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Archive by David Steinberg

High Resolution Systems’ UDC Gives Easy Front-End Control to Fibertech Networks’ Videowall

Rochester, New York-based AAVS (Advanced Audio Visual Solutions) selected High Resolution Systems’ UDC (Universal Device Controller) software for front-end control of a videowall at Fibertech Networks’ operations center in town. Fibertech Networks is a leader in building and operating fiber optic networks in the eastern and central region of the US. AAVS sells and integrates audio, video, lighting, communications, surveillance and control equipment in new and existing construction. It is the leading AV integrator and rental company in upstate New York.

To monitor T1 lines and fiber networks Fibertech uses a 64 ft x 8.5ft videowall and an RGB Spectrum video wall processor. Sixteen PCs feed the Spectrum; inputs can be displayed anywhere on the videowall and can be stretched between walls and minimized and maximized to fit the location. Six projectors, all edgeblended, can display any of the inputs to any part of the overall raster. Windowing is performed by the Spectrum.

“The advantage of using UDC as the front-end controller is the ease of moving things around,” says Graeme T. Poluch, vice president of sales at AAVS. “We have programmed some presets, but UDC is also fully customizable, so any of the 16 inputs can be any size and in any location on the wall.”

AAVS chose to employ UDC with a Windows RT 8 tablet interface. “We like that UDC enables us to use any type of Wi-Fi tablet we like,” says Poluch. “UDC has multiple output resolutions so it looks great on any tablet interface. We can select an input on the tablet then select the desired location for it. Typically, we’ll work with one of the existing templates, but if we want something customized we can modify from that point. Its ease of use and flexibility make it easy to love!”

Poluch notes that Fibertech Networks is “thrilled” with UDC control and more projects may be in store with the customer.

About HRS Control

High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.HRScontrol.com.

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Doug Aitken Premieres New Video Installation “The Source (evolving)” with AV Support from WorldStage

Renowned artist Doug Aitken marked the U.S. premiere of his installation “The Source (evolving)” at New Frontier at the Sundance Film Festival in Park City, Utah with AV support from WorldStage, which provided design consultation, equipment and programming.

New Frontier at Sundance champions films that expand, experiment with and explode traditional storytelling. “The Source (evolving)” is a kaleidoscope of fast-paced, candid conversations with pioneers from different artistic disciplines from around the world. Aitken asks these shapers of modern culture where does the creative idea start and what is the journey to the finished creation?

“The Source (evolving)” was housed in the Pavilion, a new 2,000-square-foot circular structure adjacent to Main Street created in collaboration with U.K. architect David Adjaye. Six-channel video projections were arrayed along the inner circumference of the cylindrical structure’s interior and were visible from the outside at night when curtains were withdrawn to allow the screens to be viewed through The Pavilion’s large windows.

Aitken has said that his immersive documentary “examines the entire process of creation, not just the finished result, and speaking directly with the creators whose work has the ability to steer culture in a significant way, ‘The Source (evolving)’ takes viewers on a fast-moving road trip through the modern landscape of creativity.”

WorldStage previously worked with Aitken on “Sleepwalkers,” a multi-screen cinematic experience projected on seven facades of The Museum of Modern Art in New York City; a special single-channel version of that installation was presented at New Frontier at Sundance in 2008.

For “The Source (evolving)” the Pavilion’s partition walls created six adjacent, high-quality viewing theaters each equipped with a Panasonic PT-DZ7700 HD projector and Harkness Hall projection screen provided by WorldStage. WorldStage also supplied a near-field monitoring sound system and a directional Brown Innovations Soundbeam system for the theaters.

“We not only designed and specified the media components but also the wall construction to minimize crosstalk between the six separate theaters, which is typically an issue for installations like this,” says WorldStage project manager Randy Briggs.

“It was a pleasure to work with Doug Aitken again and to introduce his latest installation in a completely new custom built venue at Sundance,” Briggs continues. “Doug always creates unique experiences, and we’re honored to have collaborated with him on this ground-breaking six-channel projection. He is one of the most interesting voices in multimedia art today”

Aitken also developed an accompanying interactive website for “The Source (evolving),” which connected audiences not attending Sundance with the work and which will serve as a living archive that he will continue to populate with interviews.

