When budget cuts forced Blue Ridge PBS to shut down two transmission towers in Southwest Virginia, more than 380,000 residents across 14 counties in the region lost access to public television. That’s why, when Will Anderson became CEO of Blue Ridge PBS in June 2019, he made it his mission to restore access for the area.

This led to the establishment of PBS Appalachia Virginia, which now operates the nation’s first fully digital public television station, and has the distinction as the first built within a casino, the Hard Rock Hotel & Casino Bristol. Given that the region’s topography often presents significant signal reliability challenges, and the cost of rebuilding towers seemed unfeasible at up to $1.5 million each, the station opted to proceed with delivering content digitally through platforms like Roku, Apple TV, and PBS.org.

No Towers, No Problem

PBS Appalachia Virginia doesn't hold a broadcast license with the FCC but is covered in various ways by Blue Ridge PBS’s broadcast license, as it includes the ZIP codes in Southwest Virginia. Broadcasting is defined as the dissemination of information, which is exactly what they are doing—just not in a traditional sense.

“That's what a digital station is,” said Anderson. “It is the new forward-thinking way of getting that television, video, and media information to the masses without a transmitter.”

To lead the new station, he appointed Julie Newman, a familiar face in the region who had served as the lead anchor for News 5 WCYB in Bristol for decades, as VP and general manager. In an area known for its natural beauty, the community has endured significant hardships, including the challenges of pandemic recovery, poverty, and the opioid epidemic. Loss of access was not something that Newman and Anderson wanted to add to that list.

“Just because people choose to live in the beautiful mountains of Southwest Virginia doesn't mean they should be denied access to public media that nearly every other American citizen enjoys,” said Newman.

Located at the base of the escalator in the casino, the new 4,000-square-foot studio includes all the essential spaces needed for a modern station, such as editing rooms and a podcast studio. It also features a 46-foot glass wall that allows viewers to watch live productions in real time. The glass can also frost on command, providing privacy when needed and making the space modular, mobile, and multifunctional.

The glass viewing wall also enables the studio to benefit from the 3 million visitors the Hard Rock attracted in its first year of operation. “I project that, given our high visibility, we will likely be the most visible and accessible PBS station in the country,” added Newman.

Even when the studio is not in use, it must still represent the brand. FX Design Group, renowned for its expertise in broadcast set design, was engaged to lead that design aspect for the new studio.

“We added a rear projection, what they call a Gobo, to showcase their logo behind the glass when it's in the frosted mode," said Justin Gutierrez, managing director, broadcast for FX Design Group. They also created static lighting in their brand colors to further enhance the look when the studio was not in use.

Inside the Studio

PBS Appalachia Virginia describes the studio design as Appalachian chic meets broadcast innovation, featuring reclaimed wood, stone textures, and local art that add a regional touch, while high-end solutions, including a 28x9-foot Philips dvLED video wall, anchor the top-tier technology offerings. “We wanted to make sure that technology was first-class all the way, because that's our visual face to the community right there,” Newman added.

Newman and Anderson had a strong vision for the studio, even creating a sketch of what they envisioned the new space would look like, which currently hangs in Newman’s office. When viewers look through the viewing glass, they will see the curved 1.5mm Philips dvLED video wall featuring the Philips Unite LED 6000 series displays.

A total of 114 individual panels were utilized to construct the wall, necessitating a careful and well-coordinated effort by Digital Video Group (DVG), which managed the AV integration for the project and completed the installation of the display within a week. With the studio space visible through the glass wall, they had to ensure that everything remained presentable at all times during the installation process.

Chuck Heffner, VP of broadcast systems with DVG, explained that a curved dvLED wall requires "significantly more precise installation" than a straight wall. "The tolerances in pixel alignment between panels are greatly reduced,” he added.

The resolution and brightness of the Phillips Unite LED 6000 series ensured optimal visibility through the glass viewing wall. “The key is finding the sweet spot between wall brightness, resolution, content being displayed on the wall, the talent’s interaction with the wall, and camera angle and positioning,” added Heffner.

With low studio ceilings, the lighting grid was considerably lower than that of a typical TV studio, a situation made more complex by the 9-foot-tall video wall and a set design that added extra inches. “There's not too much room from where the glass starts to where the video wall is,” said Gutierrez. “So, we had to develop a way for them to utilize every inch of the space in order for them to get the most camera shots.”

FX Design Group addressed this by using ultra-slim fixtures from Ikan, which permitted maximum clearance without sacrificing quality. More than 60 fixtures were strategically positioned to enable various shooting angles within the shallow space.

Three Hitachi-Kokusai Z-HD6500 studio cameras were installed in the studio space, enabling the reproduction of wall images through high-end image processing, a global shutter, adjustable scan rates, and a low-pass optical filter. Each camera was mounted on a Cartoni P70 pedestals with a Master 40 fluid head, and CueScript 17-inch prompters were integrated into each camera system.

Content for the display and playout devices played a critical role as well. “Graphics and video are created in the wall’s native resolution, 5376x1728 pixels,” said Heffner. “Six channels of Ross Xpression Tessera were used to play out the graphics and video at the wall’s native resolution to a NovaStar H2 processor. The processor then mapped the signals pixel accurately on the wall.”

Prepared for Podcasts

In the podcast studio, two Panasonic AW-UE150 PTZ cameras were installed and mounted on Cartoni Lifto 25 motorized elevation columns. The cameras can be controlled remotely from the central control room, as the podcast studio is too small to accommodate camera operators. Newman considered placing the cameras on the back wall to facilitate cross-shooting for webcasts, but if they were positioned there, they would be inaccessible for other purposes.

“They can either connect to the studio, or we can roll them out and connect them in the main studio, turning our three-camera shoot in the studio into a five-camera shoot,” said Newman. “There is also intentionally no wall separating the podcast studio from the regular studio, so we can roll our studio cameras towards the podcast and shoot from the front of that space.”

A beautiful table, created by local artisans from an off-center slab of California walnut, is the centerpiece of the room. Holes were drilled into the center to accommodate the wiring for built-in Electro-Voice RE20-Black microphones. “We've turned it into a very functional podcast table, but it's also absolutely a work of art,” added Newman.

The control room includes two rows of Interpretive Woodworking & Design operator consoles. The front row houses a Ross Carbonite Ultra production switcher, Allen and Heath SQ-5 digital audio mixer, Ross XPression CG, six-channel Ross Xpression-Tessera video wall graphics system, Ross Tria two-channel clip server, two AJA KiPro Ultra 12G disk recorders, and AJA HELO Plus streaming encoder. The back row accommodates camera shading, PTZ camera control, and CueScript prompting control.

Control room staff monitor productions with Sony broadcast monitors, with four Ross Ultrix Ultriscape multiviewers displayed on four NEC 55-inch LCD monitors. There's also a Ross Ultrix FR264x64 routing switcher and a Clear-Com partyline intercom system.

Control Room Connections

The control room located in Bristol was designed to connect with the central Blue Ridge Public Broadcasting control room, which is situated 140 miles away in Roanoke, VA. This setup allows production staff to operate from either location based on the situation.

“The interface consisted of five SRT streams with audio and video from Bristol to Roanoke and one return feed from Roanoke to Bristol,” added Heffner. “The control rooms were connected via the internet so that control panels in Roanoke could control the switcher, audio mixer, graphics, router, and intercom frames in Bristol.”

[The Integration Guide to Video Walls 2025]

Since launching the digital signal in June 2023, PBS Appalachia Virginia has won 14 Emmy Awards, which the team credits to their commitment to hyper-local storytelling that explores Appalachian communities and culture. The new studio demonstrates what public broadcasting can become in the digital age, all while remaining true to its community identity. “We're doing this because we fundamentally believe that people in Southwest Virginia deserve public media and deserve to have a reflection of their own culture in the television that they watch,” said Newman.

There were more people on the move, new distribution partnerships, and more showrooms and headquarters opened in a busy week in the Pro AV world.

Before we jump into that news, there was some more acquisition news as OEP acquired 2023 SCN Top 50 integrator Yorktel. You can get all the details here. 

People News

Davinder Singh Rai Joins Jetbuilt 

Jetbuilt has appointed Davinder Singh Rai as director of business development for EMEA. With over 20 years of experience in the AV and IT sectors, Singh Rai brings a wealth of knowledge, leadership and market insight to Jetbuilt as it continues to expand its global presence across Europe and the Middle East. 

Singh Rai joins Jetbuilt after a tenure at Pure AV, where he led major projects and drove business growth within the corporate and higher education sectors. Prior to this, Singh Rai held roles at AVI-SPL U.K., Kramer, and Pacific, where he honed his expertise in solution sales, customer relations, and strategic partnerships. His deep understanding of AV and IT integration, combined with his track record of successful project delivery and manufacturer insight makes him a valuable addition to the Jetbuilt team.

In his new role, Singh Rai will be responsible for driving business development initiatives and strengthening client relationships. He is working closely with clients to ensure they fully harness the power of Jetbuilt’s solutions to streamline project workflows and achieve greater operational efficiencies.

AIMS Announces 2024-2025 Board of Directors

The Alliance for IP Media Solutions (AIMS) recently announced a newly elected 2024-2025 board of directors that will lead the organization's effort toward a standards-based IP infrastructure for professional media. AIMS's chairman of the board Steve Reynolds (Imagine Communications), director Andreas Hilmer (Lawo AG), Lee Buchanan (Grass Valley), and Andrew Starks (Macnica) were re-elected to their positions, and are joined by newly elected board member Samuel Recine (Matrox Video). Terry Holton (Yamaha) departs the board as he begins his retirement.

Recine is the VP of sales, Americas and Asia Pacific, for the AV/IT Group at Matrox Video, and currently serves as AIMS' Pro AV Working Group chair. He joined Matrox in 1997 amidst the rise of PC-based standards and surging PC sales and has held a variety of commercial and product management roles during his tenure. Today, his focus is on contributing to the growth of performance media over IP markets.

Industry Vet Joins the NDI Team

With over 28 years in the semiconductor industry and 13 years in broadcast and Pro AV, Don Shaver brings invaluable expertise to NDI. As former VP of video product lines at Semtech Corporation, Shaver led a cross-functional team responsible for generating significant revenue growth and expanded its Pro AV business under his leadership. As NDI continues its mission toward global expansion, his leadership and industry knowledge will prove invaluable to evolving industry needs.

“NDI’s growth is fueled by a clear vision and relentless focus on innovation," said Shaver. "As we expand globally, we're not just increasing our footprint—we’re doing so with intention, ensuring that our cutting-edge solutions meet the evolving needs of the Broadcast and Pro AV industries. This user-centric approach will continue to power our growth in the coming years.”

NDI also opened its new global innovation hub in Lisbon, the second hub to its San Antonio, TX, location. This move will drive seamless solutions for content creators worldwide and will enable NDI to expand its international reach, scale operations, and drive innovation. 

Hitachi Kokusai Appoints Bo Reames as East Coast Sales Manager

Hitachi Kokusai has added proven industry talent to its North American sales team with the appointment of Bo Reames as east coast sales manager. His career began on the live production and operations side of the business, including a five-year stretch with a former broadcast station group. He took on roles of increasing responsibility over time, working his way up from master control to management positions that soon put him in charge of broadcast operations for 24 cable networks.

Reames shifted to the broadcast engineering side of the business in 2002, joining Backporch Broadcast as director of operations for 13 years. Prior to joining Hitachi, Reames spent 10 years in a leadership role with Joseph Electronics that redefined the distribution firm’s business model to better serve the broadcast and AV integration communities.

These diverse experiences give Reames the ability to communicate the benefits of Hitachi cameras to the business- and technical-minded alike. His consultative approach to sales, developed over 23 years at Backporch and Joseph, adds value for customers in the AV market, where Reames sees opportunity to increase visibility with houses of worship, performance venues, universities, and the broader AV integration community. The fact that he has previous experience selling Hitachi cameras while at Backporch is a bonus.

Pixel Power Makes New Appointments 

Following the launch of an updated brand identity and corresponding restructure, Pixel Power, a Rohde & Schwarz company, made several significant key appointments that will support the future expansion of the business.

Stuart Russell joins as the company’s new marketing manager. Stuart brings 13 years of marketing expertise in the media production industry having held roles with Videndum (formerly the Vitec Group plc) and Ross Video. Asad Shah fulfills the role of project engineer and brings 15 years leading teams in major playout and master control centers for large service providers. Stephanie Leroux was brought on in her new role as project manager. She nearly 20 years of experience working in the media industry in both engineering and project management roles. Ehren Stowers aims to forge strong connections across the industry as he takes on the role of product manager for Pixel Power’s automation and monitoring lines. Stowers started his career as a presentation director in his native New Zealand, before moving to London and holding equivalent jobs with BBC and Red Bee Media, before taking on the role of product manager at Red Bee. Finally, Aurelia Znakowa has joined as Pixel Power’s new chief financial officer. She was most recently director of finance at Blacktrace, and helped oversee the company’s acquisition by Unchained Labs.

Company News

PPDS Opens 'Master Showroom' in New York

PPDS celebrated the grand opening of its new 2,368-square-foot (205-square-meter) PPDS Master Showroom experience center. Located in Fairfield, NJ—roughly an hour from Midtown Manhattan—the multidisciplinary venue is the second PPDS Master Showroom to be opened globally, and the ninth in the network of PPDS Studios, following launches in Europe (in France, Germany, Italy, Netherlands, Spain, Sweden, and United Kingdom), as well as in India.

Brought together to inspire and educate, the PPDS Studio NYC Metro takes visiting partners and customers on a journey of creative discovery. Each area of the impressive space has been designed to showcase the power, possibilities, and groundbreaking sustainability benefits available through the company’s portfolio of indoor and outdoor digital signage, dvLED, ePaper, business TVs, interactive, and videowall hardware and software.

