The WynnBET Sports Bar in the new Encore Boston Harbor hotel marks the second major project for Wynn Resorts utilizing Analog Way videowall processors. Oxford, Connecticut-based Metinteractive, part of the original construction team for the resort, which at the time was the sixth-largest private construction project in the U.S., handled the final engineering and all the integration and programming of the Aquilon C+, Analog Way's 4K/8K multi-screen presentation system and videowall processor.

[Metinteractive Goes the Distance in Audio Systems Upgrade for WVU Sports Facilities]

In the WynnBET Sports Bar, Aquilon C+ drives a striking 123-foot-long, wraparound LED videowall that spans three walls with two 90º wraparound corners. The elevated videowall offers a massive canvas for sports viewing as fans enjoy a full-service bar and cuisine from Shake Shack and Frank & Nick's close to the gaming floor action. The almost 20K resolution Mitsubishi direct-view 1.87mm LED videowall, with full 10-bit display for the highest image quality and color fidelity, required building a back end with enough horsepower to drive the complex system.

"We were honored to be tapped by Richard Gold and the Metinteractive team to assist with another of their high-profile projects," said Analog Way regional sales manager Seth Teates. "In this case, we needed to solve for a nearly 20K resolution LED wall, with up to 24 4K HDR sources, and drive a 10-bit HDR10 display. The system needed to be mission-critical reliable, flexible, and easy to operate by non-technical staff. We also had to provide a futureproof platform that would upconvert SDR sources today and be ready for full 4K 60Hz HDR sources on all inputs in the future. The Aquilon C+ was a perfect fit, easily checking all those boxes." 

According to Metinteractive CEO Jeffrey Mele, "Analog Way equipment is a go-to in our toolbox for high-end, large-canvas rendering. I first used Analog Way as a format conversion tool about 20 years ago for the Hall of Ocean Life at the Museum of Natural History in New York City, and we've stayed with them ever since for the quality and robust nature of their products for large-canvas scaling, processing and switching."

[In a Collaboration for the Ages, Metinteractive & Mitsubishi Electric Pull Out All the Stops for WynnBET Sports Bar at Encore Boston Harbor Hotel and Casino]

Sources for the videowall include 24 DirecTV receivers, including two C61K 4K receivers; 12 channels off the existing COM3000 system; and 14 computer and streaming inputs.

"The client was very interested in being forward thinking and designing a system to accommodate 4K HDR10," explained Metinteractive senior engineer Richard Gold. "Now, just one DirecTV receiver broadcasts 4K HDR10 live sports, so sources are limited, but in a few years a lot more will take advantage of the system's capabilities and we'll be ready for it."

Gold cites Metinteractive's and Wynn's history with Analog Way equipment, the Wynn staff's familiarity with the gear, product quality and reliability, and an attractive price point as all playing a role in choosing the Aquilon C+.

"During the course of system design and working out the layouts of the videowall in preparation for programming we got Analog Way, Mitsubishi, Larry Spurgeon from AV consultants Spurgeon Design & Development, programmer Mark Paul Smith and ourselves together," says Gold. "We wanted to find the optimal way for programming to be both flexible enough for operators to create layouts they wanted as sports events happen and yet as easy as possible for them to run. Seth and Analog Way chief technologist Andrzej Lubaszka were very helpful in highlighting what we could accomplish so when we turned the system on, it just worked, and the client was very happy with the solution."

[Analog Way Aquilons Drive Massive Screens at Circa Resort & Casino]

"Analog Way's service and support has always been greatly appreciated," said Mele. "When a project is highly reliant on a single large device, without backup, you have to know you can get immediate support when you need it. That's where the competition fails and Analog Way succeeds, hands down."

"We're very happy with Analog Way's support," said Gold. "It was great to have Analog Way's very skilled field engineer, Todd Stark, on site to fine tune the system and train our client's operators."

The What: AJA Video Systems is adding T-TAP Pro support for Autodesk's Flame Family of VFX and creative finishing tools, now available in new v2022.2 releases from Autodesk.

The What Else: New T-TAP Pro compatibility extends high-quality video monitoring and output to Autodesk Flame, Flame Assist and Flare workflows on compatible macOS workstations. Whether delivering VFX, 3D compositing, color grading or editorial finishing in Flame, T-TAP Pro offers streamlined Thunderbolt 3-connected monitoring and output of high-quality HDR and HFR video up to 4K/UltraHD over 12G-SDI and HDMI 2.0 on supported Apple Mac desktop or MacBook Pro laptop computers.

The Bottom Line: T-TAP Pro is a compact, silent and portable Thunderbolt 3-connected device that simplifies 4K/UltraHD and 2K/HD/SD monitoring and output over 12G-SDI and HDMI 2.0 on compatible Mac or PC computers. Ideal for a range of production scenarios, T-TAP Pro provides high-quality video monitoring, including High Dynamic Range (HDR) support for high frame rate (HFR) and large raster workflows from a Thunderbolt 3 host system.

The What: Panasonic is issuing Agile I/O, a new feature of its Kairos IT/IP video processing platform to provide AV professionals with additional input and output capacity to create larger and more complex productions. Available in early 2022 as a free upgrade, the feature expands the platform’s capacity, unlocking more ways to enhance live productions with the same hardware.

The What Else: Equipping customers with the power to bring unconstrained creativity to life, Panasonic provides a tailored solution with Kairos that fully and seamlessly integrates with existing infrastructure and future technology to push the boundaries for immersive experiences. The new software upgrade will allow Kairos to more efficiently utilize the 100Gb ST 2110 network and other Kairos Core inputs and outputs by better management of network bandwidth. This can provide users with additional sources for HD and 4K content and access to more connected sources in the multi-view.

The Kairos next generation live production platform enables AV professionals to flexibly scale up-and-down deployments for any level of need or complexity by supporting seamless broadcasting on numerous devices and feeds, in any source, format, scale, screen and mix, aiming at no loss of quality. More than a switcher, the platform can also perform routing and screen management functions. With multiple screen layouts built through one simple interface, Kairos helps AV professionals elevate experiences for both live and virtual productions.

The Bottom Line: Ideal for AV consultants, designers and integrators, Kairos offers a future-proofed, customizable solution that supports any type of live production scenario for markets such as house of worship and corporate. For churches, Kairos elevates worship services by managing multiple displays and screens that show various views of the service to captivate both in-person and remote congregants alike. For corporate environments, Kairos ensures natural real-time conversation during employee annual meetings with a remarkable one-frame latency on premises by enabling AV source connections and screens across multiple meeting rooms, locations and even home offices.

KVM manufacturer Guntermann & Drunck GmbH (G&D) is presenting a line of new high-end KVM products at InfoComm. Under the motto "Feels Right," the company is showcasing many new products at Booth 2761 as well as a completely new look and a new communication concept.

On the product side, G&D has plenty to show at InfoComm 2021. With the VisionXS series, the company is introducing a KVM milestone to the market. The high-end extender product line includes a range of high-performance KVM extenders with resolutions of up to 4K and 10G data transfer technology for an even better user experience and. Following the motto "smaller, more compact, more powerful," the KVM manufacturer developed a new compact multi-purpose KVM tool. The main idea was to put as much functions as possible in the smallest possible housin

The first release of the new line is the new VisionXS-IP-DP-UHR, a high-end system for DisplayPort UHR. Devices for HDMI and DVI-I will follow later. Initially, the German manufacturer will provide extender modules for KVM-over-IP, followed by solutions for classic KVM systems for direct transmission. VisionXS devices can either be operated in pairs as an extender line, or they can also be integrated into matrix installations. Since they are fully compatible with G&D's IP KVM matrix systems, applications become highly flexible.

With the RemoteAccess-CPU, G&D is supporting cloud computing and virtualization processes in companies in order to enable hybrid infrastructures. The product makes it possible to seamlessly integrate virtual machines into KVM installations. The new modules establish a connection between matrix systems and virtual machines, which can be accessed remotely via network protocols.

The pandemic currently shows us the importance of being able to access in-house systems remotely. How do team members remotely access a KVM system and the underlying on-site computing landscape from home? G&D's solution for this issue is called RemoteAccess-GATE. This stand-alone device links the KVM system to the network world, providing remote access to the IT infrastructure connected to the KVM system via LAN, WAN and the Internet. G&D's RemoteAccess-GATE supports working remotely from home offices and improves the collaboration within teams.

Anyone who will not be able to experience G&D's systems live at the trade show can book a live remote presentation at G&D's ControlCenter-Xperience (CCX). The CCX is a control room used to present new features and products live or remotely. This way, personal consulting can still take place in times of COVID and beyond. In this way, the company can continue to offer customers and partners live consulting, demonstrate how various systems and technologies interact, and show its product portfolio, regardless of time and place. G&D's customers will not only benefit from the KVM experts' know-how, but can also book individual live or remote tours fitting their projects at https://xperience.gdsys.com/de

The What: AXION is a customizable video distribution system that allows users to build any configuration up to 16 sources and 16 displays with various input and output selections. 

The What Else: The heart of the system is AC-AXION-X, a modular 16x16 matrix chassis with 8 input and 8 output card slots. Engineered for high-end systems, AXION X can handle any HDMI 2.0 signal, including 4K, HDR, Dolby Vision and Dolby Atmos. With available audio downmixing cards, users have the option of downmixing Dolby Atmos audio into a 2-channel signal ideal for whole-home distribution. The integrator has the choice of selecting between HDMI, HDMI with scaling, or HDBaseT for long video runs, with fiber options coming soon. 

AXION features a complete redesigned AVPro Edge user interface. It allows dealers to do installs faster, get deep diagnosis information on HDMI and HDBaseT (and soon fiber) and report this information directly to the AVPro Edge tech support team, so when problems do happen, they can solved faster.

The Bottom Line: AVPro Edge offers cloud connectivity, allowing for remote/LAN firmware updates (with notifications), remote system monitoring, and cloud to cloud connectivity. In addition, the company says it now has the ability to use any REST API in the world, thus allowing it to deeply integrate with third-party products.

Held in Cologne, Germany, the Final Four of the EuroLeague, the top-tier European professional basketball club competition, deployed a number of LED displays with show control by the new Christie Pandoras Box Version 8 with video processing by Christie Spyder X80.

Spanish company Laser AV was commissioned with the integration and technical execution of the AV for the event held at Lanxess Arena, which included live broadcasting, signal distribution throughout the stadium, signal management of the screens, and signal relay via fiber optic.

[Christie Launches Core Series II LED Video Wall Tiles]

The centerpiece of the installation was an LED video wall measuring 44 x 3.5 meters (144 x 11.5 feet) made up of 640 panels with a pixel pitch of 2.97mm, giving a total resolution of 14,784x1176 pixels.

Laser AV installed a 6 x 3.5 meter (19.7 x 11.5 feet) LED display, which was suspended in front of the massive video wall while the scoreboard was a LED cube with each face measuring 6 x 3 meters (19.7 x 9.8 feet) with a resolution of 1536x768 per side. The company also installed 50 LCD monitors, ranging between 43 and 80 inches, throughout the stadium including changing rooms and the press room.

In addition, the Lanxess Arena had a media cube, hung above the scoreboard, comprised of four 8 x 4.5 meter (26 x 14.8 feet) screens with a resolution of 1920x1080, and a fascia LED screen with a resolution of 3840x2160 that lined the whole perimeter of the stadium.

To control the displays, Laser AV employed 12 Software Licenses, four Pandoras Box Servers, two Widget Designer Pro, and a Christie Spyder X80 multi-window processor.

It was the Spyder X80 that, in the words of Unai Sánchez, chief technical engineer at Laser AV, was “the heart of the installation,” from which the Pandoras Box Servers as well as the Zoom and broadcast signals were managed and integrated. “We chose the Spyder X80 for this event because we had to manage lots of screens simultaneously and to visualize all the inputs easily and securely,” Sánchez explained.

He went on to add that: “In an event of this kind, it is absolutely essential to be able to configure such an extensive canvas with virtually no restrictions, and that is precisely what the Spyder X80 lets you do. To give you an idea, for the 44-meter screen we only needed to use two 7392x1176 outputs, and the same goes for the server inputs. That meant we had more available inputs and outputs, and we were able to manage the whole event simply and with perfect adjustment. The performance of the Spyder X80 was flawless, and gave us the stability, flexibility, and security we were looking for.”

Regarding Pandoras Box, Sánchez said, “Given that it was a sporting event, you couldn’t program a fixed timeline. The client programmed events that varied depending on the quarter and on down times. Thanks to the conditional programming, we were able to configure actions that depended on variables that we could resolve in real time. Pandoras Box Version 8 conditional programming makes even the most complicated events much easier.”

This was the first time that the Laser AV team had used the new Pandoras Box Version 8. “We have been using Pandoras Box for over ten years now and I can safely say that this is the most powerful version yet and the one with the most features,” Sánchez said. “And, as always, its best virtues are its reliability and flexibility.

“The possibility of using virtual cameras is amazing. You can create a composition anywhere on the canvas and integrate it as an extra layer in another more complex composition.”

Sánchez also had positive things to say about other features of Pandoras Box Version 8: “It allows any CPU to have unlimited layers, as well as a total 3D environment, ingestion of files over 4K, and unprecedented, improved performance. The Laser AV team tested how many videos with a 14784x1176 (25fps hap) resolution you could run and the surprise was that we were able to have 10 videos playing at once, which was impossible with Version 6. In short, it has no limits in terms of resolution and number of layers. With regard to workflow, it is still as intuitive and flexible as ever, but it has eliminated license restrictions. To be honest, we weren’t able to spot any flaws or shortcomings.”

The What: AWS has announced the general availability of AWS Elemental Link UHD, a High Efficiency Video Coding (HEVC) encoding device that enables the connection of a live UHD video source, like a camera or other video production equipment, to AWS Elemental MediaLive for video processing in the AWS Cloud. 

The What Else: AWS Elemental Link UHD features high-performance HEVC encoding for UHD (up to 2160p60 with 10 bit color depth) video feeds, in addition to the features included in the AWS Elemental Link HD encoder. Link UHD and Link HD devices ship fully configured to the user’s AWS account, are fast and simple to set up, and can be controlled and monitored remotely using the MediaLive console. Users connect the device to power, an IP network, and an SDI or HDMI video source, and the video is automatically accessible in the MediaLive console in less than a minute, according to the company. 

[Elevating Your Streaming Production Quality]

The Bottom Line: With Link UHD, users can create HDR outputs, including HDR 10 and HLG, in MediaLive channels to enable a high-quality picture for a range of streaming applications, from enterprise events and live sports to music, fitness classes, education, training, healthcare, and beyond.

All AWS Elemental Link devices work with AWS Elemental MediaLive, part of AWS Media Services, a suite of cloud-based services that streamline video creation, transport, packaging, storage, monetization, and delivery.   

Making its debut at the Pabellón de la Navegación (Navigation Pavilion) in Seville, Spain, the touring media exhibition Impressionistsis immersing visitors in the works of Renoir, Van Gogh, and others via projected floor-to-ceiling digital masterpieces. With Matrox QuadHead2Go multi-monitor controllers’ powering the images across the sprawling canvases, Ukrainian multimedia company Front Pictures was able to provide a mesmerizing, twenty-first century take on the works of Europe’s most renowned Impressionist masters.

