors with 60 AudiaFUSION AM-600 amplifier module cards and

six Logic Boxes, each with 20 programmable logic connections.

There are also six Biamp NPS1 network paging stations and six InOut S01 audio file players with solid-state memory.

Messages come over loud and clear throughout the complex, thanks to 1152 Penton RCS5FTS ceiling speakers and 1,087 Apart loudspeakers (H2OG weatherproof horn units, MP16-G for the buildings sound projectors and SDQ3TW two-way models).

Mazzucchelli enthuses: “The evac system is extremely flexible, and when any changes are made to the rooms’ fit-out, thanks to the Biamp matrices, the system can be reconfigured without any additional costs.”

Acoustic and electro-acoustic work was greatly facilitated thanks to Marcello Brugola, who had the task of establishing acoustic requisites, designing and testing building sound mitigation and acoustic insulation systems, protection from vibrations caused by the underground trains and analysis of mechanical

systems’ noise. Commissioned by Hines

Italia and Pelli Clarke Pelli Architects for acoustic consultation for the buildings’ design, Brugola of Lissone (Milan) is an acknowledged acoustics expert, specialising among other things in environmental and architectural acoustics and vibration, with numerous prestigious collaborations and technical publications to his credit.

The Samsung digital signage (approximately 200 displays) used throughout was purchased directly by the client and the

related audio system, spec’d by CM, includes 28 WORKproCA CS6T ceiling speakers with ‘Whizzer’ cone for extended HF response, 113 WORKproCA CS60T ceiling speakers, 15 Yamaha VS4 two-way plus bass reflex speakers and 31 Yamaha YST SW 012 subwoofers. A total of 34 Yamaha AV network receivers are also installed (27 RX-V375 and seven RX-V475 units).

Mazzucchelli concludes: “My heartfelt thanks go to Marcello Brugola and the entire UniCredit project team – co-ordination was really impeccable.”

www.apart-audio.comwww.ateis-europe.comwww.audio-technica.comwww.barco.comwww.biamp.comwww.brugola.netwww.cm-srl.netwww.crestron.comwww.cuesystem.comwww.datavideo.infowww.desisti.itwww.dis.ccwww.iuseeliteled.comwww.etcconnect.comwww.extron.comwww.�os.comwww.gruppoc14.com

www.hines.comwww.inout-digital.comwww.jeannouveldesign.frwww.listentech.comwww.meyersound.comwww.panasonic.comwww.pcparch.comwww.penton-usa.comwww.rosco.comwww.en-de.sennheiser.comwww.samsung.comwww.telesystems-pro.itwww.tvone.comwww.unicreditgroup.euwww.viabizzuno.comwww.workproca.comwww.yamahaproaudio.com

The UniCredit Tower is a three-building complex that includes, at 230m, the tallest tower in ItalyPhoto by Marco Puoti


62 SOLUTIONS: HAZZA BIN ZAYED STADIUM, AL AINJanuary 2015

The World Cup is coming to Qatar in 2022, but top-level stadiums are also appearing in other parts of the Middle East. Paddy Baker visited a recent example in Abu Dhabi

A di� erent Emirates stadiumUAE

The signs at Hazza Bin Zayed Stadium describe it as ‘the home of UAE football’. The stadium is the fi rst in the United Arab Emirates to be

built to FIFA standards. Located in Al Ain in Abu Dhabi, it is the home of Al Ain FC, the most successful team in the UAE Pro-League. Following its opening in January 2014, one of the venue’s more notable fi xtures was a friendly between the home team and Manchester City last May.

Architecturally, the stadium features swooping curves, while the façade is covered with angled metallic hexagons, which call to mind the bark of a palm tree. At night the façade can be lit with colours, images or even fl ags by colour-changing LED lighting.

Hazza Bin Zayed is, according to building services manager David Kaleta, the fi rst stadium to be built under Estidama – an Abu Dhabi-based green building system that is

comparable is some ways to LEED, although di� erent in scope.

Energy-saving features at the stadium include a full lighting control system, including the use of occupancy sensors, and solar hot water heating. The main building management system, from Honeywell Alterton, is the central ‘brain’ for most of the facilities management.

Twelve systemsLocal integrator JBK Controls was contracted to install 12 di� erent systems: PA/VA, scoreboard, IPTV, room AV, lighting control, broadcast systems, building management system, fi re alarm, disabled refuge, stewards’ telephone, master clock system and the central battery system. That’s almost all the low-voltage systems apart from CCTV and access control.

The main bowl speakers, installed in the roof line and obscured from

sight behind a fi ne mesh, are from Electro-Voice: overall there are 32 clusters of the manufacturer’s EVF and EVH cabinets. This part of the system was designed by Prosonic, the local Bosch distributor, working in conjunction with the manufacturer’s technical team in Straubing.

For those parts of the seating area that are not covered by the main bowl speakers, fi ll-in is provided by a ring of E-V Evid speakers.

Outside the main bowl, safety and security announcements are carried via TOA PA speakers. These are driven by TOA VP-2122 and VP-2421 power amplifi ers.

TOA’s UAE o� ce, led by Ali Sabri, carried out the acoustic modelling for all the numerous areas covered by the manufacturers’ speakers – which includes all of the public areas (apart from the stadium bowl) and includes other parts of the stadium such as VIP lounges and hospitality areas.