The showroom divided into three curated spaces, each showcasing a selection of flexible solutions tailorable to support the range of market verticals. These include retail, corporate, education, hospitality, food and beverage, government, security/surveillance, broadcast studios, transportation, houses of worship, public venues, and entertainment. Each space is separated using floor-to-ceiling glass panels, creating an open and unrestricted environment, mirroring PPDS’ global approach to its business and technologies.

Exertis Almo Partners with Bosch to Enhance Audio Offerings with Dynacord and Electro-Voice Brands

Exertis Almo has entered a distribution partnership with Bosch Security and Safety Systems. As per the agreement, Bosch’s respected family of audio brands, including Electro-Voice (EV) and Dynacord are now available through Exertis Almo.

The partnership significantly expands Exertis Almo’s audio offerings, giving integrators a wider variety of products, support, tools and flexibility needed for projects of any scale or complexity.

Rob Voorhees, director of business development–audio category manager emphasized the significant benefits of partnering with Bosch, highlighting the brand's global recognition and expertise in the installed, portable and live sound audio sectors. “Our partnership streamlines procurement processes—such as reducing the number of purchase orders—which enables us to invest more resources towards pre-sales support, design consultation, and other operational improvements that directly benefit integrators and end users.”

Featured Dynacord and Electro-Voice products available through Exertis Almo: Dynacord U Series, Dynacord V Series, Dynacord C Series, Dynacord DSP MXE5-64 Matrix Mix Engine, EV Line Radiator Column Speakers (LRC), EVID Ceiling Mount Speakers, EVID Surface Mount Speakers, and EVC Compact Loudspeakers for Fixed Installation.

Pliant Technologies Welcomes New Manufacturer’s Representative, RTSales 

Pliant Technologies appointed RTSales as its new manufacturer’s representative. With a thorough knowledge of its region’s reseller and customer base, unique market niches, and a strong working knowledge of the specialized products represented, this new partnership will expand Pliant’s network. RTSales covers Puerto Rico, along with seven states in the U.S., including, Alabama, Florida, Georgia, Mississippi, North and South Carolina, and Tennessee.

Representing a synergetic group of some of the top manufacturers in the professional and commercial audio, video, entertainment lighting, and music production industries, RTSales offers retail, production, and integrated installation partners a direct link to the inside sales and support systems for these manufacturers. For over 40 years, RTSales has earned a reputation as an effective and efficient resource for pre-sale technical support, purchasing and procurement, sell-through support, and after-the-sale service and technical training. With offices in South Florida, Central Florida, Atlanta, Nashville, Charlotte, and Alabama, RTSales provides manufacturers and resellers a critical path to new products, promotions, and technical support.

PowerHouse Alliance Welcomes New Member

The PowerHouse Alliance welcomed CEP Distributing as its newest distributor member. This addition brings the total number of PowerHouse Alliance locations to 71, collectively representing over 900,000 square feet of warehouse space across the country.

Based in Houston, TX, the CEP Distributing team brings over 20 years of channel expertise to the table and stocks a wide range of products in key categories including: AV, control, lighting, and security. CEP's commitment to excellent dealer support and long-term relationship building aligns seamlessly with the PowerHouse Alliance's mission. CEP Distributing will cover the Texas, Oklahoma, Louisiana, and Arkansas territory on behalf of the Alliance.

AudioPros Expands EAW Territory to Include Metro NY

Eastern Acoustic Works (EAW) welcomed AudioPros, as its manufacturer’s representative to serve the Northeast territory. AudioPros currently represents EAW throughout New England and Western New York and has now expanded to Metro New York.

AudioPros is an independent manufacturer’s sales and marketing firm providing support of EAW’s products to integrators, consultants, production companies, and retailers. AudioPros provides high-quality solutions for a variety of projects ranging from large outdoor stadiums to small-scale installations. As an audio, video, and lighting representative firm, the company is well positioned to offer complimentary professional lines that are the greatest value to the manufacturers it serves.

PSNI Global Alliance Welcomes KVM Pioneer G&D as Global Preferred Vendor Partner

PSNI Global Alliance welcomed Guntermann & Drunck (G&D) to its Global Preferred Vendor Partner (PVP) network. G&D expands the PSNI network’s ability to deliver mission-critical control room applications, ensuring top-tier functionality, security, and operational efficiency for global control room operations.

By joining forces with G&D, PSNI’s certified solution providers (CSPs) now have access to the most comprehensive, interoperable, secure, high-performance KVM technology available. This partnership further strengthens the Alliance’s capability to solve complex AV and UCC challenges while delivering seamless, large-scale project outcomes across key verticals such as industrial automation, process control, energy management, air traffic control, broadcast, entertainment, and government industries.

G&D’s advanced KVM technology is a critical asset for any organization that requires secure, reliable, and efficient control room operations. Founded in 1985 and global headquarters located in Germany, with its newly opened Americas headquarters located in Houston, TX, G&D is recognized as a pioneer in the KVM industry, providing innovative solutions long before the term "KVM" even existed. 

Diversified Opens New Global Headquarters in Dallas Area 

Diversified has officially opened its new headquarters in Plano, TX, marking a significant step in the company's strategic expansion. This new facility is designed to support the company’s growth in key markets and serve as a showcase for the  technologies it designs and builds for clients worldwide.  

Located in the heart of Plano’s dynamic business corridor, the new headquarters offers a prime location with easy access to Dallas-Fort Worth International Airport and the wider Dallas metroplex. This central location not only enhances Diversified’s ability to attract top talent from the region’s growing technology ecosystem but also ensures easy accessibility for clients and partners, both locally and globally.

The facility features a variety of advanced audiovisual systems and cutting-edge collaboration technology, including:

• Foyer Entrance: A large dvLED wall greets guests as they enter. Controlled via a touch panel or wireless interface, the wall can display dynamic content curated by Diversified’s creative teams. Uniform audio coverage is provided through ceiling speakers, offering a seamless and inviting experience from the moment visitors step into the space.
• Main Conference Room: Equipped with dual displays, the executive conference room seats up to 10 and is optimized for collaboration with Microsoft Teams Room solutions and AI-powered cameras. The system offers automatic presenter tracking, dual cameras, and audio capture through ceiling-mounted microphones, ensuring high-quality video and audio conferencing. Motorized blinds and polarizing privacy glass, controllable through the Teams interface, add further flexibility for environmental controls.
• Open Area: Featuring a 1.2mm direct view curved LED wall, the open area serves as both a collaborative workspace and a production backdrop. Equipped with high-bandwidth connectivity for future technology upgrades, the space also includes ceiling-mounted speakers and multiple audio zones for independent volume control. A ceiling-mounted camera supports presenter tracking for future production functionality, making the area adaptable for various use cases.

Getting ready to head to Las Vegas for NAB Show 2024? Be sure to add these new productions and solutions from FOR-A, Hitachi Kokusai, and Wisycom, a lighting ecosystem from Astera, and Rise's networking events to your must-see list. 

MORE NAB SHOW NEWS:

NAB Show 2024 News: 5 Booths You Won't Want to Miss
NAB Show 2024 News: 5 NAB Debuts to See in Last Vegas
NAB Show 2024 News: Updates of What to Expect from the Show Floor
NAB Show 2024 News: JVC Zooms In on PTZs, Plus 4 More New Products to See
NAB Show 2024 News: Generative AI and A Slew of Product Debuts to See

Hitachi Kokusai Will Highlight a New Live Production Package

Hitachi Kokusai will highlight a new live production package at Booth C4516 that bundles its Z-HD6500 HD camera with its CU-HD550 camera control unit. Designed for budgets of all sizes and supporting multiple HD formats to 1080p, the Z-HD6500 camera’s design reduces the costs and system complexity for content creators while incorporating the latest technical innovations from Hitachi. Its visual quality is enhanced through three 2/3-inch CMOS image sensors with a global shutter to enable the immaculate, crystal-clear capture of BT.2020 color gamut compliant video. The global shutter technology reduces unwelcome artifacts such as banding and flicker that may occur when capturing video in houses of worship, event centers, and broadcast studios with LED lighting and large LED displays.  

The Z-HD6500 also delivers enhanced sensitivity for HD production. The F10 sensitivity of 59.94 frames per second (fps) enables high-quality acquisition in reduced lighting, while a signal-to-noise ratio (SNR) of 62dB delivers super-quiet images. The camera’s sleek, advanced design enables superior color reproduction, while its HD workflow enables seamless multi-format productions and supports both High Dynamic Range (HDR) and Standard Dynamic Range (SDR). 

Hitachi Kokusai’s CU-HD550 camera control unit was re-developed as a companion for the Z-HD6500, enabling smooth and reliable remote control of key camera functions while maintaining image quality and consistency. The CU-HD550 can output HDR or SDR and provides camera operators with two return video feeds for live monitoring. The CU-HD550 displays that feed on the Z-HD6500’s viewfinder, which is enabled through the CCU’s built-in cross-converter and frame synchronizer.

FOR-A to Debut Hierarchical RDS (Hi-RDS) Solution

FOR-A will unveil its RDS (Registration and Discovery System) solution to enable multi-vendor RDS to access shared resources in a highly organized way. The new RDS Conductor combines FOR-A’s SOM-200RDS software with the SOM-20RDS Plus API, to organize and register NMOS-compliant resources and share them with other islands/studios. See it in action on the FOR-A booth, LVCC Central Hall C4507.

Adding new systems to an existing one has been difficult up to this point because the RDS on new systems must have the same specs as the initial design or it requires extensive redesign of the existing broadcast controllers and RDS.

To make it easier to add and share devices on a MoIP (Media over IP) system built using SMPTE ST 2110 standards, FOR-A designed a "hierarchical RDS (Hi-RDS)" environment for next-generation resource sharing of NMOS devices. FOR-A’s RDS Conductor uses this technology to configure a system’s primary RDS and manage NMOS-compliant common device resources.

All common device resources are registered within the FOR-A SOM-200RDS. And the SOM-20RDS Plus allocates just the common device resources needed on the MoIP system to the user’s local RDS. The local RDS of existing MoIP systems can be used without modification, and any modifications that may be needed on the broadcast controller are minimal. FOR-A will use the Lawo HOME IP management platform and Riedel Communications NMOS Explorer signal viewer to demonstrate the resource sharing environment of the SOM-200RDS and the SOM-20RDS Plus at the 2024 NAB Show.

Wisycom to Feature New Wireless and Distributed Antenna System Solutions

Wisycom will showcase several of its latest wireless and distributed antenna system solutions at Booth C7507. Included among these is the MRK16 multi-channel receiver system, along with the MTP61 bodypack transmitter and MCR54 true diversity receiver. The company will also highlight its RF-over-fiber support via the new BFL interfaces and optional EX3 card.

• The MRK16 is a modular wireless microphone receiver system that can manage up to 16 true diversity channels in a compact, 19-inch 1RU aluminum chassis that can be daisy chained up to four times for 64 channels of audio in just 4RU. The MRK16 also accepts up to four MCR54 receivers, providing antenna distribution, RF filtering and advanced audio routing.
• The MTP61 miniature multiband bodypack transmitter is the smallest and lightest solution in its class. It has the widest tuning range currently available (470 to 1260MHz, country dependent) and is just 66.8mm tall, 47mm wide and 94g in weight. The miniature design of the MTP61 is lightweight and comfortable for long-term use in applications that require discreet placement.
• The MCR54 is a four-channel true diversity wireless microphone receiver system with modular or slot-in configurations that are compatible with most cameras and mixer accessories. Its next-generation multiband front-end filtering features two narrowband filters and an electronically tunable High-Q filter.
• The BFL portable RF-over-fiber interfaces, the BFLR1 receiver and BFLT1 transmitter are compact, easy-to-set-up solutions that offer an entirely new way for users to support RF coverage and distribution requirements without concern for cable loss.

Astera to Showcase its Lighting Innovations

At Booth C6345, Astera will demonstrate how their comprehensive portfolio of lights operates together to form a complete ecosystem for lighting engineers offering them greater creative scope and an efficient way to light a diverse range of production contexts.

Astera’s innovations focus on replicating the traditional lighting types that form the backbone of any gaffer’s lighting repertoire, but in a way that leverages the benefits of LED technology to deliver lighting with lower power draw, higher output strength, precise color control, lightweight profile, wireless installation and full creative flexibility. In addition, Astera has incorporated a range of auxiliary add-ons into the range, such as the RunTimeExtender and a suite of mounting brackets, which allow lighting engineers to make use of their existing equipment (such as battery packs and racks) to further increase the versatility of their setup, while reducing overall costs.

The LeoFresnel and PlutoFresnel, along with the latter’s ProjectionLens expansion, maintain a Beam Angle between 15 and 60 degrees, they respectively generate a 300W and 1000W Tungsten-equivalent output with only an 80W and 250W draw. This makes both lights ideal for operation in any context where traditional Fresnels would usually be deployed, but reduces the weight, heat and energy-draw associated with conventional Tungsten lights. Furthermore, the addition of a Profile Spotlight lens attachment for the PlutoFresnel makes the light even more versatile, delivering a powerful beam with a range of 16 to 36 degrees and the ability to fit an E-size Gobo for custom logo projection. As with all of Astera’s lights, the focus is on creating lights that are quick to set up, easy to use and adjust, and robust and flexible in their application.

Also on display will be the HydraPanel , a portable, powerful 1300 lumen light that fits in the palm of your hand. Weighing just 600 grams and with a runtime of just under two hours, the HydraPanel is watertight, robust, and can be combined with additional Hydrapanels or a Multifit Snapbag, making it suitable for almost any application. The range is further complimented by the Titan Tube, the NYX bulb, and a range of lightweight and flexible uplights, including the PixelBrick and AX series.