The Matrox PowerWall software included with QuadHead2Go allows Front Pictures to install and customize configurations, making deployment easier. The installation behind the Impressionistsexhibition comprises 14 screens—each 4.4 meters in height—spanning 116 meters in total. Content for the exhibition created by Front Pictures is hosted on the company’s Screenberry media server. From there, the content is routed to six QuadHead2Go Q155 appliances, each capturing an HDMI video signal from the media server for display across four HDMI-equipped projectors. 

[The Technology Manager's Guide to Projectors and Screens]

QuadHead2Go devices connect to a total of 21 BenQ TH671ST projectors that cast the video onto the screens across 40,320x1080 pixels for a total resolution of 43.5 megapixels. The result is a monumental display of Van Gogh’s flower still life collections with petals that appear to float gently across the screens, among many other revitalized versions of impressionist masterworks. When set to music, the moving paintings delivered by the QuadHead2Go video controllers and Screenberry media server transport viewers to the imaginations of impressionist virtuosos.

According to Yuri Kostenko, Front Pictures CEO, Kostenko, QuadHead2Go has enabled the company to push the boundaries of what a visual experience can be with the convenience of a flexible multi-screen appliance. “With its ability to capture and display superior-quality video content, Matrox QuadHead2Go video wall controllers have enabled us to deliver a truly sublime art viewing experience,” he said. “Furthermore, the compact, low-power appliance takes up very little space, is easy to transport and re-install, and keeps hardware and maintenance costs low.” 

The What: Extron is shipping new Quantum Expansion IN and Quantum Expansion OUT cards engineered to simplify the design, integration, and operation of large video walls. 

The What Else: The cards link up to five Quantum Ultra frames together, extending the high-speed HyperLane bus between processors. Once configured, the processors operate as a single system with a common, shared bus. This makes each input source available to all video outputs. Quantum Ultra outputs are genlocked across all frames, maintaining image synchronization and eliminating video tearing. Integrating Quantum Ultra processors configured with Quantum Expansion cards provide flexible system design for large videowalls without the need for front-end switching or distribution amplifiers.

[The Technology Manager's Guide to Inspired Video Walls]

Quantum Ultra can accommodate a mixture of display devices with varying resolutions. Features such as output overlap, bezel compensation, output rotation and custom output resolutions provide compatibility with current and next-generation display devices. The Extron HyperLane bus delivers real-time performance unattainable by other videowall processors. It has a maximum throughput of 400Gbps, sufficient to simultaneously carry more 4K60 sources with 4:4:4 chroma sampling. It also possesses the bandwidth required to support evolving signal formats, such as HDR, greater color depth, and expanded color gamut.

Sources can be windowed and positioned anywhere on the video display. Static image files such as logos and maps can be stored locally on the Quantum Ultra and displayed with full keying and alpha channel support. Internally generated clocks can be presented in a variety of time formats and in multiple time zones. The integrated VNC client can decode multiple simultaneous VNC server streams for presentation on the videowall. Also, custom color borders can be applied to any window, with support for rounded corners, drop shadows, flashing, and transparency.

The Bottom Line: Quantum Ultra processors configured with Quantum Expansion cards form a cohesive single system that delivers advanced processing features and robust, secure operation for videowalls with up to 168 sources and screens.

The What: Vanco International is expanding its Evolution line with four new products designed to simplify HDMI signal distribution in both commercial and residential contexts.

The What Else: The EVSP24VW Expandable 4K 2x4 HDMI Video Wall Processor can support a 16x16 array of displays in any video wall configuration. This video wall processor supports 180-degree screen rotation and output resolution scaling. It also includes customizable options for bezel adjustment. The EVSP24VW has two HDMI loop-outs, which can be used for local monitoring or to cascade into other units for even larger video walls. It also features dual HDMI inputs, enabling multiple source content configurations or switching between sources. The EVSP24W passes 4K display signals at 60Hz and is HDMI 2.0 and HDCP 2.2 compliant.

[The Technology Manager's Guide to Inspired Video Walls]

The Evolution line of scalers and splitters is expanding to include a 1x8 model, the EVSP18SC Splitter with EDID and Scaling. The EVSP18SC transmits audio from a single source to up to eight HMDI outputs at up to 4K2K (2160p) UHD resolution with no loss of quality. For applications with a variety of display devices, the EVSP18SC supports 4K and 1080p resolutions simultaneously; the source will be downscaled to 1080 for lower resolution displays and kept at 4K on all other outputs. This splitter supports 4K60 with 8-bit color and 4:4:4 color sampling, or 10-bit color with 4:2:0 sampling and High Dynamic Range (HDR).

The EVSP24VW Expandable 4K 2x4 HDMI video wall processor can support a 16x16 array of displays in any video wall configuration. This video wall processor supports 180-degree screen rotation and output resolution scaling. It also includes customizable options for bezel adjustment. The EVSP24VW has two HDMI loop-outs, which can be used for local monitoring or to cascade into other units for even larger video walls. It also features dual HDMI inputs, enabling multiple source content configurations or switching between sources. The EVSP24W passes 4K display signals at 60Hz and is HDMI 2.0 and HDCP 2.2 compliant.

The EV4K2004 4K HDMI Extender over single coax cable with bi-directional IR allows HDMI audio and video signals to be extended over a single coaxial cable. In projects where new cable runs are not possible, the EV4K2004 enables the distribution of 4K video over legacy infrastructure. This extender supports uncompressed two channel HDMI over RG6 coax. It can transmit 4K60 video with 8-bit color and 4:4:4 sampling, or 10-bit 4:2:0 HDR. The EV4K2004 allows bi-directional IR signal passthrough for source or display control. It is also HDMI 2.0 and HDCP 2.2/1.4 compliant, and features automated signal equalization and dynamic EDID.

EVSW41KVM 4x1 HDMI Switch with Quad-View and KVM USB control connects and controls multiple computers or security network video recorders (NVRs) using a single keyboard and mouse. The EVSW41KVM accepts up to four HDMI inputs at up to 1080p60, which can be displayed one at a time or simultaneously in a Quad-View mode showing one input in each corner. The EVSW41KVM’s built-in USB switcher automatically pairs KVM control with the selected source; in Quad View, it is possible to control all four sources at once with a single keyboard and mouse without switching sources. The EVSW41KVM has two additional USB 2.0 ports, allowing the input devices to share two additional resources such as a printer or hard drive.

The Bottom Line: Vanco International’s goal with the Evolution line has been to curate devices that solve irritating audio and video distribution challenges. These four new additions are designed to address issues on projects ranging from brand-new video walls to retrofits of historic buildings.

Creative firm XR Studios was among the first to incorporate disguise’s new xR workflow for an immersive performance by Katy Perry for Malay e-commerce platform Lazada’s annual Super Party. The new workflow, released to the general public in April 2021 through disguise’s new r18 software, includes a feature that extends the virtual scene to allow cameras to zoom in and out of each scene. 

With these capabilities, the community of disguise users can now build even more exciting and elaborate scenes that mix the physical and virtual worlds.

[Disguise Launches r18 Software with xR Capabilities]

“The virtual zoom allowed us to work outside the box because we can now simulate shooting in a space that is ten times larger than ours,” said J.T. Rooney, chief creative officer at XR Studios. 

Silent Partners Studios were the xR content designers on this project, and by partnering with XR Studios, they were able to create worlds that went beyond the limits of the physical screens. Perry performed against a giant Pierrot statue, Escher-inspired architecture, swan sculptures, and a fireworks display, with the camera zooming in and out on her in the virtual space—creating a huge sense of scale.

Of course, using this kind of technology for the first time isn’t without its challenges. Not only were there tight turnarounds and short deadlines, but there was the added challenge of incorporating a brand-new input into the workflow. 

“As always, creating worlds and content in xR is challenging, but it’s consistently a rewarding adventure to figure out the virtual space,” Rooney said. “This new workflow is something that has been discussed for a long time and the XR Studios team was excited to see how we could help push it further, give suggestions, and test and develop it in a live show environment.”

By using the new virtual zoom feature, XR Studios was able to achieve shots that were previously unattainable. “Adding the virtual zoom to the workflow meant we could creatively see more of the scene and build a more elaborate environment,” Rooney said. 

“Over the past 12 months, XR Studios has been trailblazing the use of our xR workflow,” said disguise CEO Fernando Kufer. “From their early days delivering Katy Perry’s first xR-powered performance on the American Idol season 18 finale, to, nearly a year later, pioneering our latest software features in their third collaboration with the artist. We love seeing them constantly break boundaries in xR production.”

The What: tvONE has released a software update for its CORIOmaster2 video processor with new features, enabling video professionals to create augmented 4K/8K (4K60 4:4:4) video experiences for high-end LED installation, projection edge blends or monitor walls.

The What Else: This latest update adds many new features including the new Quad 4K IN high-bandwidth HDMI Input module (CM2-HDMI-4K-4IN) for CORIOmaster2 (CM2-547), an integrated custom resolution manager with storage for up to 20x custom resolutions, and layout-only presets. Additionally, a range of new features have been added for systems that include a 4K streaming media and playback module. These include a new 8x HD synchronized playback feature, support for MPEG2 video playback, low-latency IP streams from any encoder, storage of details for up to 40 encoders for IP streams, AES decode of encrypted streams, and FTP media download capability for each module.

[tvONE Releases Updates to CORIOmaster App and Crestron Control Module]

The new Quad HDMI 2.0 input module supports resolutions up to 4K60 (4:4:4) and four of these modules can be fitted to a single CORIOmaster2 chassis. The 4:4:4 color subsampling provides improved color performance, especially for LED walls and when accurate color rendition is essential for applications such as healthcare and corporate.

A new Custom Resolution Manager is now fully integrated into CORIOgrapher, allowing installers to create and verify custom output resolutions using basic display information for LED setups. From this basic setup, CORIOgrapher will guide users to their desired resolution. In addition, synchronized playback is now available through the 4K streaming and media input modules. It also allows users to get creative and go beyond 4K resolutions for expansive video belts in broadcast studios, corporate lobbies, and live events to entertain and boost revenues.

Additional functionality has been added to presets with a new layout-only setting that can reduce the number of presets needed for a configuration by up to 10 times. Instead of creating multiple presets for every source in every window, this new option allows significant efficiency boosts to programmers by creating presets where only the overall layout is changed instead.

The Bottom Line: The updates have the potential to enhance a host of application uses, including in healthcare, broadcast, e-sports, live events, education and corporate environments.

Launched this February, Blackmagic Design’s ATEM Mini Extreme is a television studio in a box. A new and larger version of the company’s ATEM Mini live production switcher, the ATEM Mini Extreme is designed to make it easy to create professional multi-camera productions for livestreaming to YouTube and innovative business presentations using Skype or Zoom. 

Setting it Up

The Mini Extreme supports HD 10-bit color signals and will allow for up to nine separate H.265 video streams to be recorded in real time with up to 70Mbps quality, giving the user the ability to capture all eight inputs and the program video. It will also record up to 10 stereo audio signals, and all the switching information is saved as a DaVinci Resolve file to help with editing later. The Multiview monitor can be configured with up to 16 panels including Program, Preview, Eight Inputs, SuperSource, Clean Feed, Media Player, Streaming Status, Recording Status, and Audio Meters. 

[ClearOne BMA 360 Review]

It supports four upstream and two downstream keys and can do four chroma or luma keys. The media player can store images to be used during production and supports transparency to allow them to be used as overlays and branding. Connecting the mini extreme ISO to a computer will not only allow you to use the computer to save video from the unit, but will also give you a software control panel. Since this unit can be fully controlled remotely with a computer running ATEM television studio software, you can create an instant control room anywhere you can access the network it is connected to. Technically, the unit could be hidden in a closet or server rack and never be looked at again. That said, it looks impressive even when it is off, so most owners may want it to be visible, and the small size allows it to fit on most desks without issue. I found that at first glance it can seem intimidating, however it really is not. When you look at it in detail, it makes sense and operates with ease. I found the operation to be smooth and it worked with the great reliability Blackmagic Design is known for. It was easy to connect to both a computer and streaming service. I tested this with a basic computer along with Facebook, YouTube, Zoom, and Teams. It was easy to set up, operate, and the audio and video quality are great. It performed better than expected as its own unit and with all tested platforms.

Impressions

This unit would be great for anyone wanting to create a professional-looking live broadcast or as the center of a video editing system. Units like this open broadcast production to clients that consider other solutions prohibitively expensive. The quality, flexibility, and utility of the Mini Extreme ISO is difficult to match even in systems many times more expensive than it is. 

In the wake of COVID-19, many businesses have had to consider how to provide their services remotely. What formerly took an entire room, tens of thousands of dollars in equipment, and a team of people to create is now available in a single unit the size of your average computer keyboard. This device and its little brothers within the ATEM line provide high-quality production value at a fraction of the cost. The controls are so intuitive that anyone familiar with a video mixer or television production can sit down and start working with little to no instruction needed. Inexpensive and powerful equipment like the Mini Extreme ISO make converting a breeze while allowing the production to look as professional as a television station. This unit is great for converting churches and government buildings or starting your streaming/video production career.

Jeremy Caldera, CTS-D, CTS-I is senior vice president at Pearl Technology, a leader in AV and IT services based in Peoria, IL. He sits on the academic advisory board for the Audio Arts & Acoustics Department of Columbia College Chicago, is the former AVIXA CTS certification program chair, and is a recent inductee to the SCN 2021 AV Hall of Fame.

The What: AJA Video Systems has announced AJA Software Development Kit (SDK) support for the NVIDIA Jetson platform for edge AI, and the NVIDIA Clara AGX developer kit, which provides real-time artificial intelligence (AI) and imaging for medical devices. 

The What Else: NVIDIA Jetson is an AI computing platform for GPU-accelerated parallel processing in embedded solutions, while NVIDIA Clara AGX, which is built on NVIDIA Jetson AGX Xavier, provides developers with an AI computer and software development framework for building AI medical devices that feature advanced image, video, and signal processing—from endoscopes to advanced surgical displays and more. 

[AJA Releases Bridge Live v1.11]

With AJA SDK support for Jetson and Clara AGX, OEM developers using either can build AJA KONA 5, KONA HDMI, and Corvid 44 12G into their solutions to ensure reliable, high-quality UltraHD/HD I/O. The integration also delivers AJA KONA 5, KONA HDMI, and Corvid 44 12G compatibility for NVIDIA GPUDirect RDMA. Incorporated into the Clara AGX developer platform via an integrated NVIDIA Quadro RTX GPUDirect RDMA GPU, the technology provides a direct path for data exchange between the GPU and AJA I/O solutions to ensure low latency and high throughput. AJA anticipates launching Clara AGX and Jetson support for additional AJA I/O solutions in the future. 

“AI technology is accelerating innovation across business verticals from medicine to media and entertainment and beyond, and is an area that AJA is exploring,” said Bill Bowen, CTO, AJA. “By working with NVIDIA to integrate the Jetson edge AI platform and Clara AGX developer kit with the AJA SDK, our latest collaboration provides OEM developers with a solid foundation to more quickly and easily bring game-changing AI imaging and streaming solutions to market that support ultra high-resolution video.”

The Bottom Line: With the AJA SDK supported on both the Jetson edge AI platform and Clara AGX developer kit, OEM developers can now harness supported AJA KONA and Corvid PCIe I/O solutions to develop robust, real-time AI and video imaging and streaming systems and devices that support 8K and 4K video capture and playback for a range of applications in healthcare, broadcast, virtual production, and beyond.