For WorldStage, President Josh Weisberg created the system design and acoustics specs, Randy Briggs managed the project and Paul Clements handled the physical installation.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Rose.Rabbit.Lie. Establishes a New Paradigm in Las Vegas With Clay Paky Lighting

Described as a venue that blurs the lines between restaurant, bar, club and show, Rose.Rabbit.Lie. at The Cosmopolitan of Las Vegas is the city’s most talked about new “social club.” Clay Paky lighting plays a key role in the unique venue, which represents a partnership of The Cosmopolitan, Coastal Luxury Management (food and beverages) and Spiegelworld (entertainment).

Guests at Rose.Rabbit.Lie. can dine on a small-plate menu in the library area, have drinks at the bar and in the study, and catch the “Vegas Nocturne” ticketed show that plays three times throughout the night; the theater transforms into a club following the last show and performers turn up everywhere to entertain guests. Walls move up and down to reconfigure the space, and guests move from room to room as they choreograph their evening and enjoy a customized experience.

Justin Spangler and PSX Audiovisual Technologies in Covington, Louisiana, supplied the Clay Paky fixtures and were also the integrator on the project.

Lighting designer Nick Whitehouse came on board at Rose.Rabbit.Lie. at the behest of Spiegelworld. He was tasked with creating theatrical lighting schemes for all nine rooms to enable every bit of the venue to act as a performance space.

“It was a large-scale project, the idea being that theatrical elements play around the whole venue,” says Whitehouse. “So we really had to design the lighting to make performance possible anywhere – and have the performers lit properly anywhere. I needed to design a rig that could cope with anything without being just everywhere.”

One of the biggest challenges was trim height since the overall trim of the venue was about 15 feet and some of the performers are high-wire and aerial acts, which come close to the lighting rig. “Many of these acts need to have consistent and very specific lighting for safety reasons, so I had to design a rig with proper lighting, safety and limited trim height in mind,” Whitehouse says.

“I also had to be able to have up to three acts going on at the same time in different rooms and, since the show is constantly changing, make the rig adaptable to fast changes that happen pretty much all the time.”

Whitehouse chose Clay Paky Alpha Spot QWO 800s as the spot fixtures throughout the venue. “They do the majority of work in the space. They light all the performances and provide the main key lighting,” he explains. “Because the space is essentially in the round and performers use every part of the rooms, the fact that we had a fully-automated rig meant that we could reduce the number of fixtures as they could all do multiple jobs. The QWO 800 spots have amazing optics, high brightness and, most importantly, small size and weight. We use 64 throughout the space with the main concentration in the theater where the main show and nightclub are centered.”

Whitehouse also selected 53 Clay Paky Sharpy Wash 330s as the main theatrical wash in the theater; he likes the fixture’s size, speed and variable zoom and frost features. “The spots and washes provide some great effects lighting as needed for the more up-tempo numbers with some really nice looking gobo and beam looks from the spots,” he says. “They immediately transition into effects lighting for the nightclub, which opens after the 12 am show finishes.”

Whitehouse had previously auditioned the QWO 800s for another project and has used the Sharpy Washes extensively. “I knew what they were capable of and that they would be perfect for this venue,” he says. “I looked at other fixtures in the same size and power range but felt that none had the same quality of light.”

He reports that the lights “work great – they’re very reliable despite being pushed hard for 14 to 16 hours a day. They’re doing everything I asked of them in the programming I did. I’m very happy with them.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a great application for our lights and we’re proud that Mr. Whitehouse has again chosen us to support his creative efforts. The space is amazing!”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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Super Bowl Halftime Show Shines with grandMa2, Clay Paky Sharpys and B-EYEs

The Super Bowl Halftime Show always glitters, and Bruno Mars’s stellar performance at Super Bowl XLVIII was no exception. This year 330 Clay Paky Sharpys and a dozen Clay Paky A.leda B-EYE K20s were on hand to illuminate the show while a grandMA2 light took command of the media. A.C.T Lighting is the exclusive distributor of Clay Paky and MA Lighting in North America.