Key to Astera’s holistic approach is the fact that their entire lighting portfolio is underpinned by their unique Titan LED engine, which powers the lights and ensures absolute color fidelity and lighting consistency. By using the same engine across the range and incorporating Wireless DMX, CRMX and BluetoothBridge connectivity, Astera products can be seamlessly integrated together and controlled from a single point; either through the Astera app, or Astera’s range of physical remotes, including the FX and White remote. The result is a comprehensive lighting system which contains everything a lighting engineer could need, while also allowing them to make use of much of their existing inventory and customize their workflow according to individual preference and operational context. 

Rise Brings New Initiatives to Dedicated Booth

In the West Hall, Booth 4500, Rise will offer numerous activities to help enhance attendees' show experience. Rise aims to empower women at all stages of their professional growth, and the team will provide a supportive environment, with a lineup of events to inspire and engage.

Rise has created a lounge style space in the West Hall on Stand 4500—an exclusive area designed for their community to connect, relax, and network. The stand has been generously provided by DCE Agency and Think Logistics.

The Rise Booth will offer:

• Lockers for securing personal items
• Comfortable seating space for meetings and relaxation
• Emergency kits sponsored by IMES with tradeshow essentials and a healthy snack courtesy of Kate's Real Food
• A silent disco featuring meditative channels, sponsored by FooEngine

Additionally, Rise will be hosting a pre-show networking event on April 13 beginning at 5 p.m. local time and a networking and wellness event on Monday, April 15. 

NAB Show 2024 is quickly approaching. Be sure to add these debuts from SDVI, DPA Microphones, Hitachi, Studio Technologies, and MultiDyne to your must-see list. 

[AV Network's NAB Show 2024 News Hub]

SDVI to Showcase Productivity Gains Enabled by Rally

SDVI will demonstrate how its Rally media supply chain management platform enables media companies to optimize the productivity of their media operations across both automated and manual tasks for a wide range of use cases. Designed to support every step of their supply chains, from content receipt to delivery, Rally helps media organizations achieve true business agility, accelerate operational efficiency, and gain new intelligence about their media operations. Whether organizations are moving broadcast playout to the cloud, spinning up new FAST channels, satisfying the needs of a digital D2C service, fulfilling new licensing deals, or simply consolidating disparate operations into a cohesive core, SDVI enables them to best meet the challenges of a dynamic and changing business.

At Booth W2313, visitors will see the recently introduced Rally Access Workstation, a new way to use Adobe Premiere Pro in the cloud as part of a fully managed, end-to-end, cloud-based media supply chain. This new addition to the company's Rally platform enables anywhere, anytime access to hosted edit workstations and content in the cloud, dynamically managing associated infrastructure deployment so that media organizations can scale their edit capacity easily and cost-effectively within an automated media supply chain. SDVI will be showing how manual edits can be made within the context of an automated media supply chain, without user tools and the content ever leaving the cloud.

Hitachi Kokusai DK-H700 4K Box Camera

The Hitachi Kokusai DK-H700 will make its debut at booth C4516. The next-generation box camera suits a variety of high-end broadcast, Pro AV and government applications. 

Shown as a reference display to NAB Show audiences last year, visitors to NAB Show 2024 will get a true sense of the camera DK-H700’s smooth operability, artistic capabilities and striking visual quality. The latter two benefits are amplified through the camera’s advanced digital signal processing and HDR support. The DK-H700’s design also includes 2/3-inch, RGB 3-chips, 8.3 million pixel each CMOS sensors., Collectively, these features add up to produce sharp and clear images with minimal noise, lifelike color fidelity, and extraordinary sensitivity. 

The DK-H700 is a multi-format solution that complies with ITU-R.BT-2020 wide color gamut specs and operates within REC BT2100 High Dynamic Range standards. These allow content creators to produce independent programs in a dual workflow configuration for both HDTV and/or UHD SDI output formats. The new DK-H700 has also added a ¼ ND filter to be able to produce a shallow depth of field with iris opened, which will add to artistic value and reduce the Moire Effect on video walls. Providing the ability to produce shallow Depth of Field, while also having 2/3-inch Native Global Shutter sensors for maximum depth of field helps to enable maximum artistic experience.

DPA to Showcase Versatile, New Compact Shotgun Microphone

DPA Microphones will highlight the standout features of its compact 2017 Shotgun Microphone at booth C7307. From its durable construction and ease of use to its acoustical properties, the 2017 can capture the energy of any broadcast, AV or live event application. Measuring just 7.24 inches (184mm) in length, the 2017 is more compact than many popular solutions, yet it still offers impressive technological features, including extreme durability, high directivity, clarity and consistency for capturing authentic sound. 

DPA has prioritized versatility with the 2017, creating an easy to set-up mic that is ideal for indoor or outdoor fixed or booming applications in live sports, news broadcast and location sound applications, as well as on a FOH boom or fly bar in venues during live events. 

Studio Technologies Introduces Model 5682 ST 2110 to Dante Bridge

Studio Technologies will present its new Model 5682 ST 2110 to Dante Bridge at C2346. The Model 5682 provides a high-performance means of interconnecting (“bridging”) SMPTE ST 2110 audio channels with Dante audio-over-Ethernet channels. 

The Model 5682 is available in two versions: the Model 5682-01 allows up to 32 audio channels to pass in each direction, while the Model 5682-02 supports up to 64 audio channels. The unit is compatible with the SMPTE ST 2110-30 standard for PCM audio signals and the ST 2110-10 standard for signal timing. On the Dante side, the Model 5682 is compatible with the Dante Domain Manager (DDM) software application and is complaint with the AES67 interoperability standard. 

The Model 5682’s primary application is to interconnect audio channels associated with two independent networks, one that supports ST 2110 and the other Dante. The source and destination of these audio channels would typically be other equipment such as mixing consoles, broadcast or production crosspoint switchers, matrix intercom systems, or digital audio processing units. The Model 5682 can also perform effectively on the same local area network (LAN), interconnecting independent ST 2110 and Dante audio channels. Each implementation, ST 2110 or Dante, can have its own timing (sync) reference, sample rate, and bit depth. Sample rate conversion (SRC) logic within the Model 5682 ensures that the audio signals can pass between the two implementations with minimal degradation in performance. The Model 5682’s ST 2110 and Dante network interfaces are electrically isolated and share no non-audio data, minimizing the risk of security issues. Only uncompressed PCM digital audio signals pass, by way of the SRC logic, between the two network interfaces.

MultiDyne Opens Gate to IP Networks with New openGear Series   

MultiDyne Video & Fiber Optic Systems will introduce a new series of openGear solutions at booth C7107 that will help customers build stronger bridges between the SDI and IP worlds. The new MDoG Series offers SMPTE ST 2110 network interface and low-latency JPEG-XS codec modules to efficiently manage uncompressed and compressed signals as they move between legacy systems and IP networks, with full redundancy to optimize performance. 

MultiDyne’s MDoG-6060 modules represent the company’s first IP Gateway solutions for uncompressed ST 2110 networks. The modules provide a reliable SDI-to-IP network interface with exceptionally wide bandwidth, helping broadcast and media companies optimize throughput for uncompressed 4K and HD video transport. 

MDoG-6060 ST 2110 Gateways are available in multiple I/O configurations for 3G-SDI (3x3, 6x2 and 2x6) and 12G-SDI (1x1, 2x0, and 0x2) systems. Each configuration offers two 25GB network interfaces to support redundant transport streams, strengthened through SMPTE ST 2022-7 compliance. The ST 2022-7 standard provides hitless merge functionality, which means that the two network streams will borrow packets from each other to maintain signal integrity as they move through the network, ensuring streams are reassembled and intact upon reaching their destinations. 

The Coppin State University Physical Education Complex Arena is home to the Eagles basketball and volleyball teams, while also playing host to major on-campus events. It is also a building that was constructed more than 10 years ago—and as the new age of ingesting games through streaming evolved, the production system became outdated.

Located in Baltimore, the 4,100-seat PEC Arena originally opened its doors in Spring 2010 with an SD production system. After a decade’s worth of use, the system was beginning to fail and no longer fit for meeting the production quality of live streaming. CSU was ready to move forward into the HD age, which essentially required a complete overhaul of the control room and cameras for capturing live events. In January 2020, CSU called on David Eisenberg, lead audiovisual/broadcast consultant from GHD’s Virginia office, to begin the process.

Pandemically Challenged Installation

Eisenberg and his GHD team began the project by taking in a basketball game to examine the old production system and begin a needs analysis with the Coppin State staff. According to Eisenberg, GHD researched and workshopped the key broadcast components including cameras, production switcher, video router, graphics, intercom, and more. “As a smaller school,” Eisenberg added, “budget was a key factor in product selection, and best value was our design guidance.”

[Amateur Sports, Professional Sound]

Everything was in place for the arena’s new production system to move forward—and then COVID-19 happened. By mid-March 2020, the project had gone virtual and eventually took a year-long pause until May 2021. In Februrary 2022, CSU selected Digital Video Group to be the broadcast integrator for the project. However, just because the pandemic had cleared enough to allow them to get back to work, many challenges still remained.

“One of the biggest challenges during installation was product availability,” Eisenberg explained. “We did have to do a number of equipment substitutions based on equipment availability, including the audio mixer, playout/recording devices, and terminal equipment. However, most of the key equipment was available.

“Some equipment had last-minute delays by the manufacturer, but the team was able to find workarounds and had a working system for the first home basketball game. While upgrading an existing system can be a challenge on most projects, we were able to use CSU’s summer break to complete the upgrades.”

Setting the Standard

There were several other challenges that lay ahead but were easily resolved. For example, because many CSU games are broadcast on the ESPN+ app, one key requirement was that the system had to be ESPN3 compliant. GHD made sure the system met the standards of the ESPN3 production manual.

All the challenges weren’t solely on the integrators. While the new system was ready for the opening of 2022-2023 college basketball season, the 2022 volleyball season was already underway. The CSU production team, comprised of both CSU staff and students, had to quickly learn the completely new production system.

"Our biggest obstacle was the steep learning curve for using the new technology," explained Thomas R. Smith III, Deputy CIO, CSU. "We had to begin broadcasting the volleyball season after the installation was mostly finished. Over time, we are becoming more adept at using the equipment.”

In a time when everyone is searching for the right standard, Coppin State also had a big decision to make: Would the system be based on the growing NDI trend or the SDI broadcast standard? Being a smaller campus with the facilities located near each other made it easy to stick with the “if it ain’t broke, don’t fix it” approach.

[Dollar Loan Center: If It Ain't Broke...]

“Ultimately, SDI was selected, as the school’s technical director, Robert Harper, was used to a traditional switcher and had been using Ross production switchers for many years,” Eisenberg explained. “Also, other than the five PTZ cameras, all sources were already native SDI. The use of Ross XPression also came into play, as ESPN will provide XPression-based graphics templates, but none from the other solutions that were considered. It may have gone another direction if the campus was more spread out and had limited fiber.”

CSU In Complete Control

The end result—which took seven months once the project resumed and was awarded to DVG—is a glorious blend of broadcast and Pro AV technologies that deliver the high-quality production CSU desired. Four Hitachi SK-HD1800-ST cameras are strategically placed throughout the venue. There are also five Panasonic AW-UE150WPJ PTZ cameras, one centered on each wall for special events and one as a slash camera in the northeast corner. Plus, three Marshall CV503 Mini cameras, used on each backboard and for the announcer table, were added to the mix.

A 209-inch LED display on the west wall—as well as displays at concession stands and suites—use the existing Crestron IPTV system to bring video replays to the fans, while the newly installed NewTek 3Play helps with slow-motion and different angles. Located two floors above and situated at midcourt, the control room is a potpourri of Ross equipment, with a 64x64 Ultrix router, Carbonite Ultra production switcher, and XPression graphics with clip server and scoreboard integration. The CSU production team communicates with a Clear-Com intercom system.

[UConn Athletics Pull Double Duty]

There are also two Allen & Heath SQ-5 digital audio mixers (one for broadcast/streaming and one for the PA), improvisational pieces of the install that quite literally turned out to be a better fit. “The original design was for a different manufacturer of digital audio consoles due to their Dante and MADI integration,” explained Eisenberg. “But they suspended manufacturing for 12 months and would not be available in time to meet the project’s timeline. Both [myself] and Kevin Filano [DVG’s engineering manager and project manager on the CSU upgrade] quickly determined the Allen & Heath SQ-5 was an appropriate replacement. Since everything goes through a Ross video router and Allen & Heath stage boxes, we were able to put the router and patching in the amp room, remove the racks from the control room, and control everything remotely from the control room.”

"Coppin can now produce sporting events of network quality with every modern convenience that we did not have before, thanks to equipment improvements, if not so much for the ability to observe the change in picture quality,” said Smith. “Additionally, we have set up the necessary infrastructure to support future expansion and enhancements to the PEC Arena and outdoor fields. Collaborating with Dave Eisenberg of GHD and Digital Video Group has been a wonderful experience. Dave created an exceptional, cutting-edge production system, and DVG's integration has been smooth, well-organized, and straightforward.”

InfoComm 2023 is right around the corner. We've been doing our best to keep you up to date on all there is to see in Orlando this June.  Today, take a look at five more exhibitors you need to add to your must-see list. 

[InfoComm 2023: 'No Stopping Us Now']

AV Stumpfl's Flex Black PRO Projection Surface Makes U.S. Debut

AV Stumpfl’s new Flex Black PRO projection surface will have its official U.S. premiere. The black surface material offers phenomenal black levels and an impressive contrast ratio.