The What: Planar is enhancing its TVF Series family of fine-pitch LED video wall displays with the addition of a new TVF Complete model and by offering integration with the Planar WallDirector Video Controller (VC). 

The What Else: The Planar WallDirector VC and Planar WallDirector Software add secure video processing capabilities to the product while simplifying video wall control and management. In addition, Planar WallDirector VC is being added to Planar TVF Complete 109-inch to 219-inch LED video wall displays, allowing customers to more easily acquire, deploy and operate seamless LED video walls in popular resolutions and configurations. 

With Planar WallDirector VC, users can capture multiple sources while extending signals over CAT or fiber connections and scale modularly to support larger video walls. The Video Controller is powered by Planar WallDirector Software, a browser-based video wall management application designed to simplify video wall setup, configuration, operation, and monitoring. 

Related: The Technology Manager's Guide to the New Era of Digital Signage

The company is also enhancing and expanding Planar TVF Complete, a family of LED video wall displays designed to make seamless large size video walls easier and more cost-effective to deploy. The new Planar TVF Complete line now incorporates Planar WallDirector VC and includes a new Double Full HD 198-inch model aimed at the popular wide-view configuration for conference rooms and board rooms. The Planar WallDirector VC and Planar WallDirector Software combine a powerful and compact video processor, signal extension over CAT or fiber, multiple 4K60 capture, flexible window layout creation and recall, and complete control via web application, network commands, or remote plus on-screen display. Available in a range of Full HD, Ultra HD, and Double Full HD resolutions, Planar TVF Complete now offers customers a total of seven models to choose from. 

In addition, Planar TVF Series is now available with Planar ERO-LED Matte. As the newest advancement with the company’s proprietary Planar ERO-LED (Extended Ruggedness and Optics) technology, Planar ERO-LED Matte is a new protective solution engineered to be almost unnoticeable, allowing content to be displayed without interruptions or reflections and an improved touch experience for continued interaction, while also maintaining image performance.

“Planar TVF Series and Planar TVF Complete are among our most sought-after fine-pitch LED video wall solutions,” said Steve Seminario, vice president of product development at Planar. “The new capabilities announced today were designed to respond to the needs of our growing customer base while maintaining Planar TVF Series’ elegant simplicity and reliability.”

The Bottom Line: Planar WallDirector VC is a family of compact and scalable video processors designed to drive Planar LED and LCD video walls. With Planar WallDirector VC scaling and windowing, customers can arrange, save, recall, and view their video sources in layouts that are most meaningful to them.

With video walls proliferating in all manner of verticals, AV companies have been working hard to make these displays easier to run. To satisfy this goal, Matrox recently released the QuadHead2Go multi-monitor controller appliance, designed to provide complete video wall scalability and flexibility. The system-independent QuadHead2Go appliance is engineered to power any video wall configuration of any possible dimension, from any video source—delivering high-quality imagery across expansive video wall displays. It was also conceived for simple out-of-the-box installation and setup, and customization, with features like on-device buttons and preset configurations. We put it through its paces to find out how it delivers on its aims. 

First Impressions

The QuadHead2Go video wall processor is a very versatile solution. It takes a 4K60 signal and can either mirror it to multiple displays or subdivide the image for a video wall. With this system, you can create hundreds of video wall configurations. A single unit can make video walls in the following configurations: 2x2, 2x1, 3x1, 4x1, 1x2, 1x3, or 1x4. If you join them together and add in Matrox D-Series graphics cards, you can create a video wall with as many as 64 Full HD displays. 

Related: Product Review: Crestron 70 Series Touch Screen

It has the standard features one would expect in a video wall processor like bezel adjustment, layout, and rotation. However, our favorite feature is the software used to configure it. The Matrox PowerWall software will allow you to visually create a video wall then save the EDID for that configuration to the unit. Then, when you plug it into a computer, it will automatically come up with the proper resolution for the video wall. One can even save up to three push-button presets, which greatly simplifies testing and deployment. 

The unit’s design allows users to provide sources from video wall controllers, digital signage players, media players, decoders, laptops, NUCs, set-top boxes, gaming consoles, a wide array of video sources. It is also HDCP compliant, enabling distribution of protected content as well. Each output can be cropped as needed and have its own resolution, rotation, upscaling or downscaling, and positioning. 

Testing it Out

For our test, we set up four identical 75-inch 4K TVs in a 1x4 video wall. We ran several video sources and what we consider to be one of the toughest videos to run on a video wall: first-person footage of a race car driving around a track at high speed. This clip tends to reveal problems such as synchronization between panels, tearing, jitter, flickering, or any other image instability. We did not see any issues, the transition between panels was seamless, and I saw no visual tearing or instability of any kind. Color representation between panels also appeared correct. 

To further check the color accuracy, we decided to do a single output from the unit and take over one of the 75-inch screens as an additional monitor on a computer. Presenting a color chart on both displays in a side-by-side comparison showed no noticeable variation in color or brightness. This unit supports RGB 8:8:8 color support, so that is what is expected. 

The unit’s network capability was of particular interest to us. It was pleasing to find that once installed, physical interaction with the unit was no longer needed. One can configure, control, and update the units remotely via a Local Area Network. This is especially handy, since it can be quite onerous—and even dangerous—to get behind a video wall. This unit is IPv4  compatible, and it communicates with the network using the protocols DHCP, HTTP/HTTPS, mDNS and UPnP. It should be noted, however, that this is not a Power over Ethernet Device, so plan power requirements accordingly. The power consumption is only rated at 15 watts.

Overall, the QuadHead2Go is a great option for content distribution or as a straightforward plug-and-play video wall, the default configuration being 2x2. Its scalability makes it capable of handling just about any video wall setup you could want.

Simply put, streaming video has never been bigger. With audiences, employees, and students spread out across the world, it’s streaming technology that’s keeping everyone connected. But for pro-grade applications, a simple smartphone setup isn’t going to cut it. 

That’s where pro AV comes in. With some good capture equipment and the right encoders and processors, institutions can take their streaming game to the next level, creating productions that rival the quality of broadcast TV. The following are the latest devices from top pro AV brands to help you get the job done.

Related: The Technology Manager's Guide to Videoconferencing and Streaming

AJA BRIDGE LIVE

AJA’s new BRIDGE LIVE is designed to move Ultra HD or multi-channel HD uncompressed baseband SDI video to and from a wide range of streaming and contribution codecs, reliably and safely over the public internet. Designed in partnership with Comprimato, BRIDGE LIVE is a turnkey solution built for critical streaming applications with high-performance 12G-SDI video encoding/decoding, simultaneous encoding/decoding in HD, stream-based transcoding, flexible I/O, comprehensive metadata support, and closed caption support, all within a compact 1RU form factor with redundant power supplies. BRIDGE LIVE meets the rigorous live video production and delivery demands of Telco, IPTV, and cable operations, broadcast facilities and OB trucks, sports arenas, houses of worship, and beyond with key transport protocols like SRT, RTMP, UDP, and more. Its intuitive interface helps professionals mesh HD/Ultra HD SDI and streaming/IP for live workflows using H.264/AVC, H.265/HEVC, and H.262/MPEG-2 TS, as well as JPEG 2000 via an additional license.

ATEN UC9040 StreamLIVE PRO

The ATEN UC9040 StreamLIVE PRO is a portable, all-in-one, multi-channel audio/video mixer device that integrates a 1080p video capture, video recorder, video switch, stream broadcaster, video converter, video splitter, and audio mixer into one compact box to eliminate the hassle of working with different AV equipment. The UC9040 StreamLIVE PRO makes HDMI video sources broadcast for higher-quality live stream to CDN platforms. For added convenience, the UC9040 StreamLIVE PRO provides an intuitive app, making it easier to monitor, edit image layouts, and DVE, PiP, or PbP settings. The UC9040 StreamLIVE PRO is PC and software-free, and with its control panel, it makes livestreaming operations smoother. You can even preview video and monitor audio levels before going live with a web broadcast. 

Blackmagic Web Presenter

Blackmagic Web Presenter is designed to simply the process of getting high-quality video directly on the web for a new generation of web broadcasting. It replaces expensive and hard-to-set-up dedicated streaming encoders and lets customers or broadcasters use professional cameras to stream high-quality video through their favorite software and websites, such as YouTube Live, Facebook Live, and more. Featuring 12G-SDI and HDMI connections, Blackmagic Web Presenter will down convert any SD, HD, and Ultra HD source and make them look like a 720p USB webcam. Because Blackmagic Web Presenter looks like a simple webcam, any webcam compatible software will be able to capture this USB video and audio from any broadcast-quality source without the need for additional drivers. 

Crestron DigitalMedia H.264 Solutions

Crestron’s portfolio of live streaming encoders/processors—including HD Streaming Transmitter/Receiver (DM-TXRX-100-STR), Streaming Input Card for DM Switchers (DMC-STR), Streaming Output Card for DM Switchers (DMC-STRO), and HD Streaming Receiver and Room Controller 100 (DM-RMC-100-STR)—enable distribution of high-definition AV signals and content over an IP network. The HD Streaming Transmitter/Receiver is a compact, high-definition H.264 streaming transmitter or receiver for use with a Crestron DigitalMedia system or other application. The Streaming Input Card for DM Switchers provides a single H.264 streaming input for any DigitalMedia Switcher with modular input card slots; while the Streaming Output Card for DM Switchers is a modular output card for DM-MD8X8, DM-MD16X16, or DM-MD32X32 switchers, providing one H.264 streaming output. The HD Streaming Receive and Room Controller 100 is a compact, high-definition H.264 streaming receiver and room controller for use with a DigitalMedia system or other application. 

Extron SMP Series

Extron SMP Streaming Media Processors connect students and employees to live or on-demand content anytime, anywhere, on any device. The robust recording and streaming appliances are designed to fit into any workflow for both ad-hoc and scheduled activities. A purpose-built, scalable SMP architecture offers enhanced features and capabilities, above and beyond software, and PC-based recording and streaming. Using any browser on any device, users can remotely control the SMP to start, stop, and pause recordings without touching a physical interface. Content is captured to a USB drive, network share, and enterprise video platforms like Kaltura, Panopto, YuJa, and OpenCast with simplicity of use, video quality, and proven reliability.  

Kramer VIA

Kramer’s VIA solutions are engineered to make it easier to live stream to all the leading platforms, like YouTube, Kaltura, and Panopto, as well as conduct interactive sessions using your favorite conferencing tools like Zoom, and Microsoft Teams. Educators and employers alike enjoy all the benefits of VIA’s full suite of tools, while in-class/at-work and at-home students/WFH employees enjoy a user-friendly learning/work experience; ideal for the COVID-19 era. 

Magewell Ultra Stream

Magewell’s Ultra Stream encoders are designed to make live streaming simple even for non-technical users, enabling them to stream or record high-quality video with one click using on-device buttons, a browser-based web interface, or a smartphone app. Available with HDMI or SDI input interfaces, Ultra Stream encoders let users stream to popular services including YouTube Live, Facebook Live, and Twitch, or to a custom-specified server. In addition to outputting live streams, Ultra Stream encoders can record video as files to a directly connected USB drive, internal storage, or the associated smartphone for subsequent on-demand viewing. Recent Ultra Stream updates have added enhanced file recording modes as well as support for the RTSP streaming protocol alongside existing RTMP and RTMPS capabilities.

Marshall Electronics VS-102-HDI

The VS-102-HDI is a high-definition video server that allows real-time transmission of HDMI or NTSC/PAL composite video signal along with bi-directional AAC encoded high-definition stereo audio over standard IP networks and the internet. Marshall Electronics’ VS-102-HDI incorporates advanced H.264 and MJPEG compression technology. This allows 50 percent more compression capacity over an existing IP network, while providing optimal video transmission quality even in networks with limited bandwidth. The unit can act as an encoder to compress and transmit AV data over a LAN to another VS-102-HDI located in a green room or other location. The other unit can act as a decoder, which receives the compressed data through the LAN and restores the data to its original high definition state.  

Matrox Maevex 6100 Series

Matrox Maevex 6100 Series encoders and decoders deliver multiple 4K streams of high-compression, high-quality video and audio over 1GbE networks—at exceptional low latency as low as 50ms. Maevex can push many streams over the LAN, feed cloud-based servers, securely stream across the internet, and record to any location—all concurrently. Both the encoders and decoders can also composite multiple encodes or decodes for tremendous flexibility, and allow for mixed display content from multiple encoders. The included Maevex PowerStream Plus software provides a simplified operational experience, enabling control of all Maevex devices from a single application. Multiple APIs and SDKs for customization and integration are also available.

MuxLab 500467

The HDMI to USB 3.0 Video Capture and Streamer (500467) allows users to record from HDMI video sources to a PC over USB 3.0. The unit supports an HDMI-in port for the source and HDMI Loop Out for a monitor. The 500467 is capable of connecting to a 4K60 source and will stream at up to 1080p60 over the USB 3.0 port to a PC or similar device to record and/or send the video to a broadcasting service such as YouTube, Facebook, and other broadcasting services. The device is compatible with OBS Studio, AMCap, etc., and supports a variety of HDMI sources such as cameras, game consoles, media players, and many others. The unit supports an audio-in port for a microphone, which is automatically mixed with the HDMI audio, and an audio out port for headphones, or active speakers. 

NewTek TriCaster 2 Elite

NewTek’s TriCaster 2 Elite provides video producers, visual storytellers, and system integrators with “better-than-broadcast” functionality and uncompromised flexibility. In addition to advanced video production capabilities, TriCaster 2 Elite enables studios, broadcasters, large-scale campuses, and enterprise facilities to harness nearly every major video calling application in use today, delivering them a myriad of creative options. To further amplify the flexibility and scalability, both video over IP and more traditional SDI are supported by the platform. TriCaster 2 Elite is designed to set a new standard for production in today’s multisource world with new core functionality. Nearly every web conferencing tool is supported, as well as all IP video sources and smartphones.

tvONE CORIOmaster2

tvONE’s CORIOmaster2 is an all-in-one, multi-window video processor delivering advanced processing power. CORIOmaster2 supports more windows with higher quality with uncompromised 4K60 and 8K-ready performance.  Standout features of CORIOmaster2 include its high bandwidth, huge design canvas, and 8K ready architecture. With 752Gb/sec of bandwidth, CORIOmaster2 can simultaneously display 40 windows in 4K60 4:4:4 with ultra-low latency. It offers AV designers access to triple 64k x 64k canvasses, with up to 12.3 gigapixels of design space, enough to accommodate the most expansive creative vision. The unit is 8K ready, future-proofing tvONE customers’ investment in their video processor. 

VITEC MGW Diamond

VITEC’s MGW Diamond is an IP streaming encoder that enables 4K HEVC multi-channel HD contribution as either a portable device or openGear card. This four-channel encoder, with low latency and low bandwidth HEVC, enables reliable remote production, even over the internet. The MGW Diamond was recently deployed by a sports broadcaster to support remote commentary from multiple sources, and in different languages, to enhance live events. The broadcaster leverages the benefits of the MGW Diamond to simultaneously send a live audio-video feed to foreign commentators for audio translation that is sent back to the production studio. VITEC’s MGW Diamond solution delivers very low latency, ensuring comments can be mixed live, with as little delay as possible for the end user experience.