Lighting designer Bob Barnhart opted to have “a more rock ‘n roll vibe in the rig than the stylized, choreographed shows that we’ve seen in the past. Bruno wanted this to be more of a live rock show.”

Barnhart was challenged to capture that rock ‘n roll sensibility as well as prepare for winter weather conditions that might envelop the open-air MetLife stadium in New Jersey. “It was a question of what we could design that could survive severe weather,” he says. “Another factor was the limitations of rigging positions in the building and how we could symmetrically lay out the rig. We had to cover as much of the full stadium with the stage pushed back against the audience as we could.”

Barnhart calls the Sharpys “workhorses” and says that, “one of the goals in an outdoor stadium is to maintain an atmosphere to maintain the beam; that’s hard to do with high winds. But Sharpy is a very fast instrument with an extremely tight, bright beam.” He placed Sharpys on the three balcony facias throughout the stadium, on a series of trusses and around the main stage hanging them in clusters of three or six for symmetry.

Lighting director David Grill says the Sharpys “really came in handy at a venue where there were so many power needs. Sharpys are a tremendously brilliant beam of light with no wattage at all; they really saved us money on power and cut the amount of cable and power we needed dramatically. We could get a lot more lights on one cable because of the low wattage, and for a stadium that’s great. Sharpy are worth their weight in gold.”

Barnhart placed six Clay Paky A.leda B-EYE K20 innovative, LED-based moving lights on each side of the stage. “I saw the fixtures at A.C.T in New Jersey and thought they could be really interesting in Bob’s lighting design,” recalls Grill. “So I sent him a link to a video, and Bob loved them. Their horsepower is pretty phenomenal, the speed of the LED is great in terms of changing color, they throw beams very far and they create some cool visuals. At the same time the B-EYES are a relatively low-wattage fixture with no heat issues.”

Barnhart agrees that the B-EYES deliver “a very full fixture. There’s a lot of potential in that light – it can create a lot of cool patterns and effects and do some really fun things. And they’re really reliable.”

Jason Rudolph controlled all the media with a grandMA2 Light; an additional system served as a back up. “I use the grandMA for most of my shows,” he reports. “It performed great, as usual, which is one of the reasons it has become my console of choice.”

Grill gives kudos to A.C.T Lighting’s customer service. “I can’t say enough nice things about them. A.C.T is a company that understands service and support, which is invaluable to a customer. It’s a gem in the industry. Having someone you can call in the middle of the night is tremendous. A.C.T knows that service is paramount.”

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Robert Juliat TIBO LED Profile Fixtures Shine a Light on New Newsroom at KTMD-TV, Houston

Robert Juliat TIBO 533 75w LED Profile lighting fixtures have been installed in a new newsroom at KTMD-TV by project lighting designer/director Bruce Aleksander. KTMD-TV is the Telemundo owned-and-operated station serving Houston.

Aleksander did a complete digital solid-state lighting installation for a new studio layout he designed that’s dedicated to news programming. “Everything was predicated on energy-efficient lighting from the start,” he explains. “Since it was new, we were able to build out the studio without the traditional heavy support for cooling down the lights and the full dimming load normally necessary for an incandescent approach. We used all fluorescent and LED lighting.”

Aleksander evaluated a number of fixtures then concluded that “for hard-edge, profile fixtures, the best bang for the buck came from the Robert Juliat TIBOs.” The TIBO 533 75w LED Profile offers a high-intensity LED array, double condenser optics and extremely low energy consumption. The fixture represents a new look in LED Profile design with a compact, aesthetic silhouette.

The eight TIBOs, which Aleksander obtained from Barbizon Light of Texas, serve primarily as set accent lights. “There are a number of logos and graphic elements on the set, and the TIBOs are perfect for picking them out,” he says. “Where some panels in the background are not well detailed, we used the TIBOs with defocused projection patterns to add texture and shape.”