"Usually, one cannot project onto a black surface in a truly satisfactory way, because the image would often hardly be visible due to the lack of diffuse reflection," explained Jan Walter, AV Stumpfl sales director screens. "Flex Black PRO solves exactly this problem in an exemplary way and makes it possible to project onto black surfaces with virtually any color and dynamic range."
 
In addition to the introduction of Flex Black PRO, the AV Stumpfl team will also present their innovative AnyShape technology, that makes it possible for AV professionals to order custom built projection screens with a great variety of different frame shapes. The ability to build frame shapes that are not rectangular like e.g. circles, donut shapes or screens with rounded corners can revolutionize the way in which designers creatively use projection surfaces.
 
Media server professionals and other InfoComm visitors interested in the latest real-time rendering and show control trends will also have the opportunity to discover new features of the upcoming PIXERA software version 2.0 for the first time at InfoComm.

One of the highlights of the new version is its multi-user workflow capability, which will allow media server operators to be much more flexible and efficient when working on complex installations or show environments.
 
Multiple PIXERA director licenses can now be synched, with users being able to choose between different levels of granularity when working within a multi-user scenario. 

Complete projects can be shared in real-time, or alternatively single project parts like warpings or timelines. Should they wish to, users can also choose to share every single editing action among the connected systems.
 
New N+1 backup options and dry client programming capabilities are additional feature highlights of the new PIXERA 2.0 software.
 
AV professionals with an interest in projection mapping will welcome the advanced layer mapping effects which provide complete freedom to map content pixels to screens based on the position of the screens in space.
 
In PIXERA 2.0, each screen group will also have an independent set of perspectives that determines how layers are seen through the screens they appear on.
 
As a result of this, PIXERA‘s perspective management will now allow for different mapping approaches for individual media resources, making it possible for some files to be shown as 2D overlays while others are positioned in a 3D space.

Atlona to Showcase Its OmniStream AV-over-IP Platform and More

Atlona will set the tone for what’s to come at Booth 4471, where the company will demonstrate its new OmniStream AV-over-IP platform and its latest collaboration, connectivity, and control innovations for corporate and education customers. 

OmniStream 2.0, which was previewed at ISE 2023 in February and took home a Future Best In Show Award from Installation, will receive its North American debut at InfoComm alongside new products from Atlona’s Captivate, Omega, and Velocity product lines. Atlona will also show its latest HDR innovations, including the new AT-HDR-CAT family of distribution amplifiers also introduced at ISE.

Atlona will exhibit new and existing products from core product lines across four distinct demos:

• Flexible Spaces: Atlona will show the power and range of its products to support small-to-medium sized meeting spaces. Atlona has created a new huddle space demo for InfoComm featuring three new products that show how users can take control of USB peripherals for presentations. Atlona’s new Captivate meeting room products (the AT-CAP-FC110 ePTZ camera and AT-CAP-SP100speakerphone) will be shown with the Omega AT-OME-CP-MH21 switcher, which all debut in North America at InfoComm. A second demo for standard mid-sized meeting spaces will show how presenters can take control of a collaboration system upon entering a room with an Omega AT-OME-MS42 switcher.
• Education Demo: Adjacent to the meeting space demos is a dedicated education demo representing an interactive classroom. Visitors will learn how the Omega AT-OME-PS62 switcher supports diverse connectivity options (HDMI, USB, DisplayPort) for instruction and learning, including interactive white boards. Atlona’s AT-GAIN-120 provides distributed audio for in-room learners while AT-HDVS-CAM PTZ cameras, working with the OME-PS62, can support both physical and remote learners from the same system. The two cameras will capture viewpoints fixed on the instructor and classroom.
• Networked AV: This zone will provide a dedicated focus on OmniStream AV-over-IP and Velocity control solutions. Atlona will demonstrate new OmniStream features from the new 2.0 firmware release, including 4K/60 video with 4:4:4 color sampling, improved bitrate efficiency through the VCx codec, and ­integrated multiview processing. Atlona will show how integrators and system operators can use Velocity Premier Services–Remote Gateway (AT-VPS-RG) to remotely configure, manage, and support multiple rooms over the internet. Atlona will also show new room configuration and management features for physical Velocity hardware gateways, software gateways, and touch panels.
• AT-WAVE-101 Presentation: Making its InfoComm debut, the presentation switcher will be exhibited on a dedicated pod where visitors can walk up to the compact WAVE-101 and establish fast, reliable connections to a laptop, tablet or smartphone for wirelessly casting video content to a large display. Attendees can explore how the device is used in moderator mode or enhance instructor mode when used in corporate and education environments, respectively.

Absen to Showcase Innovative LED Displays

Absen will be showcasing its lineup across various product lines, including:

• Data Visualization: Absen's LED displays for data visualization provide exceptional clarity and detail, empowering businesses to make data-driven decisions with ease.
• Virtual Production: With Absen's cutting-edge LED solutions for virtual production, directors and creators can directly see the filming environment, immerse actors in the scene, and save time and energy.
• Live Production: With a commitment to providing cutting-edge solutions for live events, Absen offers a comprehensive range of rental and stage LED products. These products have been designed to meet the demanding requirements of live productions, ensuring stunning visuals and unforgettable experiences.
• Commercial Display: Absen's commercial display solutions offer high-quality and versatile LED panels that are perfect for retail spaces, corporate environments, and public venues.
• Absen iCon: The Absen iCon series delivers innovative LED solutions for the ultimate meeting experience. This revolutionary all-in-one LED screen for conferencing helps users better facilitate presentations, brainstorming, and decision-making.

Hitachi Kokusai Highlights Popular Camera Systems and New SK-UHD7000-S2

Hitachi Kokusai will show its wide range of HD/UHD and HDR support for high-quality visual content acquisition across numerous AV applications at InfoComm (June 14-16, Orange County Convention Center, Orlando). Hitachi Kokusai exhibits at Booth 2488.

New to AV audiences is the SK-UHD7000-S2, a multi-format HD camera that converts to 4K with an affordable license upgrade option. The upgrade path offers a lower initial purchase point for customers who want high-quality 1080p immediately along with a cost-effective, field-upgradeable path to 4K production, making it a viable investment for houses of worship, live event venues and corporate clients looking toward a 4K future.

The SK-UHD7000-S2 delivers spectacular depth modulation, lifelike images, exceptional visual quality, and superior price/performance for live performance applications while providing signal to noise ratio surpassing -62dB on every output. The upgrade license will also integrate new 4K technologies that Hitachi Kokusai develops moving forward, ensuring that customers always receive the latest benefits and features when they upgrade. 

Whisper quiet and delivering ultra-clear images that look almost 3D, the SK-UHD7000-S2 offers customers more creative freedom than ever when it comes to lighting exposure and color control. 

Hitachi Kokusai will also demonstrate its established DK-H200 multi-format HD box camera at InfoComm. The DK-H200 features native, full-frame rate 1080p acquisition in a form factor ideal for point-of-view and remote observation applications. Its 2.6 million pixel, 2/3-inch, MOS sensors deliver sharp, clear images. These advanced sensors combine with Hitachi Kokusai’s renowned digital signal processing technology and the camera’s natively progressive signal flow to provide superior picture quality with low noise, true to life color reproduction, and high dynamic range. 

In addition, the camera's 60dB signal-to-noise ratio enables clear images with minimal noise even at high gain and is complemented by outstanding standard sensitivity of F12 at 59.94Hz and F13 at 50Hz. Delivering pristine 1080p video acquisition at a price point previously expected only of interlaced cameras, the DK-H200 makes top-caliber, progressive capture affordable and accessible to more verticals than before, including government, house of worship and live event venues.

U.S. Launch: Meet the Powersoft Cloud-Based Platforms 

Powersoft will introduce its much-anticipated cloud-based platform, Unica and Universo, to the U.S .market during a launch event on the first day of the show, June 14 June, at 12 p.m. ET at Booth 5653. The Italian audio manufacturer will also demonstrate its Dynamic Music Distribution capabilities and showcase its full range of install dedicated amplifiers.
 
Building on Powersoft’s European launch at ISE, Powersoft brings its most advanced amplifier platform, Unica, and ever-expanding Powersoft cloud, Universo, where users can store and access projects as well as monitor systems from anywhere. Leveraging next-generation cloud-based technology to provide high sound quality, efficiency, and power density, Unica provides a reliable and consistent user experience for any size of installation.
 
The Italian audio specialist will showcase the versatility of Unica by presenting both four-channel and eight-channel versions of the future-proof amplifier platform. Unica’s easy integration and configuration, coupled with low operating and maintenance costs, is all wrapped up in one easily upgradable package. In addition to Unica, Powersoft will also show the attendees how the Powersoft cloud works, Universo’s intuitive dashboard, the integration with ArmoníaPlus and how to manage installation sites remotely with multiple profiles. The trade show goers will also have the opportunity to participate in two daily demo sessions highlighting the features of Unica and Universo at 11am and 3pm.
 
In addition to InfoComm, Powersoft will also support The Dark Ride Lab from June 13-16. The event is a hub of innovation where designers, engineers, and creatives collaborate to create awe-inspiring experiences and offer visitors the opportunity to engage with leading experts in themed entertainment technology. The event attendees will have the chance to witness the capabilities of Powersoft’s Quattrocanali 4804 DPS+D and Ottocanali 8K4 DSP amplifiers, which will power the surround speakers in the dark ride experience, as well as embarking on a journey with Mover which will be integrated into a ride vehicle.

A new Hitachi HD camera system, Alfalite NAB Show's debut, and Evertz interactive graphics overlay platform for gaming? You won't want to miss that and more at this year's NAB Show.

[NAB Show Expects Big Gains in 2023] 

Hitachi Kokusai to Unveil Next-Generation HD Camera System

Hitachi Kokusai is heading to NAB 2023 with its new Z-HD6500 HD camera for customers seeking HD visual quality and high cost/performance value for live production applications. The Z-HD6500 will premiere  alongside the new 4K models and other Hitachi Kokusai systems at Booth C6117 in the Las Vegas Convention Center.

Supporting multiple HD formats to 1080p, the Z-HD6500 camera’s design offers customers a seamless triax-to-fiber transition to reduce costs and system complexity for content producers and broadcasters. Visual quality reaches new heights through a combination of three 2/3-inch CMOS image sensors with global shutter to enable the immaculate, crystal-clear capture of BT.2020 color gamut compliant video. The global shutter technology reduces unwelcome artifacts such as banding and flicker that may occur when capturing video in houses of worship, event centers, and television sets, with LED lighting and large LED displays. 

The Z-HD6500 also delivers exceptional sensitivity for HD production. The F10 sensitivity of 59.94 frames per second (fps) enables high-quality acquisition in reduced lighting, while a signal-to-noise ratio (SNR) of 62dB delivers super-quiet images. The camera’s sleek, advanced design enables superior color reproduction, while its HDTV workflow enables seamless multi-format productions and supports separate controls for High Dynamic Range (HDR) and Standard Dynamic Range (SDR). 

Alfalite to Showcase LED Screens for VP XR Environments at FOR-A Booth

Alfalite will be making its NAB Show debut at booth C4507 of its partner FOR-A, showcasing its Modularpix Pro VP XR LED panels for virtual production environments in the broadcast, film, advertising, hybrid events, corporate, and education markets.

The two companies recently announced a strategic partnership for FOR-A to market the Spanish manufacturer's screens in selected territories.

Alfalite’s Modularpix Pro VP XR panels feature 1.9-millimetre pixel pitch, optical parameters, and cd/m2 brightness > 1,800 nits, 9,8400Hz and a color gamut of 86.22% over REC.2020, HDR10+, 240Hz Multicam and the lowest average power consumption in the market with only 140W/m2. The ceiling panels reach 6,000 nits and are prepared with lighting parameters to cover the scene.

These LED panels have ORIM (Optical Resin Injection Module) technology, a new termination system for LED panels through an injection of optical resin that improves precision between modules (<0.5mm). It also provides a magnified 175-degree horizontal and vertical viewing angle providing outstanding viewing angle stability and enabling filming the LED wall even from extreme camera angles. The panels are the ideal solution for virtual or mixed reality productions, broadcasting, film, series,  or advertising.

Evertz Ease Live Takes Gamification Of The Fan Experience To New Heights

On booth N2225 at NAB 2023, Evertz will highlight the engagement and monetization potential of its award-winning Ease Live interactive graphics overlay platform, which is already gaining strong support among top sports leagues and their streaming partners in basketball, ice hockey, baseball, and football (soccer).

This Software-as-a-Service (SaaS) gives live sports, live events and broadcast customers all the tools they need to create, build and distribute overlays to millions of end users on multiple platforms in real time. Leading content providers are now using Ease Live’s edge-rendered graphics to engage audiences and create new revenue streams by adding interactive experiences to existing Over-The-Top (OTT) services and streaming apps.

Alongside its support for mobile and web-based touch devices, Ease Live also offers interactive experiences developed for Connected TV devices including Apple TV, Roku and Android TV. These allow the viewer to engage with content using their television’s remote-control device.

Read more here. 

[NAB Show 2023 Hub: News and Products You Won't Want to Miss] 

How LAWO and Viilage Island Are Using intoPIX Technologies

intoPIX technologies will be on display with several partners at NAB Show 2023. 

intoPIX will officially introduce how its JPEG XS support is built into LAWO HOME Apps at NAB. Support for the lossless JPEG XS compression technology in HD, 3G and UHD video-format resolutions will allow users of Lawo’s new HOME-managed Apps, which run on standard servers, to encode, process, and decode compressed IP streams. Read the full release here. 