ZeeVee ZyPerMX2/MX4

The ZyPerMX2 and ZyperMX4 multi-source H.264 encoders support HLS, RTP, UDP, and RTMP, the most-used protocols for live streaming on sites such as Facebook Live, YouTube Live, and other popular content distribution networks. Able to stream two or four sources of multiple streaming formats simultaneously over IP networks, these encoders expand the range of devices each channel can support. This protocol support extends the ways customers can use the company’s products for streaming live content and gives them the freedom to choose the distribution method—direct or via a CDN—that suits any situation. The ZyPerMX2 and ZyPerMX4 also support AAC, a widely used and often preferred audio compression format, in addition to supporting MP2 and AC3 formats.

The 2020 final of Simon Cowell’s TV show Britain’s Got Talent wowed millions of viewers with a spectacular LED screen stage set and virtual audience, powered by Green Hippo’s Hippotizer Boreal+ and Karst+ Media Servers.

Three active Boreal+ and one Karst+ were used for the main system, with the same amount again running as backup for the live show. One Boreal+ fed the main stage LED display, driving 6K content to 3mm screens from supplier Anna Valley, with another Boreal+ dealing with camera overlay effects and live camera shots. The Karst+ fed Art-Net data from two lighting consoles to an array of SGM LED Tubes. 

Related: How Video Walls Can Bridge the Virtual Chasm

This was a very different finale, with no physical audience present in the studio due to the COVID-19 pandemic. In substitute, more than 1,000 live feeds from viewers at home were fed to a new LED “audience wall,” positioned behind the judging panel. This was driven by the third Boreal+, with data fed in via NDI by broadcast graphics specialist, Happy Graphics. 

The virtual audience was collated from PCs using real-time communications (RTC), and after being brought into the network via NDI was applied to a Hippotizer layer. Using VideoMapper, the team structured the feed to fit the different screens, using tint and color match to unite them and make the virtual audience look harmonious with the video content and graphics, which were created by Ben Foley and Alex King at Buckloop Films.

Russ Grubiak served as Hippotizer programmer for the event. “As usual, we chose the Hippotizer because of the ease and speed we can make changes to content, and use layers to build up sequences that seem to be thrown at us while rehearsing,” he said. “We always face very challenging timescales, and I don’t like to say it can’t be done! The producers expect it to happen and using Hippotizer, we deliver.

“The producers loved that adding flares and manipulating color could make a typical ‘conference call’ of at-home audience members look totally glamorous and upbeat.”

Grubiak said he utilized a number of Hippotizer software features to achieve the looks seen during the live final broadcast: “Once we have the lighting and staging in place, I use the effects to tune brightness, masking, mirroring, and then a few additional visual effects,” he said. “The on-board generators seem to use little resources in the engine, but give us good effects out of the Art-Net lighting fixtures.”

The upgrade to the Boreal+ and Karst+ Media Servers was actioned by Bill Peachment of Little Mouse Productions, in order to meet the show’s demanding requirements. “This was a big show, and the team needed power and flexibility,” he said. “The Boreal+ Media Servers offer just that: they’re a perfect solution and the delivered great results.”

United Launch Alliance (ULA) is the world’s most experienced space launch service provider, with more than a century of combined aeronautics heritage and the successful launch of more than 135 missions to orbit. Recently, a transition to high-definition cameras across the launch site facilities required an upgrade to the installation at their Denver Operations Support Center (DOSC). 

Xcite Audiovisuals upgraded the application, including the signal processing for the two 1x3 videowalls that provide the launch engineers with video and telemetry capabilities. Sources range from sensor and camera feeds originating at different launch facilities to calculations and data pulled from ULA computers and servers. To support both videowalls, an Extron XTP II CrossPoint 6400 64x64 modular matrix switcher feeds all source signals to one Extron Quantum Ultra 610 videowall processor.

Related: The Technology Manager's Guide to Command and Control

“ULA’s videowalls provide high-quality, mission-critical content to a team of engineers relying on unwavering accuracy to make critical go, no-go decisions,” said Ashley P. Walker, lead telemetry engineer at United Launch Alliance. “Extron has more than demonstrated the durability of its products. We have confidence that the system can run for the duration and be ready to support us on launch day.”

Quantum Ultra enables DOSC engineers to simultaneously view native resolution or scaled video feeds and data for launch monitoring and analysis. All sources are available for windowing on one or both videowalls. A few of the videowall processor’s many features that made it well suited for use within the DOSC include a configurable card frame, frame-locked outputs for image synchronization, and a 400Gbps HyperLane video bus that delivers the required real-time performance. It is also JITC certified for use in secure government environments. For ULA, Quantum Ultra provided the best combination of presentation capabilities, proven reliability, upgradeability, and cost of ownership.

AJA Video Systems has joined the Secure Reliable Transport (SRT) Alliance, an open-source initiative dedicated to overcoming the challenges of low-latency video streaming. An extension of AJA’s mission to meet increasing customer demand for secure, reliable streaming video pipelines across a host of industries, the announcement follows AJA’s recent launch of BRIDGE LIVE, a new multi-channel live video encoding, decoding, streaming, and transcoding solution featuring support for SRT. As a member of the SRT Alliance, AJA plans to continue exploring how it can improve its streaming offerings for customers by integrating the latest evolutions that the open source technology has to offer into AJA tools like BRIDGE LIVE. 

Developed in partnership with Comprimato, BRIDGE LIVE offers a platform for live video streaming to a range of content delivery platforms with support for SRT and a host of other protocols. It builds upon the production approach of AJA’s HELO streaming device, while also including flexible multi-channel HD inputs and outputs, Ultra HD input and output, and encoding, decoding, and transcoding between codecs including MPEG-TS, H.264, HEVC, and optional JPEG 2000 support, wide bit-rate options, ABR with ladder profiles, comprehensive metadata, and content redundancy. The device also enables simultaneous encoding/decoding to/from SDI. While streaming to CDNs for direct-to-audience delivery, BRIDGE LIVE can also deliver different streaming protocols and packages with ad markers, closed captions to partners for remote workflows, back-hauling broadcast signals, OTT, transcoding, and more. 

Related: The Technology Manager's Guide to the State of AV Over IP

The SRT Alliance, founded by Haivision in April 2017, is focused on overcoming the challenges of low latency live streaming by supporting the collaborative development of the SRT (Secure Reliable Transport) protocol. SRT is a free open source video transport protocol and technology stack originally developed and pioneered by Haivision that enables the delivery of high-quality and secure, low-latency video across the public internet. With over 400 members in the SRT Alliance and widespread industry adoption, SRT is the fastest growing open source streaming project.

“SRT and the SRT Alliance are more relevant than ever, as organizations, businesses and institutions around the world have embraced remote working and production in 2020,” said Nick Rashby, president, AJA Video Systems. “Connecting with employees, customers, students, and other audiences on a global scale via video requires a secure and reliable transport mechanism, which is why we’ve built SRT support into BRIDGE LIVE. We’re thrilled to join this growing alliance of technology innovators who share our passion for enabling more efficient, affordable live streaming workflows that answer modern security and reliability demands.” 

“With support for the SRT Alliance continuing to grow, AJA is joining an industry movement to improve the way the world streams video,” said Jesús (Suso) Carrillo, director SRT Alliance, Haivision. “We’re pleased to see AJA adopt the SRT protocol into their new solution to deliver its customers a best-in-class streaming experience.”

The What: NewTek has released the TriCaster 2 Elite, the company’s most powerful live video production system to date. TriCaster 2 Elite enables studios, broadcasters, large scale campuses, and enterprise facilities to harness nearly every major video calling application in use today, delivering them a myriad of creative options. To further amplify the flexibility and scalability, both future-proofed video over IP and more traditional SDI are supported by the platform. 

The What Else: TriCaster 2 Elite is designed for production in today’s multisource world with new core functionality. Nearly every web conferencing tool, including Skype, Microsoft Teams, Zoom Meetings, and GoToMeeting is supported, as well as all IP video sources including NDI, SRT, RTMP, RTP, HTTP, SRC, and smartphones. These, along with almost unlimited traditional SDI sources, can be accessed and used simultaneously, meaning show producers will be able to connect with in-studio guests and remote video callers without worrying about connectivity. 

Related: NewTek Launches New Global Channel Program 

At the heart of TriCaster 2 Elite is a high-speed 60x45 video crosspoint that includes 32 external inputs that automatically determine video format and resolutions up to 4Kp60. Each input includes proc amp tools, independent keying, and cropping for crisper video, as well as triggers for automation. No tradeoffs are required with eight configurable mix outputs in HD or two in 4Kp60, direct NDI outs of media players, multiple streaming encoders, continuous NDI conversion of all eight SDI inputs, and eight independently selectable recorders for immediate replay. 

When it comes to integration, the TriCaster control API and automation tools deliver creative video production and IP workflow solutions that are highly interoperable with existing equipment, such as control room systems, video walls, multiviewers, media platforms, and the like.

TriCaster 2 Elite affords eight mix/effects (M/Es) with four layers each to enable greater creativity, enhanced by integration with Adobe Creative Cloud tools. Reducing risk and effort, visual storytelling automation tools with simplified teleprompter-based scripting with Microsoft Word document files are included. Virtual and augmented reality scenes can be rendered in real time from Adobe Photoshop files while non-standard framerate and aspect ratios such as 9:16 make it easier to deliver engaging content to a plethora of modern media screens. Other features include frame sync on every input, animated GIF support in buffers, social media publishing, audio mixing and routing, including support for Dante and AES-67, among others.

“Serving the needs well of those who make visual storytelling a key part of their business is made possible by combining IP networking, software-defined solutions, and a focus on the customer experience,” said Dr. Andrew Cross, president of R&D for the Vizrt Group, parent company of NewTek. “TriCaster 2 Elite currently has no equal in terms of capability and value and I believe that it is the best product we have ever made. More than ever, businesses, governments, schools, houses of worship, and other organizations tell us they are adopting broadcast techniques to communicate their message to their world more effectively as they seek to stay relevant in a rapidly changing environment.”

The Bottom Line: The new flagship TriCaster 2 Elite provides video producers, visual storytellers, and system integrators with broadcast functionality and enhanced flexibility. The platform allows content creators to produce simultaneous mixes, deliver multiple 4K streams to different places at once, feed video walls and accommodate separate branding and language packages, record program and line cuts, and much more.

TriCaster 2 Elite is now available at $27,995 USMSRP.

The What: tvONE is now shipping CORIOmaster2, an all-in-one, multi-window video processor delivering enhanced processing power. 

The What Else: Standout features of CORIOmaster2 include its high bandwidth, huge design canvas, and 8K-ready architecture. With 752Gbps of bandwidth, CORIOmaster2 can simultaneously display 40 windows in 4K60 4:4:4 with ultra-low latency. It offers AV designers access to triple 64k x 64k canvasses, with up to 12.3 Gigapixels of design space, enough to accommodate the most exceptional creative vision. The unit is 8K ready, future-proofing tvONE customers’ investment in their video processor.

Related: tvONE Releases CORIOmaster App Updates 

The CORIO engine within CORIOmaster2 delivers unique scaling potential. Customers can deploy fixed or flexible scalers to match their workflow and have access to dynamic windowing with layering or transitions. CORIOmaster2 offers up, down, and cross conversion, de-interlacing, and audio conversion. Most importantly of all, CORIOmaster2 supports uncompressed video with ultra-low end-to-end video latency.

tvONE has also upgraded and expanded its CORIOgrapher video wall design and control software, enabling faster video wall setup when required and full access to the advanced capabilities of this processor. For on-the-spot control, tvONE offers the CORIOmaster App, giving access to five preset configurations and allowing users to switch sources and change audio settings on the fly.

The modular design of CORIOmaster2 scales from two to 32 inputs and four to 56 outputs, allowing AV, IP, broadcast, and legacy AV sources to be routed to LED displays, edge-blended projectors, or flat panel displays. CORIOmaster2 also offers users a low energy footprint, operating from dual redundant 400W power supplies, reducing the cost of ownership.

“CORIOmaster2 gives AV professionals the performance they need to address the technical and creative challenges of our demanding, visual world,” said Andy Fliss, EVP of sales and marketing at tvONE. “It is the new video processing platform that will be trusted by professionals across the industry working in domains as diverse as control rooms, broadcast studios, live events, casinos, auditoriums, and retail outlets. Whether the output is to LED displays, projectors or flat panel displays, CORIOmaster2 is the very best tool for the job.”

The Bottom Line: CORIOmaster2 supports more windows with higher quality with uncompromised 4K60 and 8K-ready performance. CORIOmaster2 is the newest addition to tvONE’s family of CORIOmaster video processors, including CORIOmaster, CORIOmaster mini, and CORIOmaster micro.

Technology firm XR Studios leveraged the latest solutions from disguise to create stunning visuals for Katy Perry’s performance of her new single ‘Daisies’ on the season finale of American Idol. The project relied on the collaboration between the creative and technical teams led by XR Studios, with content by Silent Partners Studio using Notch VFX, direction by Silent House Productions, and PRG North America as the Production Vendor.

“Started on the #AmericalIdol stage, ended up in a whole new world,” as Katy Perry wrote on her Instagram, the performance has since been watched by over 9 million viewers around the globe with over 2 million YouTube hits on top of the 7.3 million strong viewers on the night. The broadcast has left many asking “how was the performance achieved?”

Related: Behind the Projection Design for Broadway's Beetlejuice the Musical

“Having disguise for delivery of this content was crucial... there's simply no other solution out there that I would trust with this,” said JT Rooney of Silent Partner Studios, who was the Screens Producer and led all the creative content creation.

Beginning in an American Idol-branded studio, the physical walls around Katy Perry suddenly dissolve away, bringing viewers with the ‘Daisies’ singer into a fantastical world where she interacts with virtual elements such as oversized props, a pair of giant hands, and masses of floating daisies.

“From a creative perspective, the actual look and feel of the piece was a deceptively difficult effect to achieve,” Rooney said. “The graphics’ solid flat colors and simple textures actually made it difficult to complete the illusion of making the physical LED [backdrops] disappear and magically combine with a virtual environment.”

Sitting at the heart of the setup, disguise xR integrates with an array of technologies including camera tracking and real-time content engines, directing each element with power and precision, extending the physical space into a virtual world delivering a unique visual experience.

“The seamless extension of the real-world LED screens to the virtual world environments could only be done by disguise’s xR camera registration workflow, allowing switching between camera perspectives and the LED content,” said Scott Millar, a disguise xR Workflow Specialist who provided creative technology support under XR Studios and Silent House Partners, and overall technical direction for PRG on the shoot. “Multi-Camera switching between perspectives also allowed us to switch cameras, and the LED content.”

Using disguise xR Spatial Mapping, the teams were able to accurately keyframe the position of real and virtual worlds into one coherent place where choreographed action could take place.

Conceived as a live music video performance, the unique project had a narrative from the start where the world would change in time with the song and lyrics. The visual content was created and rendered in real time with Notch, the industry standard graphics tool for live performance. Combining the rendering power and flexibility of Notch with disguise technology, the team could edit the XR content over a network while it played back live on stage.

“Using Notch as the render engine, and being able to embed that into disguise for seamless integration is a huge benefit,” Scott said. “We get all of the power, support, and control a disguise server brings, with the ability to render in real time, across multiple synchronized machines.”

disguise xR also made it possible for teams to collaborate in a social distancing environment at PRG Studios’ custom-built xR stage in LA. The disguise xR workflow helps teams avoid non-essential contact, mitigating the risks posed by traditional approaches to filming immersive visuals which would involve high-level, real-time in-camera shoots, green screen, and other VFX. Combined with carefully coordinated working processes established by XR Studios, everyone involved in the project was able to work safely together and apart.