Aleksander selected daylight-balanced TIBOs for “a much closer match for the video display walls, which are an integral part of the set.” In addition, the daylight-balanced fixtures were chosen because one wall of the newsroom is open with windows “and we wanted to match color temperatures so what the camera sees consistently carries proper color. We also needed to match color temperatures to insure the cameras could be properly white-balanced.”

In reviewing a number of LED profiles on the market Aleksander says “the very high optical quality of the TIBOs distinguished them” from other fixtures. “The patterns projected sharply, the focus was smooth and the beam of light was beautifully consistent edge to edge. With a number of other brands out there, I can look at their fields and see the unevenness where they weren’t able to blend the different emitter fields. But the Juliats have a smooth field and a very even focus field across the entire beam.”

“Not all LED manufacturers have done nearly as well as Robert Juliat,” he notes. “The TIBOs really exceeded my expectations for an LED profile fixture.”

Chris Boyd was the sales person at Barbizon Light of Texas; Robin Crews was the representative at Spectrum Lighting. At KTMD-TV Todd Taylor is the director of technology.

About Robert Juliat

Robert Juliat is a three-generation, family-run, company dedicated to the manufacture of quality lighting equipment for entertainment and architectural applications. Robert Juliat lights are installed worldwide in venues as diverse as The Metropolitan Opera House in New York, the Cathedral of Notre Dame de Paris, Caesar’s Palace and other showrooms in Las Vegas, the Royal Opera House in London, the Los Angeles Music Center, and the Hong Kong Academy School. Robert Juliat lights are used on major tours and events such as Cirque du Soleil, Celine Dion, the South African Music Awards 2013 and the London 2012 Summer Olympic Games.

R&D, production, and company headquarters are based in the village of Fresnoy-en-Thelle, 50 km north of Paris. Robert Juliat USA is located in Wallingford, CT. For more information visit www.robertjuliat.com

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Clay Paky Lighting Fixtures Make Luke Bryan’s Night on Country Artist’s New Tour

Luke Bryan has rolled out his That’s My Kind of Night Tour, and Elite Multimedia Productions in Nashville is providing Clay Paky A.LEDA, Sharpy and Sharpy Wash lighting fixturess as Bryan once again takes to the road. The popular country artist’s new tour is named after his latest single, which has catapulted to # 1 in the country charts.

“We just concluded the Dirt Road Diaries Tour with Luke; his new tour will run from January 2014 to the end of October,” says Tom Wilson, vice president of event productions at Elite Multimedia Productions. “For this tour they’ve doubled the number of Sharpys and added Sharpy Washes. They’ve been really thrilled with the Clay Paky fixtures, which have been very durable with a really low failure rate. In 10 months on the road, there have been almost no failures. The only light we lost was due to a guitar player accidentally kicking it into the audience!”

Lighting designer Justin Kitchenman of Fade Up Design Group points out that Bryan “wants all of his productions to be big, ambitious and with lots of bells and whistles. When someone walks into this show they’re walking into a party.”

Bryan is at the center of the action figuratively and literally. “We designed a 42-foot wide circle stage that sits at the end of the thrust giving the entire audience a 360º view of Luke for the majority of the show,” says Kitchenman. “Having a lighting rig that can light the entire room and have lots of punch was essential.”

Kitchenman was challenged to keep the sight lines clean and offer the entire audience “the full concert experience. We don’t want the people off to the sides or way up top to ever feel like they are missing out on elements of the show.”

Kitchenman’s Clay Paky complement consists of 46 Sharpy Beams, 20 Sharpy Washes and 12 A.LEDA Wash K10 and 32 A.LEDA Wash K5 LEDs, which are positioned “all over” forming “the teeth of this lighting rig,” he says.

“I chose Clay Paky based on the reputation of the manufacturer as well as the unparalleled support provided by A.C.T Lighting,” Kitchenman reports. “After a full year of touring with the same type of fixtures last year, there was very little down time. I’ve found all of the Clay Paky fixtures to be extremely rugged and reliable. There wasn’t a single reason why I should have been looking for alternatives this year.”

“We use the low fogger to create a bit more of a dramatic scene during one of Luke’s new songs,” he says, “and the hazers just ensure that we have plenty of haze in the air for all of those Sharpys!”