Elsewhere, Village Island VICO-XI is revolutionizing IP video conversion with reduced bandwidth and microsecond latency using intoPIX technology. At Booth C6335, attendees will see how the VICO-XI with intoPIX visually lossless JPEG XS codec converts uncompressed ST2110-20 to ST2110-22 4K/HD video streams with no delay. Read more here. 

StreamGuys Rolls Out Contribution Network Service

StreamGuys will bring its latest contribution to the media and entertainment industry to NAB Show 2023, this time, with a focus on simplifying live contribution and production workflows. Visitors to the StreamGuys section of the ENCO booth (W1743) will see the new StreamGuys Contribution Network in action. The service applies to enterprise-level media organizations that need to efficiently move self-produced, locally originated, and/or third-party media content onto the public internet for end user consumption.

Interested? Read all about it here.

Staying ahead of the game to enhance the fan experience is not simply about the brightest lights and largest scoreboards. In today’s sports world, the latest in-venue broadcast capabilities and audio systems are equally important.

[Major League AV at Toronto's Rogers Centre]

The University of Connecticut is no slouch when it comes to sports. Now, with the help of design and systems integration firm Metinteractive, the Huskies are ahead of the game technologically speaking as well. Metinteractive delivered AV and broadcast integration to the UConn Athletic District Development, a recent program that improved outdated campus sports venues.

UConn in Complete Control

Between the soccer and baseball stadiums is the new Rizza Family Performance Center, which houses the video production control room for on-campus sports. The control room is a blend of Pro AV technology, but the centerpiece items are the Ross Carbonite switchers, Ultrix router, and graphics systems, as well as the Q-SYS system for audio amplifiers and DSP. Also in the production mix are Hitachi SK-HD1200 cameras, Clear-Com intercoms, ElationLogic control and coding solutions (a brand also owned by Metinteractive), and HP Aruba networking.

What is particularly impressive about the control room is that it was designed to produce two live events simultaneously. “The two halves of the room are similar, but not 100% identical," explained Jeff Mele, CTO, Metinteractive. "But there are separate switches, separate replay systems, separate graphics systems, separate scoring systems, all tied with a common network infrastructure and common communication system.”

Of course, a double control room designed to juggle multiple sports didn't come without challenges. “It's an A and B-side double control room, where you have to have the agility to shift which sport is coming out of which side of the room, because there's plenty of overlap," Mele said. "It was always anticipated that softball and soccer would play out of one side and hockey and baseball the other side, because there wouldn't be collisions in some of those. But with the whole COVID era and the cancellations of the season, even up through this year, it's caused mayhem with the schedule for the teams.

"And there are unexpected conflicts in time where you might have to run softball and soccer at the same time. That happened a number of times from a technology standpoint," he continued. "It's a very complex network infrastructure, and a very complex intercom infrastructure, because communications is clearly a key component when your control room is up to half a mile away from some of your venues.”

The decision was made to connect the multiple venues via fiber. According to Mele, there was no other option. “In current sports applications, I still see mistakes happen where consultants will specify coaxial cable just for the in-house cabling, let alone going building to building," he explained. "Part of the problem with that is your distance limitation is pretty fierce. So, the strategy inside the buildings these days is all about running fiber. As an example, the hockey arena—bringing that online, we ran 72 strands of single mode back to the control room."

One System for All

As with most college athletics operations, there is a slew of different hands in the control room for broadcast production, including students with a range of experience levels. Metinteractive knew they needed to design a system that could be easily controlled by a wide variety of end users.

“We use a diverse group of people—students, full-time staff, and even freelancers at times,” explained David Kaplan, assistant athletics director of video and production services at UConn. “The system is extremely user friendly for all the different people we bring in.”

“David Kaplan is an amazing producer, and they've got a great assembly of cohesive people that worked on making UConn's games a great experience,” said Mele. “But there are those moments where things happen, and they need assistance. And if we had to, we could fundamentally run the whole game remotely. Most of us [at Metinteractive] have come out of live production, so we understand the gig of having to be able to turn stuff on and hope to God it's all going to work. And that makes us very well adapted for dealing with clients like this, because they need somebody who's not going say, ‘Oh, we'll have to send you a quote for that,’ or ‘We'll have somebody get back to you within two hours.’”

[Future Proof Control Room Connectivity]

You may be familiar with another iconic sports name that resides close by in Connecticut. When ESPN wants to air a game from the UConn, there is no reason for anyone to come on site. The system is designed to push streaming content to ESPN, which is another example of how easy this complex system makes things on the athletics department.  

Thus far, the system has been a success. Mele, who has led Metinteractive's recent string of successful installations for Major League Baseball, offered advice for the future of gameday integrations. "Most of our projects this past year, we have been in control of our own destiny," Mele offered. "From a network standpoint, I highly suggest that projects don't go the way of trying to converge networks with the rest of the facility—not because of a technological reason, but because of an aptitude reason. What goes into what we do from a networking perspective is far more complicated than what the average IT person is dealing with on a day-to-day basis. IT folks are dealing primarily with intercommunication and security, whereas we're dealing with multicast traffic, precision time concepts that don't really mean much to the typical, day-to-day IT person."

While Daktronics took care of the videoboards, Metinteractive amped up the acoustics on the field. According to Kaplan, the sound is "absolutely fantastic" and has exceeded expectations. An EAW outdoor speaker system pumps up the fans, but there were also some fun technologies, like systems to analyze baseball and softball players' swings, that enhance the team experience as well. Metinteractive has also equipped the new Toscano Family Ice Forum for the men’s and women’s hockey team with a d&b PA system, among other technological solutions.

[How Samsung Is Bringing the Pro AV 'Wow' to Citi Field]

“For us, within the last two years, we’ve put up new soccer, baseball, softball, lacrosse, and now hockey venues,” said Kaplan. “Metinteractive has been involved in all of those from an audiovisual standpoint. Due to their work, we’ve had some great shows and are looking forward to build in the new arenas.”

Hometown Home Run

All parties involved are happy with the installation, but even more so with the relationship built between the school and integrator. Especially for Mele, whose family grew up a fan of the Huskies, this project was a little bit more rewarding.

"We certainly believe in all of our clients, but there will be something to be said for the hometown advantage here," said Mele. "There's a little extra tilt on this when you're dealing with your own home team—and especially being a state institution. But it's all a matter of just making sure you want all your clients to have a great experience."

[Editorial: Take Me Out to the Scoreboard]

“During the design phase and installation, Jeff and his group were always available to us, helped guide us along when needed,” Kaplan explained. “Now that we are producing shows in the venues, they are always available and coming on site when needed. It’s been a great partnership. Sometimes installations come and the companies go. And I don’t think it’s just because they are a Connecticut company; they are willing to be there well after the installation and help in any way they can.

“I’ve talked to other people in Major League Baseball and hockey arenas around the country. We didn’t just hire them because they are Connecticut-based. We hired them for their expertise and the value they bring after the installation.”

Esports are the top attraction at the just-opened Tech Port Center + Arena in San Antonio. Managed by entertainment giant ASM Global, the 180,000-square-foot, multipurpose facility, also plays host to concerts, sporting events, and conferences. But the reason AV consultant Anthony James Partners (AJP) was given a $5.2 million AV technology budget was to create an esports playing/viewing venue that would dazzle the fans.

To establish Tech Port Center as a gaming hub, the facility has opened a LAN Gaming Center within its walls. “80s kids would call these places arcades,” said Michael Martin, AJP’s vice president of technology. “Now they’re called cybercafes, gaming lounges, etc.”

[The State of Esports in Higher Education]

In line with modern gaming trends, the cabinet-encased Donkey Kong consoles of the 1980s are now table-mounted gaming stations, each with a 1 Gbps data link to access switches with 40 Gbps links to the facility’s networked computing core. These stations can be used by visitors on an ad hoc basis, or be reserved for use by groups and local esports gaming leagues.

“Each player has an individual station in the gaming center, which includes the PC, display, mouse, keyboard, headset, and chair,” explained Sam Elizondo, Tech Port Center’s director of esports and LAN gaming. “We have 60 of these stations and room for 20 BYOD [Bring Your Own Device] stations. The computers have preloaded games on them already, and you can also play your own titles as well if you own them.”

Competitive Events

In addition to its 60 gaming stations, the LAN Gaming Center has 12 arena gaming stations with 10 Gbps data links to access switches. This allows for faster data transfers, which is why these systems are used for on-stage esports team competitions in front of audiences, usually arrayed in two tables in sets of five. (The system can also be expanded to 18 arena gaming stations for events with three teams of six, all playing together in multiplayer games.)

The esports coverage starts with an array of cameras. At the arena gaming stations, the players’ faces are captured by Marshall POV cameras, while overall action and crowd imagery are shot using Hitachi Z-HD5500 HD broadcast cameras (both fixed and roving). There are also BirdDog robotic cameras positioned around the arena to provide a bird's eye view of the action. “The feeds from them all, plus streams from the gamers’ video monitors, are all sent to our production studio, which houses a combined technical operations center/control room capable of full broadcast-quality TV production," Martin said.

To punch up the visuals, Elizondo said there are 38 moving lights that can be programmed to a producer’s vision. Meanwhile, audio from the gamers’ headsets is accessed through their computer feeds to the production studio, while staff intercoms, floor audio, and color commentator audio/official announcements go through separate pathways. “The on-air talent is housed in two separate breakout rooms located directly behind the stage,” he added.

[Esports: Has Your College Levelled Up?]

Because speed is everything in esports gaming, the Tech Port Center is equipped with an incredibly powerful fiber optic network. It includes a wired network with 40G redundant links from core to edge, plus 5G cellular distributed antenna system (DAS) high-density Wi-Fi and a broadcast network with SDI and NDI transports. The facility also has dark single mode fiber throughout the facility and dark Cat6 cabling between its intermediate distribution frames (IDFs) to connect portable gaming show rig deployments.

Polished Productions

Once the visuals (and floor audio) get back to the production studio, the crew selects and mixes the feeds just like they would for any sporting event. “We have a NewTek TriCaster 2 Elite switcher that handles the video feeds to the in-arena LED displays and for streaming to the web,” Martin said. “The output goes to a Ross Video system to deliver content to our large LED displays and Samsung HDTVs throughout the facility.”

The monitors that matter most to fans are a trio of SNA 4mm LED screens mounted behind the competing gamers’ tables. The center screen measures just over 19x34 feet and is flanked by two 13x26-foot screens. These can serve as part of a three-monitor display or operated separately and angled to serve different areas of the arena. The Tech Port Center also has 74 Samsung monitors that are controlled by UCView CMS signage software, plus exterior LED displays for messaging and advertising. Sound is delivered using a high-power JBL Cinema 7.1 surround sound loudspeaker system.

[Higher Ed Esports Programs Need Support from AV/IT Experts]

Make no mistake: The production values during Tech Port Center esports’ competitions are as polished as any major league sports event. In fact, during an esports event, the main camera-based feed is switched by a professional technical director, who is backed by a graphics expert adding lower-third CG titles, audio director managing the sound, and another technician selecting the feeds for the venue’s various monitors.

“We even have video replay and slow motion,” said Martin. “We run both just as you would in football, and use the lower-third of the screen to crawl information, plus pop-up relevant scores, wins/losses, you name it.”

Limiting Latency

The team at Tech Port Center is able to bring esports right into the action during competitive events, which can run for hours at a time over one or two days. “Most of the time, what you’re watching on the big screens is the actual game play, as well as seeing how the competitive players are reacting as things progress,” Martin explained. “The players can become quite animated as they either succeed or get killed as the game progresses.”

To keep these productions going smoothly with all the signal paths involved, AJP has done everything it can to minimize signal latency in the venue’s network. “Latency can't be allowed to exist,” said Martin. “Minimizing it came down to ensuring that the network jacks and every other physical element in the network was perfect. After all, the competitive gaming system is a single-mode fiber optic backbone that connects those 10-gig switches to the NIC [network interface controller] cards. Something as simple as a jack being improperly terminated or even not quite pressed down enough could actually cause latency in it.”

AJP spent weeks testing the Tech Port Center network—from the gaming stations at one end to the switches and the NICs at the other—to make sure the system exceeded expectations. “We didn’t experience any signal latency in the network once we were done,” Martin said. “And as of now, we've not seen any at all.”    

If you are an AV engineer who first worked at T-Mobile Arena—home of the NHL’s Vegas Golden Knights—and then got an AV gig at the new 5,567-seat Dollar Loan Center in Henderson, NV, you could be forgiven for doing a double take after entering its Technical Operations Center (TOC). The reason?

“Our AV system was designed to be a miniature version of T-Mobile Arena’s,” said Steve Carl, director of audio visual and production, Dollar Loan Center. “We’re kind of the little sibling of that facility, in the sense that we have the same AV DNA as they do.”

[Future Proof Control Room Connectivity]

The reason for the resemblance has everything to do with Golden Knights owner Bill Foley. He also owns the Henderson Silver Knights of the American Hockey League (AHL), who call the Dollar Loan Center home. Foley also co-owns the Dollar Loan Center, which opened its doors in March. “Mr. Foley is very happy with the T-Mobile Arena and how AV production is facilitated there,” Carl explained. “So he just basically used its AV operation as a template to be copied here.”

Not only does this decision mean the Dollar Loan Center has an NHL-quality AV system, but it also ensures a source of highly qualified personnel for this stadium. “This is because we use AV technicians from the T-Mobile Arena,” said Davin Gaddy, The Dollar Loan Center’s AV engineer. “By copying their AV system and recreating it here, it is very easy to move people back and forth as needed. There is no learning curve to move from one TOC to the other.”