The disguise team also provided support and guidance every step of the way. The disguise support team went above and beyond to ensure the experience went off without a hitch. “We consulted on workflow, investigated issues during testing, and then provided completely remote support for the shoot using remote machine control and video calls throughout setup, calibration, and the shoot itself to get all the information needed just as if we were onsite in LA,” said Jamie Sunter, senior support specialist at disguise.

“At disguise, we are building the technology platform to enable creative and technical professionals to tell stories in new and innovative ways for the world’s leading brands and artists,” said Ed Plowman, chief technology officer at disguise. “This show was just the beginning of disguise and xR—we can’t wait to show you what’s next.”

The What: Blackmagic Design has begun shipping the Teranex Mini SDI to DisplayPort 8K HDR, an advanced 8K DisplayPort monitoring solution for DisplayPort monitors such as the new Apple Pro Display XDR. 

The What Else: Teranex Mini SDI to DisplayPort 8K HDR is an advanced 8K monitoring solution for Pro Display XDR and other DisplayPort computer displays or high quality monitors. There are two on-screen scopes that can be selected between WFM, Parade, Vector, and Histogram.

Related: Blackmagic Design Launches New ATEM Mini Pro

The front panel includes controls and a color display for monitoring the video input, audio meters, and video standard indication. With Pro Display XDR, this panel can be used to control display settings such as switching reference modes and adjusting brightness.

The rear panel has Quad Link 12G-SDI for HD, Ultra HD, as well as up to 8K formats. There is a USB‑C style connection for monitors such as the Pro Display XDR, and two full-size DisplayPort connections for regular computer monitors. The built-in scaler enables the video input standard to be scaled to the native resolution of the connected DisplayPort monitor. Or, use the built-in pixel-by-pixel mode to view unscaled HD or 4K content. Customers can even connect both 2SI and Square Division inputs.

Teranex Mini SDI to DisplayPort 8K HDR has everything for the latest HDR workflows. All that’s required is to connect a Pro Display XDR or an HDR compatible DisplayPort monitor to allow HDR SDI monitoring. Static metadata PQ formats in the VPID are handled according to the ST2108-1, ST2084, and the ST425 standards. ST425 defines two new bits in the VPID to indicate transfer characteristic of SDR or PQ, and ST2108-1 defines how to transport HDR static or dynamic metadata over SDI. There is also support for ST2082-10 for 12G SDI, as well as ST425 for 3G-SDI sources. Both Rec.2020 and Rec.709 color space are supported, and 100 percent of the DCI-P3 format.

Two fully independent on-screen scopes are included so compliance with broadcast standards is easy when doing critical high-end work. Scopes are overlaid on screen so they can customize position, size, and opacity. Customers can select from a range of scopes, including waveform for displaying luminance levels of their input signal. The vectorscope display allows customers to see the intensity of color at 100 percent SDI reference levels. Customers also get RGB and YUV parade displays, which are well suited for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping.

Teranex Mini SDI to DisplayPort 8K HDR includes the same high-quality 33-point 3D LUTs as used in the film industry. Two independent 3D LUTs can be loaded and customers can select between them from the front panel.

"We are excited to announce the immediate availability of the Teranex Mini SDI to DisplayPort 8K HDR for customers working with the new Pro Display XDR," said Grant Petty, Blackmagic Design CEO. "It provides advanced HDR and color-critical monitoring features such as built in scopes, 33-point 3D LUT support, and native 8K for the latest customer workflows."

The Bottom Line: With dual on-screen scope overlays, HDR, scaled, and pixel-by-pixel modes, and 33-point 3D LUTs, Teranex Mini SDI to DisplayPort has been specifically designed for use in professional film and television markets.

Teranex Mini SDI to DisplayPort 8K HDR is available now for US$1,295, excluding duties, from Blackmagic Design resellers worldwide.

Porsche recently launched its new all-electric Taycan Turbo S sports car for the Danish market at the Porsche Centre Copenhagen in January. In keeping with the electric theme, Hippotizer Media Servers from Green Hippo powered the projection mapping of the car’s exterior at the special event, which was produced for Porsche by Capital Events.

[Green Hippo Drives the Visuals for Spotify’s Who We Be Live]

Copenhagen-based projection specialist 4K Projects, brought in by technical supplier Nordic Rentals, was responsible for the gleaming visuals. The company supplied a Hippotizer Boreal+ for the playback, along with a second unit as backup. The graphics and video content were fed from a single 4K output, through a Datapath FX4, which split the output into four HD feeds.

4K Project’s production team was made up of Mikkel Samuelsen, Balder Thorrud, and Rasmus Linck, who designed the video content to complement a soundtrack created by Porsche specially for the launch. The projectors covering the left and right sides of the car were rigged to cover the roof as well, while those aimed at the front and back of the car were masked in that area to avoid overlapping pixels.

“The car was positioned in the middle of the exhibition room with four projectors, one aimed at each side of the car—front, back, left, and right,” Samuelsen said. “The projectors were flown about five meters above the ground and angled at around 35 degrees so that they could hit the roof of the car as well as the sides.”

Samuelsen used Hippotizer’s SHAPE 3D projection mapping toolkit for all alignment, warping, blending, and masking tasks. SHAPE 3D, which is included with every Hippotizer, offers unique results and integrates with any 3D workflow. With advanced import and export options, SHAPE has cutting edge blending tools and real-time 3D model mesh editing capabilities, making it easier to navigate any 3D scene and test different lens configurations.

With a quick turnaround required, Samuelsen said Hippotizer’s streamlined workflow helped them to achieve results on schedule. “We created our final 3D model and UV maps out of references and other 3D files using SideFX Houdini and Maxon Cinema4D,” he said. “That meant we could work easily in After Effects and clearly distinguish each part of the car, just like you would with a regular LED pixel map.”

Artificial intelligence (AI) is the next big thing for video. Companies such as Pexip and Sony are harnessing AI-enabled video platforms to make presentations and videoconferences easier to execute and better to watch.

[AI Meets AV in Higher Ed]

Here is what both companies have come up with in this area, plus insights into how AI-enriched video analytics can make life simpler for everyone, how this technology can protect participant privacy, and where artificial intelligence for presentations and videoconferences is headed next.

Pexip’s AI Approach

Pexip’s entry into AI-enabled video analytics is called Adaptive Composition, which the company bills as “the first AI-powered technology designed to put people, not systems, at the heart of the meeting experience,” according to Jordan Owens, Pexip’s VP of architecture. In plain language, Adaptive Composition’s ability to autonomously manage key elements of meetings allows participants to focus on themselves and their content, rather than staying within the limits of their technology.

Adaptative Composition’s auto-framing function “automatically frames the camera shots around the participants’ faces, ensuring that no one appears off-center or distant in the presenting room,” Owens said. This provides a more naturalistic look to multi-site meetings, and avoids the awkwardness that can occur when presenters are half in frame or too far away to be clearly seen onscreen. (Pexip’s AI-enabled auto-framing is device-agnostic, by the way.)

Meanwhile, Adaptive Composition’s intelligent layout function makes sure that the most active rooms in a multi-site videoconference are given priority, along with the most active speakers. This is in contrast to basic voice/sound detection technology, which can maximize the view of a room with two people in it above all others, just because one of them happened to cough. Again, the result of using AI-enabled video analytics is a more natural flow to multi-site meetings, with improved AV management allowing the technology to recede into the background.

Pexip will introduce Adaptive Composition this year as a tech preview in version 23 of Pexip’s the company’s self-hosted software, Pexip Infinity.

Sony’s Take on AI

Sony’s Edge Analytics Appliance (REA-C1000) is a different approach to AI. It is a physical device that can be licensed to do one of five AI-enabled tasks: handwriting extraction, PTZ camera auto tracking, close-up by gesture, chromakey-less CG overlays on backgrounds, and focus area cropping. To add a second function, a second appliance and license are required.

The Edge Analytics Appliance is designed to improve many aspects of distance learning, multi-site presentations, and videoconferences. For instance, “In handwriting extraction mode, the Edge Analytics Appliance can capture what a professor is writing on a whiteboard, and then add it to a continuously updated digital overlay,” said Sony product manager Drew Buttress. If need be, the professor can be made semi-transparent on screen to ensure that the writing isn’t blocked to the viewers. They can see everything that is being written as the professor writes it, no matter what happens.

In close up by gesture mode, the Edge Analytics Appliance displays a 4K camera view of the entire audience. “When someone in the audience stands up, we produce a 1080p close-up of that person until they sit down,” Buttress said. “Once seated, the Edge goes back to the wide 4K view of the audience."

Sony’s chromakey-less CG overlays extracts the presenter’s live image from the shot and overlays it over any CG background that the operator selects, no green/blue screen required. This makes it possible to make presentations more visually compelling with a minimum of production equipment. Finally, the Edge Analytics Appliance’s focus area cropping mode allows a single camera feed to be used for two shots: A 4K wide shot of the speaker and his or her surroundings, plus a 1080p close up of the speaker.

Making Life Better for Everyone

Both Pexip’s and Sony’s AI solutions enhance the visual quality of distance communication while simplifying the production process. For example, using artificial intelligence to keep the participants in frame eliminates the need for human camera operators and the “amateur hour” appearance when non-AI-enabled systems fail to track participants accurately and smoothly.

Somewhat paradoxically, the use of artificial intelligence in multi-site presentations and videoconferences can make the experience feel less artificial. “With our handwriting extraction feature, for instance, the students can see what’s being written on the whiteboard clearly in addition to the teacher’s face and body language,” Buttress said. This makes the presentation experience more true-to-life and less mechanical; AI helps the technology get out of the way of the human interaction.

“With AI-enabled video analytics, participants across multiple sites have a more seamless and natural experience,” Owens said. “They don’t have their experience disrupted by worrying about being in the frame, or having someone interrupt their presentation to ask, ‘Could you please zoom in because I can’t see you?’”

AV technology managers who use AI-enabled video platforms will find their working lives less stressful, because their meetings will run smoother as this technology assumes many duties previously assigned to humans or other less-capable mechanical systems. The result is happier users, fewer presentation issues, and a reduced workload for AV staff.

Protecting Privacy

By its very nature, AI-controlled technology is highly programmable. This means that AV managers can set whatever parameters are necessary to protect participant privacy, subject to the organization’s rules that govern these matters.

Granted, some of these limits are a function of equipment deployment rather than AI. “In schools, we can’t show students’ faces due to privacy issues,” Buttress said. “This is why the cameras are set up to shoot the teachers at the front of the room and the back of students’ heads.” 

Still, there are times when everybody’s faces are shown and yet privacy is still an issue, such as a corporate multi-site town hall meeting that isn’t open to the general public. 

In these cases, an AI-enabled video system can automatically impose whatever level of encryption and routing is required to keep everything private. “This includes graphical information that is being shared inside the meeting itself, such as facial recognition in aid of auto-tracking,” Owens said. “This data is protected within the system itself.”

What’s to Come

Today’s AI-powered video platforms are just the start of what is possible with AI-enabled AV equipment. 

Sony’s Drew Buttress can foresee a time when “video analytics are incorporated into the processing that goes into augmented realty and virtual reality to provide more realistic experiences.” Meanwhile, Pexip’s Jordan Owens is more taken with the idea of AI making all aspects of AV multi-site presentations more naturalistic and seamless to participants. “We’re looking at that now: trying not just to create better face-to-face communications, but driving better overall meeting experiences across the board,” he said.

One thing is certain: Today’s AI-enabled video platforms are just scratching the surface of what is possible with this technology. Some day in the future, AI may be managing all aspects of multi-site meetings so efficiently and smoothly, that no one will even notice the AV equipment that makes these meetings possible.

The What: Magewell will unveil its most powerful decoder hardware to date in booth SU5724 at the 2020 NAB Show (April 19-22 in Las Vegas). The hardware decoder supports both Newtek's NDI technology for production-grade media transport and the Secure Reliable Transport (SRT) protocol for internet-delivered H.264 and H.265 streams.

[Magewell to Premiere Compact 12G-SDI M.2 Capture Card at ISE 2020]

The What Else: The company is also simultaneously launching a second new model, the Pro Convert H.26x to HDMI 4K, which offers the same features as the Pro Convert for NDI to HDMI 4K for users who don't require NDI support. Both models also support additional streaming protocols including RTSP, RTMP, UDP, RTP, and HTTP streaming.

The two new low-latency converters decode input streams up to 4196x2160 at full 60 frames per second for output to baseband monitors, projectors, production, or distribution equipment via an HDMI 2.0 interface. 

The Pro Convert for NDI to HDMI 4K and Pro Convert H.26x to HDMI 4K can automatically optimize output parameters based on EDID metadata of the connected HDMI display, while FPGA-based video processing enables high-quality up/down-conversion between HD and 4K. The compact devices measure 3.97 by 2.4 inches (100.9 by 60.2mm) with a height of 0.92 inches (23.3mm), and can be powered via external adapter or PoE. Users can manage advanced features of the devices via on-unit controls, a browser-based interface, or connected keyboard or mouse.

"We have received considerable interest from customers wanting the flexibility of decoding either NDI streams from their internal networks or SRT streams from external sources over the public internet," said Nick Ma, CEO and CTO at Magewell. "Each technology has its own distinct advantages for different applications, and we are seeing deployments of mixed infrastructures using multiple technologies to support specific production, display, and distribution facets of the content chain. With support for NDI, SRT, and even more protocols, the Pro Convert for NDI to HDMI 4K gives customers the versatility they need as their IP workflows evolve."

The Bottom Line: Designed for reliability, the converters are well suited for applications including multi-site video distribution, image magnification (IMAG), video walls, digital signage, remote production, and bridging legacy and next-generation media infrastructures.

The What: With the new Pandoras Box Version 6.4, Christie introduces its new 64-bit processing software, which greatly increases the performance of existing processing hardware. 

The What Else: Pandoras Box 6.4 combines the latest processing technology with media and show control. In addition to several new features on the redesigned interface, the performance of all systems has been significantly increased, with the updated software unlocking additional resources from existing server hardware. Working completely in 64-bit, the render engine—the centerpiece of the product—is now adapted to the operating system. Pandoras Box can make use of additional resources, such as system memory, or process more calculations in parallel. These performance-boosting improvements allow the simultaneous playback of more or larger video files.

"We are pleased to have significantly increased the performance and speed of Pandoras Box with the 64-bit version,” said Markus Zeppenfeld, product manager, Christie Pandoras Box. “Tests have shown that depending on the video codec, we were able to generate up to 35 percent more output. This is also great news for customers using our software player on their custom hardware systems, as even they will benefit immensely from these improvements."

Through the facelift of the redesigned user interface, the software has become clearer and more structured, making it easier and faster to keep an eye on important data or settings. Additional icons also facilitate operation and give the user direct access to key functionalities. Another new feature is the revised QuickTime decoder, which delivers faster decoding, includes hardware acceleration, and supports additional codecs such as H.264, HEVC, ProRes, and DNxHD.

The Bottom Line: Christie Pandoras Box is a family of hardware and software tools for real-time video processing and show control, live events, projection mapping, image compositing, and interactive applications. 