Having come full circle to the Sharpys, Elite’s Wilson chimes in that the “Clay Paky fixtures are great performing lights that hold up well” during tours. “As a company owner, that’s a big one for me.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “It’s great to see so many of our lights on this tour. Elite has been a huge supporter of ours and Justin has been a great collaborator. I look forward to the success of this tour.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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Electrosonic Upgrades Audio and Video Systems in Texas Spirit Theater Prior to Debut of “Shipwrecked” Film This Fall

The Bullock Texas State History Museum in downtown Austin recently contracted Electrosonic for a complete audio and video systems upgrade and reprogramming of its 190-seat 4D Texas Spirit Theater. The upgrade prepares the theater for the November premiere of the short film “Shipwrecked,” which will support a new exhibition on the excavation of the barque La Belle, which sank off the Texas coast in 1686.

The Bullock Texas State History Museum, which opened in 2001, invites visitors to interpret for themselves the story of Texas history. The multimedia Texas Spirit Theater is auditorium style with a standard proscenium stage plus two flanking openings. Three flat projection screens provide an immersive experience for audiences when a single image fills all the screens; the side screens can also display different images to support the narrative. A complement of 4D effects enhances productions with atmospherics and movement.

The theater currently hosts two shows in rotation. “Star of Destiny,” produced by BRC Imagination Arts, looks at the epic history of Texas through stories of perseverance: the devastating Galveston hurricane of 1900, East Texas oil gushers, and the takeoff of a Saturn V rocket seen from the Johnson Space Center. “Wild Texas Weather” enables audiences to feel the wrath of Mother Nature in 22 minutes of footage showing wicked weather conditions: hurricanes, thunderstorms, droughts and flash floods, all accompanied by an original score featuring artists from Austin’s vibrant music scene.

The Texas Spirit Theater is also available to the public for screenings, presentations and conferences. It’s a favorite venue for Austin’s thriving independent filmmaking community. “The theater is very busy. In fact, that made it difficult to do the systems upgrades – we had to sneak in after hours and work as quickly as possible,” says Electrosonic project engineer Dan Lauf.

Electrosonic had provided the theater’s original audio and video systems, which had continued to function well but were a dozen years into their life cycle. “The upcoming ‘Shipwrecked’ film offered a good opportunity to upgrade the equipment and provide a clean slate for programming the new show,” Lauf points out.

Told through the eyes of a young crew member, “Shipwrecked,” from Cortina Productions, supports the upcoming exhibition about the La Belle, one of Robert de La Salle’s four ships that set out to explore the Gulf of Mexico in 1685. The remains of the hull will be on display along with over a million recovered artifacts. The theater’s 4D effects will permit audiences to feel the power of the storm that resulted in the sinking of the ship.

Electrosonic replaced the existing show control system with an Alcorn McBride V16 Pro show controller and swapped out HD-MPEG video players in favor of a Dataton WATCHOUT video playback system. Electrosonic ensured that the programming for “Star of Destiny” and “Wild Texas Weather” translated smoothly to the new gear and that programming for “Shipwrecked” got underway efficiently.

“The new WATCHOUT system gives the theater technicians a greater ability to run shows easily every day and play alternate content easily when the venue is used for other events,” Lauf says. “We didn’t just install the new equipment – we provided training for it, including a two-day session with visiting Alcorn McBride personnel. A lot of our focus for this project was getting the theater techs ready to fully service and operate the space in all ways.”

On the audio side, Electrosonic upgraded the audio systems with a QSC Q-Sys DSP engine featuring SSD multi-track audio playback. “The Texas Spirit Theater is a full surround theater. The new system allows full 5.1 surround playback for regular film presentations and expandability to the 15 separate audio tracks required for the 4D shows,” Lauf explains.

The Museum’s Director of Theaters, John Lewis, concluded, “Electrosonic has been a great partner to the Bullock Museum, providing top-notch technical design, support and guidance since the museum opened in 2001. The recently upgraded theater system has breathed new life into the Texas Spirit Theater by increasing programming capabilities, streamlining operations, and preserving the theater’s tradition of providing a superior immersive theater experience to generations of Texans and visitors to Texas for years to come.”