Monitors Everywhere

Super-sized video scoreboards dominate modern arenas, and the Dollar Loan Center is no exception. Suspended over the center of the stadium is a Daktronics video scoreboard LED display with four faces, each one approximately 11.5 feet high by 20 feet wide with 3.9mm pixel spacing for high-resolution imagery. Each screen can be used to show one large image or multiple zones of live video, instant replays, player statistics, graphics, animations, and advertising.

The Dollar Loan Center also has a Daktronics 360-degree indoor LED ribbon display (23,616x72 total resolution) running around the stadium’s upper perimeter, as well as an 11x19-foot Daktronics outdoor marquee display at 960x540 resolution. Plus, there is a NovaStar exterior pylon LED sign in the property, offering messaging at 256x384 resolution.

“We have 147 HDTVs that are running on an IPTV system throughout the facility,” Gaddy said. “Their content is sure to catch your eye wherever you are, because we have complete control over all that digital signage and can tailor it to whatever event is coming through.”

To supply its screens with video, the Dollar Loan Center has a full complement of broadcast-quality HD cameras. There are five Hitachi SK-HD1800 cameras with Fujinon lenses wired via SMPTE hybrid optical cables, as well as an additional SK-HD1800 connected using a Waves Central bi-directional RF interface. Six Marshall POV cameras are equipped with Thor bi-directional fiber transceivers, and two Sony BRC-X1000 4K PTZ cameras connected by fiber. The TOC’s camera control suite has six Hitachi RU-1500JY remote camera controls, one Marshall remote CCU station, and one Sony RM-IP500 PTZ camera remote controller.

[Tulane Unifies AV and Broadcast for Sports Production]

The cameras connect back to the TOC on the event level through multiple junction boxes, installed at key areas around the facility, via single-mode fiber optic and analog cables. “We've got fiber runs that go everywhere you would expect fiber to run, with the exception of the restrooms,” Carl said with a laugh. “Seriously, we've got connectivity through our junction boxes located throughout the facility. Basically, we can setup cameras anywhere we want to, and send their video to anywhere in the building.”

Top Shelf Equipment

Modelled after the T-Mobile Arena’s TOC, the Dollar Loan Center’s TOC definitely punches above its weight. The star of the operation is a Ross Carbonite video switcher with TouchDrive control surface, with a Ross Xpression CG Suite included to support real-time motion graphics and clips playout. The TOC also features a CharacterWorks CG system for ancillary score bug/graphics applications, which is integrated with the Daktronics All Sport scoring system and the four video scoreboards. “We’ve got more options on this system than most of our operators ever need,” said Carl.

To manage its video, the TOC has an Evertz DreamCatcher DC-Playout four-output system, Evertz Dreamcatcher DC-ONE six-input replay system, four FOR-A FA-505 multi-channel signal processors, and a NewTek TriCaster Mini for video streaming applications. Signal transport and processing is handled by an Evertz EQX hybrid router, configured to 164x164 SDI channels with fully routable audio capabilities. Other Evertz gear includes a MAGNUM system control server, SCORPION SDI-to-Dante bridge, and 5700MSC-IP master clock.

On the audio side of the house, this TOC has a DiGiCo S31 FOH mixing console, Fulcrum Acoustic main P.A. with Powersoft amplifiers, JBL facility-wide P.A. with QSC amplifiers, QSC Q-SYS processing with Extron zone controllers, and a TASCAM analog/Dante converter.

A Dante infrastructure serves as the stadium’s primary audio transport method, with a main P.A. analog backup available. This is topped off by a Riedel intercom system with multiple base stations and 20 wireless Bolero belt packs with facility wide antenna distribution and connectivity, plus Clear-Com analog partyline system capabilities.

[Major League AV at Toronto's Rogers Centre]

The Dollar Loan Center’s lighting system keeps pace with its stellar AV setup. "Our lighting was created by designer Sean Guarino of Sexy Lights, who has done Olympic figure ice skating lighting,” Carl said. “He's also done lots of sporting events, including the lighting design at the T-Mobile Arena.”

General lighting in The Dollar Loan Center is provided by Musco DMX addressable LED fixtures, with both adjustable color temperature and RGBW fixtures installed, and a Musco lighting control system. Facility lighting employs LED systems that have Eaton DMX external control capabilities, as well as software timing and control systems, while lighting for specific events varies depending on their needs.

Finally, to aid TV production, the stadium has two television truck remote locations with full interconnectivity and power, plus multiple show power system tie-in locations around the facility.

Given the top quality and flexibility of its AV, lighting, and infrastructure, it’s not surprising that Carl describes the Dollar Loan Center as being a “very cool” place to work. He and Gaddy love the fact that it can support everything from basketball, AHL hockey, and IFL indoor football, as well as a full range of other sports, entertainment, corporate, and trade show events.

“Davin and I both come from Cirque du Soleil, where you basically do the same show twice a day, five days a week,” Carl explained. “Now Cirque is wonderful in itself, and that's not an experience to shake a stick at, but having the absolute variety of events that come up in this facility is just thrilling for us as users of AV technology, especially because we have the right equipment to serve them all.”

Vislink, a global technology leader in the capture, delivery and management of high quality, live video and associated data in the media & entertainment, law enforcement and defense markets, has signed a partnership agreement with Hitachi Kokusai Electric Comark (COMARK), a manufacturer and supplier of DTV transmitters, encoding systems and associated field services for 50 years. This agreement appoints COMARK as an authorized reseller, integrator, and service provider of Vislink’s high-quality, reliable, real-time video communication solutions for NextGenTV deployments. COMARK will be focusing its NextGenTV solutions on the North American broadcast DTV market. 

 [SCN Top 50 Systems Integrators 2021] 

With this new agreement, COMARK and CDS will offer Vislink’s ATSC 3.0 ready digital video microwave system: IPLink 3.0. This new system—to be showcased at NAB 2022 in Las Vegas, NV, April 23-27 in booth #C7508—allows the broadcaster to smoothly migrate from the traditional ASI transport platform to a future IP-centric system architecture.  The IPLink system delivers ultra-high linear RF output performance coupled with the reliability that LDPC forward error correction affords in controlling errors in data transmissions over long or unreliable microwave paths.

“We are pleased to enter into this partnership with COMARK,” said Mickey Miller, CEO of Vislink. “Their long heritage of innovation and deep relationships in the broadcast space make them the ideal partner for introducing our IP Link 3.0 system to the widest range of broadcasting organizations. We specifically designed IPLink to help contribute to the transformation from ATSC 1.0 to 3.0 by enabling immersive and interactive experiences for viewers, as well as opportunities for more efficient business models and avenues for monetization for broadcasters.” 

COMARK re-launched Comark Digital Services (CDS) in 2018 to assist customers with navigating its migration from ATSC 1.0 to ATSC 3.0. CDS currently operates a full laboratory for equipment testing, integration and customer demonstrations, providing market-leading solutions with best-of-breed technology and system expertise to help customers jump into the exciting possibilities offered by the new DTV standard.

[NAB 2022: Hitachi Kokusai to Unveil Broadcast and Live Production Camera]

“We have already provided, integrated and deployed several NextGenTV solutions to broadcast customers,” said Joe Turbolski, vice president of sales and marketing, at COMARK.  “The new agreement with Vislink allows us to also supply market leading solutions for broadcasters’ IP connectivity requirements in both MFN and SFN ATSC 3.0 architectures.”

Hitachi Kokusai Electric America announced its second-generation 4K Ultra HD broadcast and live production camera system, the SK-UHD7000. The successor to the popular SK-UHD4000 4K studio and field production camera, the new SK-UHD7000 continues the Hitachi tradition of delivering exceptional visual quality and superior price and performance value for professional, live production applications. The company will showcase the new camera in booth C4409 at the 2022 NAB Show, taking place April 24-27 in Las Vegas.

“Hitachi has a rich history of designing products that make advances in technology both practical and affordable,” said Sean Moran, chief operating officer, Hitachi Kokusai. “We are excited to bring the SK-UHD7000’s exceptional performance and extensive feature set to market at a cost-effective price point that makes native 4K live production accessible to more customers. It is ideal for a wide range of applications, from television broadcasters future-proofing their production workflows, to live production companies striving to offer the utmost quality to their clients, to houses of worship linking multiple satellite locations with life-like video.”

[Lighthouse Church Rebuilds after Hurricane with Hitachi Cameras]

Impeccable Images

The SK-UHD7000 incorporates three 2/3-inch, global shutter CMOS image sensors with native 4K resolution, enabling pristine capture of 3840x2160 Ultra HD (UHD) video. A new prism design with expanded spectral range fully complies with all international colorimetry specifications and enables superior color reproduction. The high-performance sensors and new prism combine to enable full-range BT.2020 UHD Wide Color Gamut (WCG) capture. A dual 4K and HDTV workflow supports separate controls for Hybrid Log Gamma (HLG) High Dynamic Range (HDR) and standard dynamic range (SDR).

The SK-UHD7000 continues the SK-UHD4000’s hallmarks of delivering extraordinary sensitivity and quality for Ultra HD production. Sensitivity of F11 at 59.94 frames per second enables high-quality acquisition in limited lighting, while a signal-to-noise ratio (SNR) of 62 dB provides ultra-quiet images. Advanced digital processing technology and a wide array of image refinement tools enable precise tailoring of the accuracy and look of productions. Operational features such as focus assist and viewfinder zoom make it easier for users to perform critical focus at 4K resolution. The SK-UHD7000’s powerful new processor also provides plenty of headroom for additional functionality in the future.

[SCN Exclusive: Expect Big Changes at 2022 NAB Show]

Comfort and connectivity

The SK-UHD7000’s streamlined, one-piece camera chassis has a low center of gravity and presents a light load on the camera person’s shoulder for easy handheld video acquisition. As a full-featured, broadcast-class system camera, the SK-UHD7000 provides integrated prompter power, video monitoring, and intercom connectivity at the camera body; a motorized, optical ND filter turret; and a lens mount that does not require a mechanical or optical adapter for standard B4 interchangeable lenses.

Full-bandwidth, uncompressed, native 4K signals are transported from the SK-UHD7000 camera head to the new CU-UHD7000 camera control unit (CCU) via SMPTE 311M hybrid fiber optic cable over distances up to two kilometers. Single-link, 12G-SDI connectivity also provides 4K output directly from the camera head, while integrated HD down-conversion offers 1080p, 1080i, or 720p output for multi-format production applications. Embedded audio is available on all SDI outputs and as listen-channels on the intercom connections.

[NAB Show Symposium to Tackle Diversity, Equity, and Inclusion]

A trunk data interface supports video transport and control of TCP/IP-capable devices connected directly to the SK-UHD7000 camera head, enabling applications ranging from robotic movement and IP-based prompting to VR/AR 3D space positioning. The new camera also retains compatibility with existing Hitachi control panels and third-party control systems.

Hitachi Kokusai will start shipping the SK-UHD7000 at the beginning of April.

Lighthouse Church, a non-denominational church in the beach community of Panama City, FL, suffered significant damage to its main building—and its auditorium was completely destroyed—when Hurricane Michael tore through Panama City Beach in 2018. A year-long renovation project broke ground in 2020 to convert a former AMC movie theater into the church’s new home: a 37,000-square-foot facility featuring an 850-seat auditorium, half-court basketball, and a child development center. Worshipers had met in the church’s much smaller children’s building until the new space could be developed. 

The relocation provided the opportunity for the church to implement a long-awaited upgrade to its video production capabilities, including Hitachi Z-HD5500 broadcast cameras systems. Prior to the hurricane, the church had used mobile phones and consumer-level camcorders, but had not been satisfied with the results. 

“Our video capabilities were fairly primitive,” explained Juili Bailey, worship leader and creative pastor at Lighthouse Church. “Upgrading them had already been part of our long-term vision, but it hadn’t been a financial priority for us. We were sort of stuck, as we didn’t want to make the investment in upgrading until we could do it the way we wanted to do it. Then the hurricane reset every plan that we had.” 

Bailey wanted to ensure the cameras and other equipment they purchased would meet not only the church’s immediate needs, but also longer-term goals. “Video is a key medium for creating and reinforcing connection between the church and our members, so we wanted to move towards better quality,” she said. “We also wanted the option to broadcast our services on television in the future. We wanted to plan ahead now, as it’s often difficult to backfill and retrofit things later.” 

Tennessee-based systems integration firm AVLX designed and installed the video, audio, and lighting systems for Lighthouse Church’s new venue. AVLX recommended Hitachi cameras because of their quality, price/performance value, durability, and volunteer-friendly ease of use. The church’s three Z-HD5500 cameras are stationed on Cartoni tripods in fixed positions within the auditorium. 

[The Integration Guide to Houses of Worship]

Lighthouse Church’s new location, which opened in June 2021, hosts roughly 1,200 in-person attendees each Sunday. Video acquired by the Hitachi cameras feeds image magnification (I-MAG) through Digital Projection projectors to the auditorium’s Draper TecVision screens, and is streamed to online followers via multiple platforms. The Z-HD5500s’ global shutter sensors enable the capture of flawless video without visual artifacts such as moiré patterns or flickering in the sanctuary’s LED-rich environment, which features a 40-foot SquareV Zi3 LED wall as a digital backdrop.

In addition to significantly improving the video quality of the church’s productions, Bailey also noted how easy it was for the all-volunteer crew to learn to operate the cameras. “Honestly, we have been shocked at how well the volunteers have taken to them, and the increase in quality that we got overnight,” she said. “Our area is more tourism-oriented than high-tech, so we’re not in a place where most people are dealing with technology in their jobs every day. Our technology volunteers were still able to get up to speed very quickly. The cameras have also given our volunteers a morale boost, as they’re putting out a result that they can be proud of and that they feel is a great increase in quality. It makes them excited to come and be on the cameras every week.” 