Christie will debut Pandoras Box 6.4 at ISE in Amsterdam at stand 1-H70. The new version is now available for download on the Christie Pandoras Box website.

The What: Extron has released the Horizontal Video Mirroring LinkLicense Upgrade for Extron SMP 111 Streaming Media Processors. This optional upgrade adds expanded functionality that enhances and streamlines the recording of video and audio presentations. 

The What Else: Horizontal Video Mirroring flips video horizontally to support lightboard or other applications that require reversal of the video image due to the presenter facing the camera while writing on a transparent surface.

"We are always looking for new ways to empower integrators to offer more efficient, cost-effective solutions, and Extron’s Horizontal Mirroring LinkLicense for the SMP 111 does just that," said Casey Hall, vice president of worldwide sales and marketing for Extron. "This valuable LinkLicense streamlines the recording process by eliminating the need to manually flip the video in post-production, saving time and resources for institutions with lightboard applications."

The Bottom Line: Extron’s flexible framework offers the option to add an Extron Pro Series control processor and a TouchLink Pro touchpanel for an integrated, user-friendly recording solution. The Horizontal Video Mirroring LinkLicense Upgrade for the SMP 111 is available now.

The What: Matrox Graphics is now shipping the Matrox QuadHead2Go multi-monitor controllers. Available in appliance and PCI Express card form factors, QuadHead2Go units are capable of driving four displays from one signal, offering a convenient path to next-generation video walls.

The What Else: QuadHead2Go controllers capture a single video signal—of up to 4Kp60 and 8Kx8K—for display across up to four screens, at resolutions up to 1920x1200 per output. The input content could be from any source—including professional graphics cards and integrated GPUs, digital signage players, laptops, and more—while displays can be arranged in classic rectangular 2x2, 2x1, 3x1, 4x1, 1x2, 1x3, or 1x4 setups, or a variety of other artistic configurations. Multiple QuadHead2Go units can be used together to easily build ultra-large video walls under any operating system, including Microsoft Windows 10 and Linux.

QuadHead2Go enables out-of-the-box plug and play when using the default 2x2 landscape configuration, without having to install software or connect to a video source. On-device buttons on the appliance enable users to cycle through preset configurations to select and set the display layout, as well as access a pre-saved image to set up display positions and fine-tune bezel-displaced pixels. The controllers also include high-bandwidth digital content protection (HDCP) support for playback of protected audio and video content from HDCP-compliant devices.

Matrox PowerWall is an advanced, yet easy-to-use management software that allows users to customize configurations and control the display outputs independently, in either offline or online mode. The Matrox QuadHead2Go REST API is also available for integrators and developers looking to create custom functions and applications.

“Matrox QuadHead2Go is a perfect example of how Matrox continues to innovate and equip OEMs, system installers, and professional users worldwide with leading-edge capabilities while simplifying the deployment process," said Fadhl Al-Bayaty, business development manager, Matrox Graphics Inc. “Packaged in small-form-factor, low-power, and user-friendly appliance and card options, QuadHead2Go ensures seamless and imaginative video wall designs for a variety of applications including digital signage, control rooms, broadcast, houses of worship, and more.”

The Bottom Line: The new multi-monitor controllers also feature a modular architecture that provides video wall scalability and flexibility by powering video walls of any type and size—while delivering flawless image quality across high-impact configurations. OEMs, system integrators, and AV installers can use the included Matrox PowerWall software to configure the latest emerging, large-scale, and artistic video walls.

The Matrox QuadHead2Go multi-monitor controllers, in both appliance (part number: Q2G-DP4K) and card (part number: Q2G-DP4K-C) form factors, are now available.

When SR Tech operated the launch event for the next-generation models of the BMW 3 series, it selected Analog Way’s Ascender 48 - 4K - PL multi-screen seamless switcher and videowall processor to drive the massive video canvas in BMW’s booth at the front gate of Coex Exhibition Center in Seoul.

The five-day show introduced the new vehicles to the press and public. The booth featured an LED floor and a three-column vertical LED wall that was three stories tall. The display area also included seven 75-, 65- and 55-inch monitors. 

[Analog Way Shipping LivePremier Series of 4K/8K Live Presentation Systems]

An Ascender 48 drove the vertical LED wall’s 625x2083 pixel resolution and the floor panel’s 1250x809 pixel resolution. A second Ascender 48 covered the seven monitors. 

“We needed Ascender’s large number of outputs and its layer configurations,” said Mr. Ryan Choi, CEO of SR Tech. “We’ve received positive feedback about the look of the launch. The public was impressed by the concept of the show and the quality of the presentation that they have come to expect from the automaker.”

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.

1Gb vs. 10Gb Ethernet: Which is right for your AV network?

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.”

Read More:

Miami Venue Upgrades Immersive Concert Experience with 4K

Lectrosonics Deployed at New World Center

The What: Datapath has launched Image4K, a new flagship graphics card for pro AV applications capable of powering 4K content on four displays from a single card.

The What Else: Image4K has been designed by Datapath’s engineers to provide flexibility and power for multi-display 4K installations. Up to six cards can be used in Datapath systems, providing a potential output of 24 displays—all in full 4K60 4:4:4. Connectivity comes from HDMI 2.0, with support for HDCP 2.2. 

[Q&A: John Storey, Director of R&D, Datapath]

“4K projects are now becoming the industry standard,” said Ben Dale, Datapath product manager. “We have added to our 4K portfolio with a card that can cope with the demands of today and tomorrow, with great versatility for multi-display applications. We have trialed the Image4K extensively with customers and it has exceeded all expectations. We are proud to launch it to the market.”

The card is fully compliant with Datapath’s Display Configuration Tool (DDCT), Diagnostic Suite, and WallControl 10 video wall management software. 

The Bottom Line: Designed for professional multi-screen and video wall installations, the Image4K is designed to enable scalable solutions with 4K60 4:4:4 content over four HDMI 2.0 outputs. Fully integrated with Datapath’s graphical setup wizard, the Image4K is easy to configure for different combinations of monitors, projectors, or LED controllers. Output resolution, rotation, and wall layout can all be configured using the graphical interface in a matter of minutes, according to the company.

The What:  AJA Video Systems announced the release of Corvid 44 12G, an eight-lane PCIe 3.0 video and audio I/O platform supporting 12G-SDI I/O.

The What Else:  Corvid 44 12G is available in ten different models, including passive or active cooling variants, for developer form factor flexibility. Corvid 44 12G models include high-density HD-BNC connectors and are available in low profile or full height form factors, while Corvid 44 12G BNC models include full-size BNC connectors. All Corvid 44 12G cards support 8K/UltraHD2/4K/UltraHD high frame rate, deep color, HDR workflows and can also provide multiple 4K streams of input or output.

Corvid 44 12G feature highlights include: 

• 12G-SDI I/O for 8K, UltraHD2, 4K, UltraHD, 2K, HD and SD with HFR support up to 8K 60p at YUV 10-bit 4:2:2, with support for RGB 12-bit 4:4:4 up to 8K 30p
• 4x bi-directional 12G-SDI ports and 1x Reference In
• 16-channel embedded SDI audio per 12G-SDI port
• 10-bit downstream keyer in hardware, supporting up to 4K resolution
• 8-lane PCIe 3.0 platform
• AJA SDK compatibility, offering advanced features including multi-channel 4K I/O
• Supported out of the box today, with AJA SDK v15.2 and later
• Three-year international warranty and support

Corvid 44 12G models include: 

• Robust HD-BNC or full-size BNC connectivity
• Low-profile design option on HD-BNC models for use in workstations or compact servers
• Passive or active cooling choices
• RS-422 serial control via PCIe bracket, or header on card
• Reference/LTC input via BNC on PCIe bracket, or header on card

“Growing consumer appetite for ever higher quality content is prompting more professionals to deliver in 4K and 8K,” said Nick Rashby, president, AJA Video Systems. “Corvid 44 12G arrives at a prime time, giving developers access to powerful I/O technology to create solutions that streamline how high resolution, deep color content is created and delivered.” 

The Bottom Line: AJA’s SDK helps power all Corvid 44 12G models, enabling companies to create high performance applications across macOS, Windows and Linux for demands ranging from imaging to post, broadcast and virtual production.

With video continually rising in percentage of total internet traffic—with estimates as high as 80 percent—and more and resolutions rising to UHD and beyond, engineers are hard at work developing new codecs to lighten the load. One of these is Versatile Video Coding, or VVC. 

The primary objective of VVC is to provide a significant improvement in compression performance over the existing High Efficiency Video Coding (HEVC) standard, but it will also aim to aid the deployment of higher-quality video services and emerging applications such as 360-degree and HDR video.

We reached out to Jill Boyce, Intel Fellow and chief media architect at Intel Corporation and a member of one of the core groups responsible for VVC, to learn more.

AV Technology: How are you involved in the development of VVC?

Jill Boyce: The VVC is being developed by the Joint Video Experts Team, or JVET. I serve as an associate rapporteur of ITU-T, one of the two parent bodies of the JVET group. (The other parent body is MPEG, which is under IEC.) I’m with Intel, I’m an Intel fellow, and in addition to these standards-related things, I chief media architect, which means I’m responsible for what goes into video codec implementations in Intel chips. So, we do hardware implementations of existing standards and will eventually do VVC once it’s finished. The joint teams between ITU-T and MPEG have developed many different major video coding standards over the years: HEVC, and before that AVC. I’ve been participating in these standards efforts going back to 1994.

AVT: How will VVC improve upon HEVC?

JB: The biggest thing is the goal of a 50-percent reduction in bitrate, so the goal is for the same quality to have half the bitrate. 

AVT: So this will reduce 4K down closer to the bitrate of 1080p?

JB: While 4K is a quadrupling of resolution, the bitrate ratio as you increase the resolution by 4X is nowhere near 4X. It varies depending upon your content, but 2.5x is a fairly common ratio when you quadruple your pixel rate.

When you cut the bitrate in half, 4K will still be a bit more than 1080p, because, content dependent, we have approximately 2.5 increase in the pixel rate, but you cut that down by 2. So we’re talking somewhere around a 1.25X increase in bitrate, but getting to have 4K instead of 1080p.

AVT: What are some other areas of improvement over HEVC?

JB: We just had a meeting last week, and one of the features that got adopted was better support for independent regions of pictures. So, if you have a large picture and you want to decode just a portion of it—let’s say you have a picture that’s split into four regions—in HEVC, we had limited support for that feature, but it was done in a non-normative way. But for VVC, there’s better support for this sub-picture, with better coding efficiency and more clear definition of normative support for sub-pictures. 

Another thing that’s being added is some support for basic scalability, spatial or quality scalability, and what’s called reference picture resampling. So within the same video sequence, if you wanted to switch between 1080p and 4K, then back to 1080p because your network bandwidth was changing dynamically, that feature will be supported in VVC.

AVT: What does VVC mean for the future of pro AV?

JB: I think it will facilitate 4K and 8K video. You can do 4K obviously with HEVC, but the coding efficiency with VVC will be significantly better. So not much of an increase over 1080p bitrate. So I think we’ll see a lot more 4K, and I think we’ll see 8K.

And with subpictures and reference picture resampling, it will provide a little bit more flexibility. One of the use cases talked about for 8K is that you might choose to capture in 8K but you might just pull out a section from it—maybe there’s just one area of interest that you care about. And because your total resolution was high enough, that section is still represented with a good enough resolution. So it enables that use case more.

At IBC 2019, FOR-A will introduce a multi-format frame rate converter, the latest version of its most popular signal processor, and the new InSync motion compensated converter. IBC 2019 will be held from September 13-17 at the RAI Amsterdam. FOR-A will exhibit in Hall 2, Stand A51.

Selected for use at the upcoming 2019 World Rugby event, 2020 Tokyo Summer games, and new professional football leagues in Europe, FOR-A’s FRC-9100 broadcast frame rate converters and FA-9600 dual channel signal processors are gaining attention from premiere broadcasters looking for the highest quality image conversion technology at these high-profile events.

At IBC this year, FOR-A will introduce the new FRC-9100 frame rate converter. The FRC-9100 builds upon the success of FOR-A’s FRC-9000 frame rate converter, which is used by broadcasters throughout the world to deliver high-quality live frame rate conversion for sports and other events. Designed for live broadcast transmission, the FRC-9100 offers up to two independent channels of 3G/HD/SD-SDI frame rate conversion, along with optional 4K and 12G-SDI support. The FRC-9100 will be deployed by several broadcasters to deliver high-quality conversion for next year’s Tokyo Summer Games in both HD and 4K/UHD operation.

Main features of new FRC-9100 include 3G/HD/SD multi-format support; SD to 3G/HD up conversion; conversion with motion-compensated processing; interlace-to-progressive conversion; timecode (LTC/VITC) conversion; 4K UHD (SQD/2SI) and 12G-SDI support (Optional); up/down/cross frame rate conversions between 4K and HD (Optional); simultaneous conversion of two-channel video inputs (Optional); and the ability to store up to four Dolby E encoder/decoder modules (Optional). 

Also at IBC will be the latest version of FOR-A’s FA-9600 multipurpose signal processor, which was first shown at NAB in Las Vegas this April. The new optional SFP+ card allows the FA-9600 to install SFP+ modules. With it, the FA-9600 can convert IP inputs to SDI, SDI inputs to IP output, as well as SDI inputs to optical output. The FA-9600 is suited for use in HDR live production or 4K HDR and HD-HDR/SDR simultaneous production.

The latest version of the FA-9600 supports 3D LUT for advanced color grading and Sony’s SR Live workflow for live HDR production. The FA-9600 flexibility allows for customers own LUT’s to be loaded into the FA-9600 and saved to a user LUT for instant recall. The dual-channel unit also provides HDR and Wide Color Gamut support and conversion of multiple formats, such as: 12G-SDI, 4K UHD, 1080p, and SD/HD-SDI. SR Live for HDR to 2K-SDR down conversion provides the same picture quality without deterioration.

In addition to conversion, each channel offers independent frame sync, frame delay (up to eight frames), color correction, processing amplification, 1080p/1080i level A/B conversion, and many more features for video and audio processing.

FOR-A will also debut the MCC-4K-A motion-compensated UHDTV standards converter at the show. The MCC-4K-A provides high-quality frame rate and format conversion with motion adaptive capability for 4K UHD (12G-SDI/quad link 3G-SDI)/3G/HD-SDI signals and offers support for quad link 2SI or SQD format, as well as single-link 12G BNC and SFP connectivity. The MCC-4K-A offers dynamic range conversion between PQ, HLG, S-Log 3, SDR and other log curves, and provides color gamut conversion between ITU-R BT.709 and ITU-R BT.2020 standards.

The MCC-4K-A is well suited for live frame rate conversion applications where UHD content sourced at a chosen production frame rate needs to be converted to other frame rates for international contribution and distribution, including sports, concerts, and breaking news environments. The MCC-4K-A makes simultaneous transmissions in UHD and HD easy, and is also suited for integrating HD and 3G content into UHD programming. The MCC-4K-A is developed by UK-based InSync Technology Ltd, and will be exclusively distributed worldwide by FOR-A.

One Times Square, owned by Jamestown and the venue for the glittering New Year’s Eve ball drop and one of the world’s most valuable advertising locations, has launched its 350-foot-high unified north wall featuring Prismview outdoor displays driven by the Christie Spyder X80 multi-windowing processor.