A total of approximately 350

TOA speakers have been used throughout the stadium: PJ-304 projection speakers, CS-64 and CS-304 wide-range weatherproof speakers and F-2352C wide-

InstalledAudion TOA PJ-304 projection speakersn TOA CS-64 and CS-304 weatherproof speakers n TOA F-2352C ceiling speakersn TOA VP-2122 and VP-2421 power ampsn TOA RM-200SA remote micn TOA RM-210 mic extension unitsn TOA RM-200SF � reman’s micn Dynacord CMS 2200-3 22-channel audio consolen Dynacord DSA 8410 ampli� ersn Dynacord P64 DSP unitsn Electro-Voice EVF and EVH speakersn Electro-Voice Evid speakersn Baldwin Boxall disabled refuge system

Videon Exterity IPTV systemn Squadrat LED display

In the upper control room, the TOA PA/VA controls are next to the Dynacord mixer

62 64 Solutions 2 v1PB.indd 1 15/12/2014 11:15


64 SOLUTIONS: HAZZA BIN ZAYED STADIUM, AL AINJanuary 2014

dispersion ceiling speakers.There are two control

rooms in the stadium. On a day-to-day basis, the main control room in the basement is used to manage the CCTV and PA/VA systems. On matchdays, the emphasis moves to the fi fth fl oor control room: this has control positions for PA/VA, CCTV, audio, IPTV and scoreboard systems – as well as an excellent view of the pitch.

Audio mixing is via a Dynacord CMS 2200-3 console which handles all the main audio feeds: stadium audio, including national anthems; live voice announcements; and audio from advertisements played on the main display.

Next to the mixing desk is a TOA paging and fi re system, consisting of an RM-200SA remote

microphone, two RM-210 mic extension units and an RM-200SF fi reman’s mic unit. There are six audio zones in the bowl, 24 in total across the stadium.

Bob Mukherjee, deputy general manager of JBK Controls, explains: “The moment there is a fi re situation, an announcement can be made immediately – there is a dry contact into the main audio system. In the same way the access control opens automatically in such a scenario.”

In addition, he says, the CCTV cameras can be used to give security sta� visibility of the situation so the best possible guidance instructions can be given for stadium evacuation. “This is possible because audio, access control, fi re alarm, CCTV and voice evacuation, all fi ve systems,

are integrated – they are all working in tandem,” he says.

Another important life safety element is the disabled refuge alarm system, from Baldwin Boxall. This is deployed across the stadium’s four refuge shafts.

The main display screen is manufactured by Squadrat; because of its exposure to the sun, it is sealed and weatherproofed, with air-conditioning to maintain a constant temperature. It is operated from a PC in the control room, and can also take feeds from the Exterity IPTV system via a fi bre link.

High standardsAs the fi rst FIFA-standard stadium in the UAE, where, I ask, is this most evident?

“In terms of life safety, and in terms of audio coverage, everything is at a higher level of integration

and management,” observes TOA’s Sabri.

For his part, Mukherjee points to the degree of networking within the stadium, particularly on the video side: “In the OB area, Abu Dhabi Media and other broadcasters come here on match days and connect their equipment. There are also IPTV points along the pitch – broadcasters hook up their cameras to them, and it’s all back-connected.”

There was a high level of scrutiny from the two

consultants employed by the main contractor, who, according to Mukherjee, “ran through everything with a fi ne-tooth comb”. However, he reports, they are now “very happy, down to small details”. Since Installation’s visit, the consultants have upgraded the stadium’s Estidama rating from B to A.

Also, there has been praise from another quarter. Kaleta adds: “Manchester City said it was one of the best stadiums they’ve played in.”

About the installern Based in Doha, Qatar, JBK Controls carries out integration of systems including security, � re alarm, CCTV, building management and structured cabling

n Its client list spans government ministries, oil and gas, hotels, education, sport and telecoms

62 64 Solutions 2 v1PB.indd 2 15/12/2014 11:15


MONTH AHEAD

ISE 2015The RAI in Amsterdam will once again host the biggest AV gathering of the year from 10-12 February. Occupying every hall of the venue, ISE 2015 will welcome professionals from every link in the systems integration value-chain, including manufacturers, distributors, dealers,

contractors and consultants along with end users from verticals as diverse as education, corporate and live events.

Installation will once again be producing the ISE Daily live from the show – come and see us and share your news in Room F101.

PLANYOURThe big event of next month is ISE 2015; also on the calendar is AV Networking World, and then the focus moves from the Netherlands to the UK for BVE London

AV Networking World9 FebruaryThe day before ISE, AV Networking World comes to the Holiday Inn Amsterdam. Audio professionals will discuss networking implementations, plus attendees will have the chance to learn how audio over IP is providing cost-e� ective solutions to long-time challenges and providing new opportunities.

ATTE

ND

BVE24-26 FebruaryDespite the cancellation of the northern arm of this event last year, the organisers are predicting a bumper year for BVE in London. Con� rmed exhibitors include Blackmagic Design, Panasonic, Sony and Audio-Technica. Plus look out for the � rst ever BVE Daily, produced by sister title TVBEurope.

VIS

IT

Information AgeNow running at the Science Museum in London, this exhibition celebrates more than 200 years of innovation in communication and information technologies. Visitors can explore the events that shaped developments across six zones: The Cable, The Telephone Exchange, Broadcast, The Constellation, The Cell and The Web.

Expl

ore

Pick of

the month

www.avnw.org www.bvexpo.com www.sciencemuseum.org.uk

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Documents

Installation January 2015 digital edition