Lighthouse Church looks forward to growing its video operations even further, but is already more than satisfied with the Z-HD5500 cameras. “The Hitachi cameras have definitely met our expectations and exceeded them, and we know there’s plenty more that we can do with them,” Bailey added. “Our goal is to communicate fluidly and even beautifully. In 2021, video and other forms of technology are essentially the language that people speak. These cameras have allowed us to speak that language very well.”

At Eastern Michigan University (EMU) in Ypsilanti, MI, the Department of Athletics is relentlessly committed to providing great experiences for both fans and student-athletes while building champions in the classroom, in the community, and in competition. When the university upgraded its football venue with a massive new scoreboard, it purchased four Z‑HD5000 HDTV cameras from Hitachi Kokusai Electric America (Hitachi Kokusai) to enhance fan engagement while meeting the challenge of shooting high-quality video on the stadium’s distinctive playing surface.

The centerpiece of the technology refresh at the 30,200-seat Rynearson Stadium is a new 53-foot high by 29-foot wide Daktronics LED video display screen. The second-largest video board in the NCAA Division Mid-American Conference (MAC), the new scoreboard is more than three times larger than the venue’s previous, resolution-limited screen. The display overhaul was accompanied by control room and camera upgrades as EMU Athletics began producing in-venue football programming for the first time.

“With the old video board, we just took an analog signal from the broadcast feed, and cut in occasional footage from older cameras,” said Greg Steiner, associate athletic director, media relations at EMU. “We needed to enhance the in-venue experience, as when fans come into the stadium and watch our video board, their expectations have been set by what they see on television. We strive to provide unique on-site opportunities that fans can’t get at home, while also delivering what they already expect to see from TV.”

Supplied by AVI-SPL—number one on the 2020 SCN Top 50 list—three of the Hitachi cameras are deployed in fixed positions on tripods. The fourth Z-HD5000 is equipped with a Teradek wireless transmitter, enabling the camera operator to go into the stands and roam the venue.

“We’re one of only three FBS (Football Bowl Subdivision) schools that don’t play on a green field, and the only grey field at the Division I level,” Steiner explained. “Getting a good picture against it can be tough with other cameras. Grey can get washed out really fast if you don’t have high-quality cameras and the ability to dial in directly to the true colors. The Z-HD5000s handle it very well.”

The newly-acquired cameras are EMU’s second Z-HD5000 purchase, joining four units acquired in 2013 that are dedicated to the university’s 8,000-seat Convocation Center. In addition to driving in-venue video board shows for the EMU Eagles’ basketball, volleyball, and gymnastics events in that arena, the earlier cameras have been used on more than 185 live broadcast productions for the ESPN+ streaming service as well as university events such as graduations.

Together, the new and earlier Hitachi cameras also provide valuable, hands-on video production experience for students in the school’s Communication, Media & Theater Arts (CMTA) department, as well as students enrolled in other programs but interested in sports production. 

“We have higher-end equipment in Athletics than they may use in their own courses,” said Steiner. “Working on our productions lets them earn internship credit while getting experience on broadcast-class equipment that they may eventually use professionally, and they get to put on their resume that they worked on productions for ESPN+. That helps them get work for the major networks once they graduate.”

“I cannot say enough great things about the opportunity that working with Hitachi cameras has presented us as a university and as an athletic department,” he concluded. “Putting these cameras in students’ hands lets us deliver an opportunity for their personal development while creating a program that lets us showcase our student-athletes to our fans. Hitachi Kokusai has been a great partner throughout the process to deliver exactly what we needed in terms of video.”

The TV and Video Communications department at California’s Santa Ana College (SAC) strives to maintain and develop comprehensive curricula that provide current, innovative undergraduate and career training in the practice and theory of media production. Looking to modernize and future-proof the video acquisition capabilities in its studios last year, the department purchased six SK-UHD4000 Ultra HD cameras from Hitachi Kokusai Electric America, Ltd. (Hitachi Kokusai) to give the school a competitive edge and offer students practical experience on state-of-the-art, industry-standard equipment.

Established in 1915 and now serving over 29,000 credit and non-credit students per semester, SAC has evolved into one of the most energetic and fastest-growing comprehensive community colleges in the nation. Its Digital Media Center—a facility of both SAC and its college district—houses one of the largest TV and video production studios in the community college system.

When department chair Michael Taylor joined SAC in 2015, it was immediately clear that buying new cameras would be a high priority. “When I came into the program, they were using very old SD cameras for studio production,” he recalled. “Everything starts with the camera, so I knew replacing them would be one of the first decisions we needed to make in terms of raising some grant money and elevating the standard inside our facility.”

While the school’s studios would work in HD in the near term, the department was interested in 4K cameras to future-proof their programs. “We wanted to avoid needing to make another camera purchase in four or five years,” Taylor said. “By going with cameras that could do both HD and 4K, we could be ready to basically flip a switch and move to a 4K production model when we upgrade the rest of the studio environment to 4K. We plan to do that when the overall television industry has greater adoption of 4K, since we’re preparing our students for careers in that field.”

The department invited major camera suppliers to demonstrate their offerings in SAC’s studio. “Hitachi Kokusai stood out by offering a camera that was both 1080p and 4K-capable at an attractive price point,” Taylor said. “We saw the imagery that the Hitachi cameras could produce and what they were capable of doing in our environment, and it became a very simple choice for us.”

The Hitachi cameras’ ability to integrate with Ross Dashboard was also compelling, as the department had plans—which they have recently implemented—to deploy the open control and monitoring platform to complement its existing Ross Carbonite switcher.

Students now use the SK-UHD4000 cameras to produce weekly newscasts and talk shows, as well as in dedicated studio production classes. In addition to providing hands-on production education that will benefit the students when they enter the job market, these programs are shown on YouTube and the City of Santa Ana’s public access channel CTV3—thus helping the department promote its curriculum and the college.

The video quality enabled by the Hitachi 4K cameras has earned high marks from Taylor, even while using them in HD mode. “The quality of the image is fantastic,” he said. “It’s a night and day difference from the productions we did with our previous cameras, but it’s not just because we were used to SD. I’ve worked in broadcast television for over 20 years, so I had worked with a lot of HD equipment before. The programs we produce using the Hitachi cameras look great, and we don’t need to constantly mess around with the settings on the SK-UHD4000s like we did with our old cameras; we just turn them on and they’re locked in, ready to go.”

While learning studio production on the SK-UHD4000s provides valuable experience for students, the cameras also bring benefits to the college itself. “We love that our students will be able to go lock step into their first job having worked on state-of-the-art, industry-standard cameras,” Taylor said. “The Hitachi cameras have also helped our school, as we can offer exceptional experiential learning at a community college price point. People see that this is a competitive program that is well-equipped to get them ready for their careers. And for us as a department, we are really enjoying the fact that we are creating fantastic images and productions with these cameras.” 

Indiana Jones sprints through the crumbling temple as the heroic soundtrack heightens the tension and thrill of the moment. But the music isn’t coming from a recording, and you aren’t in a movie theater. You’re in a concert hall, with a full orchestra churning out every hair-raising note to the classic theme, in sync with scenes from the film projected on screens all around you. And leading the musicians at the center of the stage is none other than legendary composer John Williams himself.

This is just one of many extraordinary events that Miami’s New World Symphony (NWS) has hosted in recent years as the organization strives to bring classical music into the 21st century. Since moving into the New World Center, a $160 million, Frank Gehry-designed concert hall in South Beach in 2011, NWS has married cutting-edge AV over IP technology with the timeless art of symphonic music like no other organization in the world.

“New World believes that the future of music rides on being much more involved with the technology of today,” said Dan Slentz, chief video engineer at NWS. This extends outside of the space as well: the adjacent public SoundScape park allows visitors to experience the performances within the hall on a 100-by-75-foot projection wall, with a Meyer Sound Constellation audio system enveloping listeners in more than 160 discrete channels of audio.

“The audio that’s reproduced out in the park matches physically where you would be inside if you would be watching the orchestra,” Slentz said. “And visually, to tie all of that together, we overlapped three 35,000-lumen 4K Christie projectors for one big, bright, ultra-high-def image.” Called a WALLCAST, these performances draw huge crowds over the course of a nine-month concert schedule. 

And, believe it or not, it’s all about to get even better: the facility is finishing up on a major tech upgrade that will bring all of the facility’s cameras and projection systems to native 4K60 with HDR, with signal transport based on 12G-SDI.

Upgrading to 4K

Slentz and his team began on the path to UHD four years ago, when it first installed its current Christie projection system. At the time, however, there was no system robust enough to distribute 4K throughout the facility at the quality they wanted. So, though the projection system for WALLCASTs uses 4K projectors, the image feeding them was 1080p30 from the facility’s Grass Valley Kayak switcher that was up-converted to UHD using an AJA Video Systems FS4 frame synchronizer and converter.

Embracing IT innovations for AV applications

“The FS4 also took the HD and spit it out as Quad Link,” Slentz said. “For this upgrade, we really didn’t want to do Quad Link, and there were significant issues and challenges with trying to do 4K over IP, and there still are today. So, we were kind of waiting for the people to get together and come up with a really good 12G solution that didn’t compromise cutting all of your resources down to one quarter.”

Then, last summer, Slentz found out about a new 12G switcher and router from FOR-A. He and his team took a trip to Tokyo to visit the company and see it in action at Fuji TV. “That’s what brought us to, ‘OK, technology has finally caught up; it looks like we can do almost everything we want to do under 12G,’” he said.

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Slentz produced initial high-level designs and put the project out for bidding. Systems integrator Diversified responded and produced a nearly complete set of drawings that the NWS team used to make a direct purchase from FOR-A. “They were extremely great to work with, and a couple other companies had made recommendations, and we worked with those,” he said.

Ultimately, the team went with a different integrator for the installation: Enlighten Digital, a small firm based in Orlando, FL, which by the time of publication should be finished executing the upgrades.

A Dynamic System

The heart of the upgrade is the facility’s new HVS-6000 switcher from FOR-A, which supports 64 inputs and 48 outputs (it can also be configured to run at 80 in, 32 out). “We’re filling it up with three M/Es and really populating it heavily,” Slentz said. The team also settled on FOR-A’s multiviewer and 144-square router.

The upgrade process was a lengthy one, in part because the new distribution system required the wholesale replacement of the facility’s infrastructure. “Under 12G, the you don’t want any of the old 3G HD stuff near the 12G,” Slentz said. “You just want to dump it and do everything in 12G. So, we scrapped everything. We went from analog and AES to RAVENNA at the same time, so that’s a big part of the upgrade as well.”

The basics of AV over IP infrastructure

The NWS overhaul also extends to the video sources. Two years ago, they purchased a dozen Hitachi 4000 4K cameras, put lenses on them, and put a few of them on Telemetrics robotics for control. “Within the concert hall we have 13 Hitachi broadcast cameras in 4K,” Slentz said. “In this upgrade, we’re adding six more Panasonic PTZs, which are very small, so they can go on the stage and catch performers and sit near the instruments.”

They’re also adding another eight Panasonic PTZ cameras into the SunTrust Pavilion, which Slentz describes as a “medium-sized TV studio” on the building’s first floor. “One of the cool things about this HVS-6000 switcher is we are actually dropping a secondary switching panel in our control room on the first floor and tying everything together through our tech core, our central equipment room,” he said. “So, ultimately, we have the ability to run 30 4K cameras—and we will have 28 all wired and ready, and two we can move around. And we can switch them from either location.”

Installing AV over IP systems today affords future expansion possibilities

The overall 4K output can be fed not only to the outside projection system, but inside the concert hall as well, where 14 Christie Roadie HD30 projectors create an internal immersive viewing area surrounding the orchestra. 

Next Measures

Technology continues to march onward, and since the installation of the current projection system in 2015, new and better options have emerged. “We’re looking at upgrading 16 projectors next summer to 4K laser, and that will bring us up to the absolute cutting edge, which is what our CEO and the upper-level people here want us to be,” Slentz said. Newer projectors will also enable the presentation to run at 60Hz and in high dynamic range.

This cutting-edge approach has attracted notice around the globe. “Technology people come from all around the world,” Slentz said. “It’s great because you get to meet some really smart people, and they want to see what New World is doing so that they can do something similar.” The Berlin Symphony and New York Philharmonic have both visited NWS to see what’s possible with advanced AV. “We tend to be extremely open and transparent, and share everything we can with anybody who wants to see what we did right and what we might have done wrong.”

And, fortunately for Slentz, the NWS philosophy of striving for the ultimate technological capability gels well with his own ambitions. “Everything that we do, we push it to the technology envelope, even a little bit past my own comfort level at times,” he said. “Which is good, because it’s a challenge.”

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The Optronics Division of Maxell, Ltd. announced that as of October 1, 2019, Maxell, Ltd., through its United States subsidiary, Maxell Corporation of America, will assume responsibility for all operations related to both Hitachi-brand and Maxell-brand projector products and accessories in the North American market. This announcement marks the culmination of a six-year progression that began with Maxell, Ltd.'s acquisition of Hitachi Consumer Electronics, Co., Ltd.'s projector design, development, and manufacturing assets and resources in 2013.

Maxell will begin introducing many new projector products to the professional AV market in North America. The transition is expected to be seamless for end users and distribution partners of both the Hitachi and Maxell brands, as it will not involve disruption to established resources and personnel engaged in projector-related research and development, engineering, sales, marketing, or product support.

The planned October 1 transition will ensure that all original warranty, service, and support obligations applicable to both Hitachi-brand and Maxell-brand projector products occurring prior to that date will continue to be fully honored and upheld.

In addition, customer benefits and loyalty programs for house of worship and education customers, such as the OneVision and OneVision Kids programs, will continue without interruption.