One Times Square was built as the New York Times’ headquarters in 1904 at 42nd Street and Broadway. Although the newspaper moved to a new building eight years later, One Times Square remained a focal point of the bustling neighborhood and was known for its street-level electronic news ticker. The building was repurposed for advertising in the 1990s, becoming a showcase for dynamic electronic billboards. 

Above the new unified north face sign are three additional discrete displays: the top two are 16mm LED video screens while the lower display is 10mm. The Christie Spyder X80 controls the displays at One Times Square, driving a unique pixel count that tops 11 million. If desired, content can encompass all screens to form one giant canvas—for example, the American flag designed by famed digital artists, Le3, furled top to bottom on all screens to honor the fallen on Memorial Day.

The prominent unified north face replaced multiple LED screens with a state-of-the-art single 8mm display which now boasts a resolution of 7380 pixels high by 1312 wide.

[Samsung Installs Massive New LED Displays in Times Square]

“Before, there was no uniformity to the displays on this iconic Times Square property,” said Mark Yokota, consultant to Christie on the project. “Now, for the first time, there’s a cohesive, clean, crisp, and professional look to the display’s advertising, graphic and beauty content” whose content is managed by WOW Factor. 

“Prismview is a big player in the arena of pro sports and live events, and we have put Spyder in a lot of venues,” said Steve Sluder, system integration manager, Prismview. “Spyder is our go-to video processor when we have to put together a lot of pixels and One Times Square is the tallest display we’ve done in terms of number of pixels—it easily spans 30 floors.”

Joel Turensky, image processing sales manager, Christie, said the Spyder X80 “is a supreme product” capable of the quality required to play content on the global stage that One Times Square is seen on and “the Spyder meets the superior demand required by global advertisers for professional-grade processing. The Spyder X80 is extremely reliable and stitches together content over the vast canvas with the most minimal latency.”

Yokota, who commissioned the system, said, “We made one X80 input available so it could scan an external input vertically along the unified north wall and stretch HD or 4K content to 7800 pixels high. Other processors can’t deal with that high of a vertical pixel count. 

“In addition, router control and an X80 backup unit are constantly in sync with the primary X80 system offering full redundancy for displays that can’t afford to be down,” Yokota said. “Spyder also has a relatively small footprint, which makes for an efficient control room within One Times Square.”

Turensky worked with Sluder on the system design and met with members of the WOW Factor content creation team months in advance to test a preconfigured Spyder.  On the global stage that One Times Square is viewed on, a first light up requires perfection. Testing was done with special high-level digital art content to make sure the first day of commissioning provided a spectacular impression. Unlike the typical start up, this one was photographed by the 500,000 people who pass through the market every day and demand perfection from day one.

“The Christie Spyder team is professional, helpful and accommodating from the design phase to delivery,” Sluder said. “They are involved at every step from the first conversation about the needs of the owner to the day of commissioning. It’s a very collaborative effort, and Christie is superior in their role.”

The Spyder X80 and X20 have been a mainstay in Times Square for some time. The NASDAQ displays next door to One Times Square are driven inside and outside by Spyders and, at Walgreens’ early-generation Spyder image processors drive diagonal LED ribbons.

Lynn Adair was project manager for Prismview with Landmark Signs handling the installation at One Times Square.

The What: Roland is introducing the VR-50HD MK II Multi-Format AV Mixer, improving upon its single-operator, all-in-one predecessor. Eliminating the need for peripheral devices, the VR-50HD MK II combines a 12-input/four-channel multi-format video switcher, a 12-input digital audio mixer, a multi-viewer touchscreen, and an AV streaming output via USB 3.0 in one device.

The What Else: The VR-50HD MK II’s assignable inputs allow the use of any combination of four SDI and HDMI sources for countless configurations and applications. The new input assignment buttons on the VR-50HD MK II make it easy to use all inputs on the switcher with on-the-fly assignment of inputs to crosspoints on the switcher. The unit’s versatile I/O capability, also including RGB/Component and Composite inputs, accommodates professional cameras, computers, presenters’ mobile devices, microphones, and more.

As live streams, HD recording, and presenter confidence monitoring often have separate visual needs from the main program output, the VR-50HD MK II has a dedicated AUX output available for sending alternate content without affecting the main PGM output. The source for the AUX output can be switched by means of dedicated AUX delegation buttons; any VR-50HD MK II input can be fed to the AUX output independent of the main PGM output. The Mixer Output feeding the PGM output can also be fed synchronously to the AUX output to serve as a built-in distribution amp out. The AUX output is available in HDMI, SDI and RGB/Component formats.

The VR-50HD MK II’s redesigned user interface allows its expanded feature set to be accessed and controlled with ease. The large built-in touchscreen multi-view monitor allows concurrent viewing of Preview and Program, of the four inputs assigned to crosspoints, and of four still images (up to four still images can be loaded from USB to internal storage for immediate access). Dedicated broadcast-style buttons give instant access to various functions—no longer is it necessary to drill down into cascaded menus. Each audio path now has its own Solo and Mute buttons.

Professional quality audio mixes for events and live web streaming, including situations where having a dedicated audio engineer is not feasible, is facilitated by the VR-50HD MK II’s new intuitive interface with on-the-fly Auto Mixing of levels and built-in Anti-Feedback. Settings allow certain audio inputs to take priority so that when a presenter speaks, the other audio levels automatically reduce. Audio from input sources can automatically change when you switch video sources with an “Audio Follows Video” operational mode, while a “Video Follows Audio” mode can switch cameras based on who’s speaking into an assigned microphone. The VR-50HD MK II provides a variety of standard audio inputs including XLR/ TRS combo jacks with 48 VDC phantom power, an RCA stereo pair, or de-embedded audio from 3G/HD/SD-SDI and HDMI inputs.

Robotic Pan/ Tilt/ Zoom (PTZ) cameras can eliminate the need for dedicated camera operators while still providing studio-grade broadcast quality. During production, PTZ cameras can be placed in discreet locations thanks to their small size. The VR-50HD MKII can directly control select JVC and Panasonic PTZ LAN cameras, without the need for a dedicated PTZ camera controller or operator. Up to six compatible PTZ cameras can be controlled via a single LAN port. 

The VR-50HD MK II is loaded with internal video effects. Keyed video can be placed on picture-in-picture compositions. A still image can be placed on top of the four layers available for composition and effects can be switched on and off at will. 

To share events and maximize global reach, the VR-50HD MK II uses the same USB connection technology as webcams. Web-based streaming simply requires connecting the USB 3.0 I/O to a computer or hardware streaming interface; there is no software to download, drivers to install, updates to manage, or restart required. Roland’s free companion VR Capture software, available for Mac or Windows OS, accommodates recording to “web ready” Full HD AV files.

The Bottom Line: Inspired by direct feedback from live event users, the VR-50HD MK II adds an AUX output to support dedicated confidence monitoring, recording, or streaming feeds, while retaining the original VR-50HD’s connectivity and flexibility to accommodate a wide variety of event production. Additionally, the VR-50HD MK II features an updated user interface for trouble-free navigation and setup, enhanced audio quality, control capabilities for select JVC and Panasonic PTZ cameras, and new automation functions such as intelligent automated audio mixing and automated video input switching.

KVM display management systems developer IHSE USA has partnered with VuWall, a provider of visualization solutions for controlling, managing, and collaborating on graphic information for video walls and multiscreen structures. The partnership aims to address a gap in the market, allowing companies to scale their KVM outputs to display walls or multi-view displays through a single, integrated control interface.

The integration of the IHSE KVM matrix and VuWall systems makes it possible to control and visualize all sources from the matrix switcher onto the video wall. With this system, multiple sources can be switched and displayed simultaneously on the video wall. With VuWall's collaborative interface, operators have all critical data and information at their fingertips from a single interface. It's also possible to mix in other sources from other systems, such as IP streams, applications, and websites.

"IHSE and VuWall bring AV/IT integrators and video wall operators the perfect complementary technology with seamless integration," said Paul Vander Plaetse, CEO at VuWall. "With numerous successful joint deployments throughout Europe, we are excited to partner with IHSE at NAB and bring our integrated solution to the American market."

At the 2019 NAB Show, the VuWall system is connected via an IHSE Draco vario compact matrix system and HDMI extenders. Multiple types of video sources will be distributed through the KVM matrix and extended to a 2x2 wall display, where multiple sources will be displayed simultaneously. Operators will control the content layout on the video wall via the VuScape video wall controller using a VuWall touch panel for quick macro access of predefined layouts. Users can interact with the matrix from a local keyboard or from the touchpanel interface. Communication between the IHSE and VuWall processors happens thanks to the IHSE API, through which buttons and images can be defined by the operator for a more graphical user experience.

"With the collaboration of VuWall and IHSE to create a more robust video wall display and management system, the companies continue to drive new and better solutions that system integrators can rely on to be more flexible and cost-effective," said Dan Holland, marketing manager for IHSE USA. "The new partnership offers our channel partners and customers a full-featured KVM and wall management solution ideal for those demanding dramatic user experiences across multiple displays."

The combined offering aims to create a new distribution category for the AV integration market at a time when those in the broadcast, entertainment, and government command and control verticals are seeking cost-effective solutions for interactive knowledge walls. This collaborative interface gives the operators complete control from a single surface. The interface also allows operators to resize all windows across the complete input range and access multiple sources, even if they are on segregated networks. Interfaces can be set up in any configuration with operator-accessible templates and groups.

This solution enables full end-to-end creation, management, production, and distribution of quality live video, combined with graphical overlays used in broadcast master control and C4ISR command centers.

When Volvo bought space along New York City’s Eleventh Avenue, aka “Auto Row”—where showrooms for major automobile manufacturers stretch from 40th Street to 60th Street—the goal was to build an attractive brand awareness center that stops passersby in their tracks. Featuring a huge 5x7 panel video wall, a virtual-reality vehicle design room, five zones of audio, a Swedish-design inspired coffee lounge, and an advanced ClearOne VIEW Pro IP-based video delivery solution that enables custom video sizes and remote management, the Volvo storefront stands out among competing local showrooms.

According to Nick Ehr, owner of Florida-based electronics integration firm Broadcast Systems, Volvo knew the capabilities and aesthetic appeal they wanted, but beyond that, the decisions on equipment and system design were left to the professionals.

“Volvo wanted this space to represent the brand with truly captivating designs and an exciting environment, and today that requires integrating advanced AV technologies,” Ehr said. “Their most visible need was the 5x7 panel video wall, which makes a huge statement because it can be seen from the sidewalk outside the storefront. Because a 5x7 design results in a non-standard aspect ratio and pixel count, we required a scalable, flexible video distribution system, and we knew ClearOne could deliver. The dynamic abilities of the ClearOne VIEW Pro solution made it the ideal choice, allowing for custom resolutions, content scaling, and splitting the video wall into any number of custom-sized frames, even across bezels.”

Another crucial requirement of the project was reliability and remote accessibility, particularly since the integration firm is located 1,000 miles from the job site. 

"During the 18-month project period we traveled to New York each month to attend meetings and ensure every detail was considered and every concern was addressed,” Ehr added. “We loaded the software on the server, so all the ClearOne pieces talk to the server. Now I can log into it remotely to check the temperature of all the displays, and if anything does get hot, the system immediately sends us an email. We can remotely update firmware, power cycle, adjust color temperature, add sources, and much more."

The video distribution solution uses a single ClearOne VIEW Pro E120 Encoder to send signal to 35 ClearOne VIEW Pro D210 decoders, one for each panel on the 5x7 video wall. The ClearOne VIEW Pro PANORAMA software and CONSOLE software allow operators to manage displays of any shape, size, or resolution, which is becoming more important as companies opt for custom LCD and LED video walls that don’t have standard pixel counts or aspect ratios.

The showroom’s general manager, Nelson Guerrero, was open about the store focusing more on brand awareness than sales, specifically noting that exciting video content can extol the brand’s values—family, safety, technology, design—in a way that no static advertisement or vehicle showcase can match. He also cited the benefit of using advanced display solutions to reach today’s consumers, based on the overwhelming role digital displays now play in our daily lives. 

Broadcast Systems also installed a special color management tool that allows the integrator to adjust the color temperature and image specifications for the video wall. The wide range of custom capabilities ensures every future need can be met with minimal labor or hardware changes. The ClearOne system also manages content for two additional flat screen HDTVs in the showroom.

“In the new world of endless display sizes and varieties, ClearOne delivers solutions that can be custom tailored to serve any need and satisfy any expectation,” said ClearOne chair and CEO Zee Hakimoglu. “Integrators and end users can trust ClearOne’s leading video distribution products to deliver the ultimate in video quality, reliability, expandability, worry-free operation, and remote access.”

The What: JVC Professional Video, a division of JVCKENWOOD USA Corporation, has launched the ProHD BR-EN900 encoder designed for studio and remote production, ENG, live streaming from sports venues, and point-to-point HD video contribution. 

The What Else: Powered by an all-hardware compression chip, the portable BR-EN900 provides broadcast-quality HEVC (H.265) encoding up to 1080p60 with 10-bit 4:2:2 sampling. Dual encoding capabilities allow simultaneous H.265 and H.264 streaming to different destinations, such as hardware decoders and CDNs. The HEVC codec reduces bandwidth requirements and the associated costs when streaming over cellular, satellite, and broadband networks.

“Our cameras feature built-in encoders, but customers often need to stream the output of a switcher in multi-camera remote production applications,” said Edgar Shane, general manager of engineering. “The BR-EN900 can deliver contribution-quality HD video over bonded LTE, Wi-Fi, or WAN without compromising the image quality, even at very low bitrates using the high-efficiency H.265 codec.”

When combined with JVC’s BR-DE900 decoder, which decodes both H.265 and H.264 streams, the BR-EN900 delivers best-in-class HEVC video quality and up to 50 percent bandwidth savings compared to H.264. Both units are transport infrastructure agnostic, so they work over WAN/LAN, LTE and satellite connections.

The Bottom Line: Designed for nearly any video environment, the BR-EN900 includes 3G-SDI, DVI, HDMI, and composite inputs, plus support for analog and digital audio (embedded and discrete). The compact encoder can be integrated into mobile production vehicles and transport cases. It also features Zixi error correction technology, which provides error-free video delivery over the internet and can tolerate network congestion, high jitter, and packet loss.

JVC will demonstrate the new encoder at the 2019 NAB Show (booth C4415). The BR-EN900 has an MSRP of $5,990 and will ship in June.

The What: Matrox Video has launched the Matrox M264 S4, a new addition to the M264 family of H.264 hardware codec cards. The Matrox M264 S4 card supports up to four channels of 4K Sony XAVC and Panasonic AVC-ULTRA encoding/decoding in a single-slot card to enable high-density, multi-channel 4K workflows in PC-based platforms. 

The What Else: Designed specifically for high density and quality, H.264-based encoding/decoding (Baseline Profile to High 10 Intra Profile up to Level 5.2), the Matrox M264 S4 card provides XAVC-certified and AVC-ULTRA-compliant presets. The Matrox M264 S4 card can encode/decode up to four 4K50/60 streams of XAVC 4K Intra Class 300/480, XAVC 4K Long 4:2:2, or AVC-ULTRA in real time with zero CPU usage. The M264 S4 card can also encode/decode up to four streams of 4K60 at 4:2:2 10-bit, 40 streams of HD Long GOP at 4:2:2 10-bit, or 64 streams of HD at 4:2:0 8-bit, with low power consumption in a small footprint.