About Electrosonic
Electrosonic, celebrating its 50th anniversary, is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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High Resolution Systems’ UDC Raptor Offers the Ultimate in Control at Thurman’s 34 Rush Sports Bar at Batavia Downs Casino

Rochester, New York-based AAVS is on a roll with High Resolution Systems’ UDC Pro ECS-Raptor, a UDC Pro Embedded Control Server, the ultimate in customer control for the nine-cube videowall at Thurman’s 34 Rush Sports Bar at the Batavia Downs Casino in Batavia, New York. Name for Thurman Thomas, the Hall of Fame running back for the Buffalo Bills who wore No. 34, the Sports Bar is part of the facility’s $28 million expansion. It boasts 30 TVs, a projector and videowall plus small stage. Two more videowalls occupy the casino area.

AAVS designs and integrates audio, video, lighting, communications, surveillance and control equipment in new and existing construction. It is the leading AV integrator and rental company in upstate New York.

“With UDC Raptor and its Apple iPad interface, the client can control all the displays and sources that go into the videowall changing from DirecTV to a network simulcast to digital signage,” says Graeme T. Poluch, vice president of sales at AAVS. “If someone wants to watch a horse race, the bartender can walk to the iPad, select the TV input and display the telecast the customer wants. Every input can be changed. All the sound can be controlled. All through IP with no serial connections or IR commands at all.”

The same functionality is offered for the two videowalls on the casino floor. “A player playing slots can ask one of the attendants to change any TV from the iPad,” Poluch continues. “The whole thing is on a continuous network making control simple.”

AAVS became aware of UDC at InfoComm when it was looking for an IP-based control system. “As soon as we saw the cool stuff from High Resolution Systems we left our current manufacturer and immediately went to UDC,” recalls Poluch. “It’s much easier to use and has a very cool interface. It’s easy to configure, easy for the customer to use and completely customizable. There’s really nothing this product can’t do. It can handle all the things the larger control companies do at a much larger price tag and not as elegantly!”

According to Poluch Thurman’s is “thrilled” with UDC Raptor and additional projects may lie ahead.

About HRS Control

High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.HRScontrol.com.

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Lincoln Heritage Museum’s New Facility at Lincoln College Selects Alcorn McBride for Complete Package of Playback and Control Equipment

The life and legacy of Abraham Lincoln will come alive in the new home of the Lincoln Heritage Museum on the campus of Lincoln College when it reopens in April 2014 in Lincoln, Illinois. The museum will use Alcorn McBride’s Digital Binloop, A/V Binloop HD, ProTraXX, DMX Machines and V16 Pro to interpret the world in which the 16th president lived, particularly as it pertained to Illinois.

Groundbreaking for the first building on campus took place on Lincoln’s last living birthday in 1865. The Lincoln Heritage Museum began in 1942 with the bequest of a vast Lincoln and Logan County history collection with the stipulation that a museum be established. The holdings have continued to grow, prompting the museum’s move to the new Lincoln Center on the north side of the campus.

“The new facility is really designed as a whole experience,” says Alan Eidson of Eidson Studios, which performed the AV design and installation. Taylor Studios, Inc. of Rantoul, Illinois is the exhibit design, fabrication and lighting firm for the entire project. “There are multiple rooms with multiple presentations within each room. Visitors interact with 53 audio and video programs by 35 motion and touch-points. The touch-points are controlled by proximity sensors from Technovision and include objects such as a plow, rose, quilt, books, maps and even a coffin.

“Many of the presentations have rear projection, and there are six video and audio programs. For one of the presentations, visitors look through a wall in the box at Ford’s Theater to witness a reenactment video of Lincoln’s assassination then look through another wall to see a video of the house where the mortally wounded president died. Between those presentations a multimedia review of Lincoln’s life is shown.”