There have never been so many ways to deliver an immersive video experience as there are today—from undulating tunnels of OLED panels to 200-foot-wide LED boards in stadiums, it’s an exciting time to be in this industry. But if you want to go really big (think Empire State Building big) there’s still only one way to get it done: projection.

The rise in high-brightness projectors over the past few years is enabling video to grace all manner of surfaces—from the facades of cathedrals and skyscrapers to the playing surfaces of arenas—where fixed displays cannot be placed. For some years now, projection mapping has been a fixture in professional sports, with many National Hockey League teams, like the Vegas Golden Knights, employing sophisticated pregame presentations that turn the entire ice surface into a screen. However, according to Mike Garrido, senior product manager at Christie—which supplied the projectors for the Golden Knights’ arena—this kind of technological showmanship is expanding into more widespread usage as well.

“Projection mapping continues to experience significant growth as more and more companies use it for special events such as conferences and anniversary celebrations,” Garrido said. “The move to laser is making these events better all the time because of the clarity of the images and their ability to overcome ambient light.”

To capitalize on this trend, Christie has recently launched the D4K40-RGB laser projector, which the company says is the smallest and lightest high-brightness, omnidirectional, all-in-one RGB laser projector on the market. Producing greater than 90 percent of the Rec. 2020 color space, and rated for more than 30,000 hours of operation to 80 percent brightness, the solid state D4K40- RGB laser projector is driving the exciting category of projection mapping forward.

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As great as projection is for these large-scale presentations, it’s equally adept at bringing more common, everyday things into a new light—and making them more appealing to the digitalfirst, Instagram-scrolling generation that will soon begin powering the economy.

“The younger Millennial and Gen-Z generations are the most experience-driven consumers to-date,” said Remi Del Mar, senior product manager, visual display solutions at Epson America. “Content consumption driven by mobile penetration and social media has resulted in younger generations looking for deeper connections to the brands with which they interact. That makes the experiential aspect of customer engagement particularly important for industries such as retail, casino, food and hospitality, among others.”

To capture the attention and loyalty of this demographic, retail and hospitality organizations are turning to projection technology. “Businesses are tapping into the flexibility and creative freedom of projection to create anything from large-scale displays—such as architectural mapping or life-size holographic entertainment events—to smaller uses, such as shelf or product activation at the store level, digital storefront, and operation efficiency use cases such as virtual inventory and wayfinding,” Del Mar said.

These kinds of applications were the inspiration for Epson’s LightScene projector line, which it launched last year. A laser projector that simultaneously illuminates and projects on virtually any surface or material—such as narrow shelves in retail stores or glass windows for digital advertisements—LightScene can help give brick and mortar the pop of color needed to stay relevant in the digital age.

CONVENTIONAL FLEX

When it comes to more traditional display applications, another advantage that projection has capitalized on over the past few years is its versatility. While flat panels have gotten bigger and bigger, projectors have shrunk in size—and with different lens options, you can place a big, bright image nearly anywhere.

“From shorter throw ratios to long-lasting laser light source options with built-in setup features, pro AV projectors in the market today offer amazing installation flexibility,” said Brian Soto, head of product management, Optoma Technology. “In addition to higher image resolutions and superior image quality, projectors also offer prolonged operation as well as greater connectivity to multimedia sources through robust input options. With this flexibility, projection technology has transformed classrooms, boardrooms, museums, and entertainment spaces into places of efficiency, interactivity, and collaboration.”

Soto highlighted Optoma’s ZH506T, ZU506T, and ZW506 as prototypical examples of the modern flexible projector. Featuring 4K HDR compatibility and a long-lasting laser light source, these models are also equipped with multiple built-in installation solutions, including vertical lens shift, four-corner geometric correction, and 360-degree and portrait mode operation, enabling minimal maintenance and improved ease of installation in professional environments.

POWER IN NUMBERS

While direct-view LED has come down in cost, for many applications, it will be a long time until the price is right for its big-picture performance. For markets like K-12 education—which require large-scale deployments at a palatable price—projection is a great answer.

“Many K-12 schools are rethinking flat panel purchases because of the cost of the larger screens needed for kids in the back of the room to read the text and numbers used in most curriculums,” said Joseph Gillio, senior director, business projector division, Casio America. “Today, the cost-per-inch is still much higher for a flat panel compared to a projector and screen. Also, projectors can be easily moved from room to room and can display images from 30 to 300 inches for added flexibility, if ever needed.”

The biggest advancement in projection for markets like this is the move from bulb-driven architecture to solid-state design, a shift that Casio has been at the forefront of. “Although the overall projector market has been trending down an average of 5 percent a year (mainly attributed to the increase in flat panel sales), the solid-state segment of the market has been increasing over 30 percent per year,” Gillio said. The company’s line of LampFree projectors, which debuted in 2010, have been part of this uptick, and it has been implementing more features—like adding a suite of built-in collaboration tools to its network models—to make them more appealing than ever.

Another reason that projection is so well suited to the education market is its ability to function as an interactive display, thanks to short-throw lenses. Like Casio, Maxell Projectors (formerly Hitachi Projectors) offers a wide variety of solid-state models, many of which incorporate interactivity.

“Our LP-AW4001 projector is a 3LCD, laser-based projector that can create an image that is up to 130 inches diagonally, while the projector is less than 2 feet away,” said Andrew Mulazzi, regional sales manager, Maxell Corporation of America. “This is a great solution for education because the image is large enough for every student to see from any seat while the teacher can present from directly in front of the screen.”

In addition, through the company’s OneVision program, educational institutions can get access to specialized pricing, enhanced service, direct access to company experts, and program rewards—like offers to buy 10 projectors and get one free.

THE BRIGHT CHOICE

Casio’s Gillio pointed out that by doing away with the projector bulb, the category has defeated many barriers of adoption. “Most complaints about lamp-based projectors are about the lamps, because they lose brightness quickly, run hot, and are expensive to buy, stock, and replace,” he said. “Solid-state projectors have no lamps to replace, no filters to replace, use less electricity, run cool, and rarely overheat.” In addition to using less energy, there’s also no harmful mercury to dispose of—all great things for the environment.

And of course, it’s great for the total cost of ownership, a factor that gives projectors an edge over competing technologies. “From higher resolutions to built-in installation features, projectors offer greater cost-per-inch value, with the ability to cast large images at lower price points competitive to other display options in a variety of environments,” said Optoma’s Soto.

Christie’s Garrido concurred: “Projection, even laser projection, carries a significantly lower cost of ownership than LED—which is still out of reach of many customers. Projection is the only viable option for mapping onto a building. You can cover the tallest and widest buildings with projection mapping, but it’s much more difficult and far more expensive with LED.”

Considering all of these factors, it’s safe to say that projection will continue to serve as a core solution in the AV technologist’s toolkit for a long time to come.

At the University of Toledo in Ohio, the Department of Communication provides students with practical, hands-on video production learning experiences while creating live in-venue programming and ESPN3 streaming broadcasts for the school’s Athletics department. The department relies on HDTV cameras from Hitachi Kokusai Electric America, Ltd. (Hitachi Kokusai) to provide high-quality image acquisition for its productions, most recently adding four Z-HD6000 studio and field cameras for the university’s football stadium.

The University of Toledo is a student-centered, public metropolitan research university with over 23,000 students. The school’s Toledo Rockets compete across 15 NCAA Division I sports in the Mid-American Conference.

The football stadium, known as the Glass Bowl, previously used very old standard-definition cameras from multiple manufacturers that required an unsustainable amount of maintenance. When it came time to replace them and upgrade to HD, the department’s satisfaction with the existing Hitachi Z-HD5000 cameras on its mobile production truck led it to again turn to Hitachi Kokusai.

“I like the Hitachi cameras because they’re reliable, they make great images, and they’re very competitively priced,” said John Eidemiller, executive producer, ESPN3 and athletic video productions at the University of Toledo. “In my experience, to buy a camera in the same class from another major manufacturer costs a lot more money.”

Supplied by systems integrator Duncan Video, the Z-HD6000 cameras provide video for in-house productions that are shown on the stadium’s 40-foot-wide video board and TVs throughout the venue. Three of the cameras are stationed on tripods, while the fourth is operated handheld on the sidelines. All four are connected via fiber to CU-HD500 camera control units in the control room over cable runs of more than 1,000 feet each, with MultiDyne SMPTE-HUT transceivers converting between SMPTE fiber and Tactical fiber for transport over the stadium’s existing single-mode fiber infrastructure.

Between football seasons, the stadium’s handheld Z-HD6000 is also used as a fifth camera on the department’s mobile production truck, complementing four Hitachi Z-HD5000s permanently assigned to the vehicle. The truck’s cameras are used in varying fixed-position and handheld combinations depending on the particular sport or event being covered, which include soccer, basketball, volleyball, baseball, softball, swimming, and non-athletic activities such as concerts and commencements. Meanwhile, three earlier Hitachi SK-HD1000 cameras are used for classroom education in the department’s instructional TV studio.

Eidemiller highlighted the image quality produced by the Hitachi cameras as exceptional. “I really like the way the Hitachi cameras look right out of the box,” he explained. “The color, saturation, and contrast all look great. That superb quality really stands out when we produce ESPN3 broadcasts in our basketball arena, where cameras from a different manufacturer are used for the video board. Iso feeds from our Hitachi cameras are seen side-by-side in the control room with shots from the other vendor’s cameras. It takes a lot of adjustments on the other cameras to get them to look nearly as good as the Hitachi units, and the other cameras still don’t quite get there.

“The cameras are primarily used by students who have extremely varying levels of competency and experience. The Hitachi cameras handle abuse very well, and have withstood some pretty severe conditions in the field. Even the decade-old SK-HD1000s we use in our classroom studio are still going as good as the day we bought them.”

Eidemiller also touted the valuable educational benefits that the cameras have enabled. “The Hitachi cameras let us expose students to broadcast-quality equipment at a cost that we can afford as a university,” he said. “As a department, our focus is not only getting students successfully through the program, but getting them out with jobs. It’s experiential learning that gets students to that point, and the Hitachi cameras help us do that. Our students are able to say they’ve shot eight different types of sports in live productions, with equipment that’s comparable or better than what they will be using in their first jobs.”

Last but not least, Eidemiller praised the customer service the university has received. “There are a lot of good products out there, but Hitachi Kokusai has been awesome in terms of taking care of us and going above and beyond,” he explained. “We love the Hitachi cameras, we’ve had great experience with them over the years, and we love the support we get from the company.”

The What: Hitachi America has added to its Collegiate Series line with the addition of two new 3LCD laser projectors, the LP-EU5002 and LP-EW5002.

The What Else: Both the LP-EU5002 and the LP-EW5002 offer 5,000 ANSI lumens of brightness with resolutions ranging from WUXGA 1920x1200 to WXGA 1280x800, respectively. These maintenance-free operation projectors have 20,000 hours of light source life and up to 50,000 hours with Long Life 2 mode. Both models have multiple digital inputs (HDMI and HDMI/MHL), 3LCD projection technology, and a contrast ratio of 500,000:1. They are equipped with 360-degree installation, a 1.6x zoom lens, and Perfect Fit 2, which helps integrators save time during installation.

“Hitachi’s Collegiate Series has been steadily gaining popularity since 2013,” said Mike Morin, strategic sales development manager Hitachi America, Ltd. “We’ve been encouraged to innovate and expand the line based on customer and market needs. By expanding the laser projector line, we can deliver larger-than-life performance for a range of applications. The two newest models are the first 3LCD laser models in the Collegiate Series and are equipped with a new laser phosphor light source that can dramatically lower maintenance and total cost of ownership for facilities.”

The Bottom Line: All Collegiate Series projectors are eligible for Hitachi America, Ltd.’s OneVision Program for higher education facilities, providing colleges and universities with specialized pricing, enhanced service and warranties, direct access to Hitachi experts, and program rewards. The buying rewards of the program include the option of buying 10 projectors and receiving a free projector, or buying three projectors and receiving one lamp free.

The new LP-EU5002 and LP-EW5002 Collegiate Series laser projectors are now available for purchase.

Ninety years after its founding, Angelo State University in San Angelo, TX is still experiencing a very high rate of growth, with more than 10,000 enrolled students, a new engineering program, and multiple new buildings around campus. During this time, the field service technicians team looks to the university’s membership in the Hitachi OneVision Program for support in buying, upgrading, and maintaining projectors throughout campus.

In its roughly 160 classrooms, Angelo State’s field service technicians oversee operations to laptops, desktops, lab machines, and AV equipment. The team also provides job training and support to its 60 student workers who help with servicing, installing, and troubleshooting AV equipment.

Classrooms at Angelo State are typically set up with a Hitachi projector, Extron controls, and a static PC for instructors to plug in their laptop or tablet. Depending on room size and light levels, classrooms are either equipped with a Hitachi CP-WX4022WN or CP-WX5505 Collegiate LCD projector.

Both models used at Angelo State come equipped with Hitachi’s Perfect Fit feature that enables users to adjust individual corners and sides independent of one another to fit the projection to the screen. The field service technicians use this feature to save time during installation in both new and existing classrooms around campus. With sometimes-limited resources, the student workers are able to quickly learn the technology and make adjustments on their own.

As one of the members of the Hitachi OneVision Program, Angelo State has been able to implement a budget-friendly, four-year refresh cycle where it replaces the projector, computer, and any out-of-date AV equipment in the classrooms.

The OneVision Program provides higher education facilities access to specialized pricing, enhanced service, direct access to Hitachi experts, extended five-year warranty on projectors, extended one-year warranty on lamps, and buying rewards that include buy 10 projectors and get one free projector, or buy three projectors and get one free lamp.