The Matrox M264 S4 card is supported by the Matrox DSX SDK, which features an extensive set of media processing modules—including file input/output, software codecs, and CPU effects—for rapid application and system development. The M264 family of codec cards also provides plugins for H.264 transcode acceleration into the FFMPEG framework.

“The Matrox M264 S4 codec card, like its predecessors, provides cutting-edge, Sony-certified, 4K XAVC support,” said Alberto Cieri, senior director of sales and marketing, Matrox Video. “As the demand for 4K continues to rise, the Matrox M264 family is equipped to meet and exceed every encoding and decoding stress test with ease, making them the de facto choice for PC-based, multichannel 4K/HD solutions including video servers, production servers, and more.” 

The Bottom Line: Combined with onboard de-interlacing and scaling functionality, the Matrox M264 S4 card is designed to provide a simple, cost-effective means of managing computationally demanding 4:2:2 10-bit, and 4:2:0 8-bit workflows. Broadcast OEMs can now deliver encode/decode performance using standard, PC-based solutions to enable multichannel broadcast contribution, distribution, and production systems such as video servers, IP multiviewers, media encoders, transcoders, render farms, and more.

Matrox will demonstrate the M264 S4 card driving a variety of multichannel 4K XAVC workflows at its booth SL3811 at NAB 2019. 

The What: ClearOne has announced the availability of VIEW Lite control modules for Crestron and AMX control systems. The software modules are designed to make AV projects with multi-display video walls and other equipment easier to deploy by decreasing the effort required to program the control system.

The What Else: The VIEW Lite control modules for Crestron and AMX provide a ready-made template for integration of equipment with ClearOne’s VIEW Lite Controller for AV-over-IP systems. Each of the software modules is implemented as a common core plus a helper component to provide video wall support. Both modules have the ability to interrogate the VIEW Lite hardware they control to discover its configuration. They also both support two-way feedback for video layout switching. In addition, the software package includes a sample GUI that illustrates how to use the control modules.

The Bottom Line: Instead of reading through complicated API documentation and building a control module from scratch, integrators can use the VIEW Lite control modules to save time and effort. Because the control modules implement all the required command interfaces for VIEW Lite, these modules enable integrators to focus on developing an attractive and intuitive GUI for users of the system. 

The What: Matrox Graphics has begun shipping a fanless cooling version of its highest-density 4K IP decode and display card. The new fanless, single-slot Matrox Mura IPX card for IP-based multiviewers and personal video walls features high-quality decoding of multiple 4K and Full HD streams for display across up to four 4K outputs. 

The What Else: Matrox Mura IPX multiviewer cards feature a dedicated onboard network interface controller (NIC) enabling decoding density of up to two 4K60, four 4K30, eight 1080p60, 16 1080p30, or more SD streams. Built into the same board are four DisplayPort connectors to attach up to four 4K30 displays. Mura IPX decode and display boards are also standalone solutions—requiring an enclosure for power, while eliminating the need for an operating system, CPU, driver, or any other system requirements. System integrators further have the choice of fan or fanless options to deliver optimized multiviewers, video wall controllers, and personal video walls for any project requirement.

Matrox Mura IPX multiviewer and capture cards include a complete range of video wall software, APIs, and libraries. These software toolkits allow OEMs and developers to deploy intuitive, ready-to-use software and build custom interfaces and applications.

"The Matrox Mura IPX multiviewer cards unequivocally provide incomparable user experiences, from OEM integration all the way through to operator-level control," said Fadhl Al-Bayaty, business development manager, Matrox Graphics. “Combining high-density decode and display support, on a system-independent card, significantly saves on development and deployment resources, while operators in 24/7-type environments can comfortably access, view, and monitor all IP streams to make timely, well-informed decisions.”

The Bottom Line: A “video wall system on a card,” Mura IPX decode and display boards provide OEMs with system design flexibility to cost-effectively build low-footprint, maintenance-free multiviewer platforms for control room, process monitoring, security, and other networked AV applications requiring high-performance, high-reliability operation. 

Matrox Mura IPX 4K IP decode and display cards in both passive (part number: MURAIPXO-D4LHF) and active (part number: MURAIPXO-D4LF) cooling versions are now available. See the Matrox Mura IPX decode and display cards as part of an end-to-end, AV-over-IP ecosystem at InfoComm 2019 (Orlando, June 12-14, booth 3055).

The What: 1 Beyond has announced its newest product line, 1 Beyond Automate multicamera media processing solutions for streaming, recording, and videoconferencing.

The What Else: Triggered by voice or simple selectable scenarios, the Automate product line automates camera motion and switching in addition to providing multi-window compositing and titling for meetings, conferences, panel discussions, lecture capture, distance learning, and corporate training. 

The  Automate family replaces the previous 1 Beyond Collaborate AVS and Automate RCS systems and software. The family of Automate solutions features four bundles that each include PTZ cameras, a multimedia processing system, and accessories.

Automate VX and Automate VX Pro solutions use the microphones in the room to identify the active speaker and provide voice-activated switching (VX) of the camera views.

Automate Select and Automate Select Pro solutions provide selectable, customizable layouts with automated camera control for different presentation scenarios.

“We have been recognized as having the most advanced videoconferencing and lecture capture technology, and now with four camera functions [power, setup, control, and configuration] over one Ethernet cable, we are the easiest to install,” said Terry Cullen, 1 Beyond CEO and founder.  

Built into all Automate solutions is a multimedia processor that combines multiple video and content sources and supports superimposed titles and custom graphics. A graphical user interface allows for design of any layout, not just picture-in-picture or side-by-side. In addition to a broadcast quality output for conferencing, Automate solutions have a built-in encoder and recorder to enable multiple live streams, program recording, and ISO recording.

Voice-activated switching in Automate VX configurations is currently supported for Shure Microflex Advance (MXA910, MXA310) microphones and Shure Discussion Microphones (MXCW, MXC, DDS 5900, and DCS 6000). In addition, multiple types of microphones can be used with either the Shure P300 or Shure SCM820-DAN.

The Bottom Line: 1 Beyond Automate solutions are engineered to be easy to design into rooms of different sizes and layouts. Room presets can be saved for spaces that are divisible or have multiple furniture configurations. Up to seven cameras can be positioned anywhere.

1 Beyond Automate Select bundle is $9,595 and 1 Beyond Automate VX bundle is $12,995. These standard bundles include a three-input processing system and two PTZ-S20 cameras plus accessories. The Pro upgrade of each has seven inputs, double the storage, and includes IP cameras for power, setup, control, and configuration over Ethernet.

Catch up on highlights from Day 4 at ISE 2019.

The What: Jupiter by InFocus has debuted its new flagship Catalyst XL display wall processor, featuring ultra-fast bandwidth and data transfer, high memory capacity, 4K and 8K capture board technology, and real-time document and video annotation capability.

The What Else: The processor can power up to 48 displays and a maximum of 156 4K IP and direct inputs, with a density of processing power that allows for fewer input/output boards to reduce an installation’s hardware footprint. Catalyst XL is available with a four-channel HDMI input board capable of ingesting resolutions up to 4K per input, and which can be synchronized for 8K capture.

Using point-to-point technology, Catalyst XL offers bandwidth at bidirectional speeds of 15.8GB/s PCIe Gen 3 x 16 that enables direct data sending without needing to go through system memory. Next-generation DirectGMA technology enables the processor to maintain frame synchronization while handling high-speed data transfer from the capture board to one or more GPU boards, and it can support full-duplex communication between any board for full-frame rate transmission from the source to display through the PCIe bus. For easy deployment, Catalyst XL includes a new graphics driver, support for multiple languages, and backwards compatibility with the Jupiter by InFocus’s ControlPoint software.

Catalyst XL offers users security and ease of use with a specialized version of Windows 10 LTSB and Jupiter by InFocus’s collaborative visualization software, Canvas, in its newest 5.6 version. With Canvas, users on a mobile device or conference room display can view video, data, and applications from a control room, as well as annotate directly on live video streams, chat by text or voice, and collaborate on documents in real time. Catalyst XL can be used for a single video wall using Canvas or it can be connected to a Canvas Enterprise ecosystem, where multiple video walls are managed by one or more Canvas servers.

“Equipping Catalyst XL with the fastest bandwidth available, along with more 4K direct inputs and streaming sources, was critical in debuting our newest flagship display wall processor,” said Devon Wright, Jupiter by InFocus product manager. “We’ve tapped into processing, memory, and resolution advancements to give users a highly capable solution designed for the enterprise and mission-critical applications the Jupiter brand is known for.”

The Bottom Line: Catalyst XL is designed to support enterprise as well as mission-critical, 24/7 operations that require video quality and uptime, both for single video wall installations and those on a corporate network with multiple connected video walls.

The What: tvONE is now shipping new enhancements to its CORIOmaster (4RU), CORIOmaster mini (1RU), and CORIOmaster micro (1/2 RU) video wall processors.

The What Else: The enhancements include a secure communication suite with full REST API and multi-user control. Other improvements include an HDMI four-port output module (CM-HDMI-SC-4OUT), audio support for the CORIOmaster and CORIOmaster mini for embedded audio, and a dedicated audio module (CM-AUD-2IN-4OUT).

Secure communication allows system installation to be compatible with all secure network infrastructure environments. The HDMI four-port output upgrades the C3-540 CORIOmaster to up to 56 outputs, making massive video walls, projector edge blends, and LED installations easy and smooth. The embedded audio support and new audio module improve CORIOmaster performance for both video and audio in an installation. The IP streaming module now accepts both H.264 and H.265 (HEVC) for higher quality, increased bandwidth performance, and includes an ultra-low latency mode.

The Bottom Line: The CORIOmaster range of products can manage up to four canvases for supporting multiple video walls, while also performing various other video tasks simultaneously, including audio, real-time 360 video rotations, multi-image processing, and rotation and edge blending.

To download CORIOmaster & CORIOmaster mini's latest firmware update, please click here. 

Crestron has launched Pixel Perfect Processing, an exclusive new technology to supersede the JPEG 2000 codec in its NVX family of AV-over-IP devices. 

Ahead of the official release, Crestron invited members of the press to its Rockleigh, NJ headquarters to look behind the curtain of this next-generation DM NVX solution.

When the DM NVX launched in 2017, most source content and displays were 1080p, according to Alex Peras, product manager of DigitalMedia at Crestron. “We chose to use JPEG 2000 because it was the running standard in the industry,” he said. “As we were developing for our markets, we noticed it had the best quality video on a 1Gb pipe for motion content.” 

Motion video might have looked outstanding, but the JPEG 2000 (J2K) codec fell short as soon as spreadsheets or other highly detailed static images were viewed over the network at 4K60, 4:4:4, rendering them nearly useless. 

Eighteen months after the launch of DM NVX, 4K devices, displays, and content are more commonplace. “We wanted to make sure we accounted for this,” Peras said. “We worked extremely close with our original J2K partner, intoPIX, to develop Pixel Perfect Processing, a new technology which is exclusive to Crestron Electronics.” As of February 1, 2019, all DM NVX’s will be shipping with Pixel Perfect Processing technology. Committed to the DM NVX platform, Crestron has made upgrading to Pixel Perfect Processing a free firmware update for the 120,000 units already deployed.

Behind the Curtain

To demonstrate the new technology, Crestron placed two 4K displays side by side and fed them identical spreadsheet content (and a static photograph)—with one connected directly to a PC and the other receiving content through the DM NVX with Pixel Perfect Processing. When tasked with discerning which was which, the differences were visually imperceptible. Fine type within the cells of the spreadsheet were sharp. Even red type on various colored backgrounds, which would normally produce artifacts with J2K, was sharp. Further, upon testing the motion of mouse cursors on both displays, there was no discernable latency added by the DM NVX.

Choosing Infrastructures

The DM NVX delivers 4K60, 4:4:4, and HDR video over existing 1Gb infrastructure. “What we see is today is that 75 percent of Ethernet ports shipping are 1Gb, and only 4 percent are 10Gb,” said Nic Milani, director, commercial product marketing at Crestron. The DM NVX works on 1Gb and 10Gb networks. 

“We've always worked with the switch manufacturers to make sure that whatever technology we've built works on their infrastructure, because it’s their backbone that's tying the whole enterprise together,” Peras said. “And AV does not drive their roadmap.”

Currently, Peras said that switch manufacturers are making a significant investment into 2.5 and 5Gb wireless access points. “While they continue to develop their infrastructure and their products, we're going to continue to develop our products to make sure we can work with them as they deliver on their roadmap to 2020,” he added.

DM NVX Product Family Continues to Grow

Crestron’s new DM-NVX-E30 and DM-NVX-D30 are encode or decode-only units that support HDMI connectivity and analog audio, delivering additional flexibility for basic endpoints when only video, audio, and control are needed. The DM-NVX-352 with Dante audio networking and AES-67 audio is also now shipping. 

The What: VITEC (Stand 14-M200) will showcase the latest capabilities of its EZ TV IPTV and Digital Signage Platform at ISE 2019. 

The What Else: VITEC's EZ TV IPTV and Digital Signage Platform is engineered for the ever-changing video, marketing, and sales requirements of today's sports venues as well as for the secure dissemination and content management of full-motion video streams and offline files for enterprise and mission-critical applications and government agencies. Designed to integrate with any IT environment and run on all types of networks—LAN, WAN, and wireless—EZ TV can be rapidly deployed for nearly any size project. With centralized creation, distribution, and monitoring of live and on-demand content and digital signage, the platform streamlines the process of linear and non-linear workflows. Its network-agnostic, modular architecture allows organizations to upgrade legacy systems or deploy a turnkey IPTV and signage solution for a new build at a fraction of the cost of traditional digital signage solutions, according to the company. For sports and entertainment facilities, EZ TV can offer advanced fan experiences while reducing CAPEX and OPEX often associated with legacy solutions.

"We're seeing more outdated RF-based facilities being transformed by EZ TV," said Bruno Teissier, international sales and marketing director, VITEC. "Not only is the platform bringing them into the IPTV world, it's also improving OPEX, supporting HD and even 4K as they explore future capabilities, and allowing users and fans to access digital media from any screen—TVs, PCs, or mobile devices—and have the video-on-demand experience they crave. ISE 2019 is the perfect opportunity for VITEC to discuss with attendees how EZ TV's latest innovations can simplify deployment and management of projects involving IPTV, digital signage, and video wall content."

The platform's video wall capability is designed to simplify deployment and management of projects. VITEC's video wall processors are 100-percent hardware-based, feature low-latency native playback of IPTV streams up to 4K, and support interactive content and imagery transformations. More than 50 displays can be managed from a single processor, including nonstandard layouts and resolutions of TVs and LED walls.

With the rapid adoption of video streaming and recording workflows, organizations increasingly face challenges related to storing, searching, and playing back valuable assets effectively. EZ TV's new Media Library module enables users to find, tag, edit, organize, store, search, and share media files quickly. Featuring a user-intuitive HTML5 interface, its tools streamline media processes from live streaming to recording, archiving, and collaboration, allowing users to manage a full digital video experience across an entire venue.

The Bottom Line: Designed for sports and entertainment venues, enterprise, government, and military agencies in Europe and the U.S., EZ TV's feature set enables organizations to centrally manage and stream HD, low-latency, in-house feeds and TV channels, as well as create eye-catching digital signage and video walls for distribution to any display through a facility.