Eidson says Alcorn McBride gear was selected because the company “had all the components we needed for a complete package.” A Digital Binloop carries the surround sound audio; an A/V Binloop HD provides synchronized video playback. Two DMX Machines control about 400 lights in the facility. A ProTraXX 16-channel audio player is used for other programs; and a V16 Pro serves as the show controller.

“I like the Binloop set up in one rack unit,” Eidson says. “They have it all in one package and make it very easy – they were the best choice for reproduction of the media. Then I learned more about ProTraXX and the awesome DMX Machines – I have used them for many years. Both Taylor and I were very familiar with Alcorn and its programming, so it was a no-brainer to choose the V16 Pro show controller.”

Eidson reports that all of the products are “stable and integrate easily” with other equipment. He also hails Alcorn McBride support. “They’ve been just great. Any time we have any issues or questions they are very accommodating.”

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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GDS Pro Range ArcSystem LED Fixtures Meet the Needs of Fellowship Center at the First Baptist Church in Lewisville, Texas

When First Baptist Church in Lewisville, Texas decided it was time to install a new lighting system in its Fellowship Center, a GDS Pro Range ArcSystem met the challenge of illuminating the space. A.C.T Lighting is the exclusive distributor of GDS fixtures in North America.

“The house lighting for the room originally had dimmable metal halide pendant lights and high sconces in the ceiling of the Fellowship Center. Unfortunately the room was dark – just 12 to 30 footcandles – and had an extreme color temperature of 5620 Kelvin and terrible color. Everyone looked pale green,” says Keith Buresh, a consultant and lighting designer who specified the new GDS fixtures. “The church had investigated replacing the house lighting with incandescent fixtures, but they didn’t cover the space, added heat and they would have required extensive ceiling renovations. LED house-lighting fixtures were right on the edge of being usable, though. GDS had just come out with some new lights, and Jeff Mabray, a Specification Sales rep with Edwin Jones Company, and I worked with A.C.T to bring in one of the first ArcSystem prototypes to Dallas to test”.

“We sampled the GDS ArcSystem units with dimmers, and the dimming curve was really solid,” Buresh reports. “We also liked that the LED lighting module was recessed deep within the reflector, which reduced the glare factor – a real problem with numerous LED products. And its color rendering and output were great for this application.”

The First Baptist Church acquired (16) 8-cell Pro Range ArcSystem 4000 Kelvin/37degree fixtures tailored for wide areas and high bay installations. They are finished in white to complement the building’s architecture and were supplied by Barbizon Dallas.

ArcSystem LED auditorium lighting fixtures are designed in the UK for environments where dimming, quality of light and ease of installation are paramount. They are available in single-cell to multi-cell units with a range of beam angles incorporating high-efficiency optics and LEDs. ArcSystem is able to produce a rich, warm light with a CRI in excess of 90. A wide range of color temperatures is available to suit any environment.

All of the fixtures at the First Baptist Church are controlled wirelessly using ArcMesh, GDS’s proprietary mesh networking protocol that allowed the product to be installed and commissioned without installing control wiring to each fixture. “That reduced costs,” Buresh says. “All we had to do was pop in a junction box with a power receptacle to each unit; that’s very handy and simple for any sort of maintenance issues. And the wireless control unit is very easy to monitor. Any problems can be resolved quickly and easily.”

The ArcMesh transmitter receives DMX instructions from an ETC Paradigm Architectural Control Processor system, allowing a completely integrated single control mechanism for all architectural lighting. Part of the renovation included a new architectural control system, dimmers, light board and six wall control stations to allow users to activate lighting looks from numerous entrances into the room.

“We ended up changing over the entire house lighting for the room, including can lights, high sconces and wall sconces. So, at this point the entire Fellowship Center and overflow space have dimmable LED lamps in the fixtures. It took some trial and error but we were able to find A-bulbs and BR40 lamps that had appropriate Kelvin, Color Rendering Index values and dimmable curves that used the existing fixtures. We saved a lot by not having to retrofit fixtures.” Buresh says.

“The GDS fixtures are a great fit for the application, we’ve been really impressed with them. Configuration and integration into the Paradigm system was a breeze, one of the smoothest that I’ve seen,” reports Chris Leffel, the installer and project manager with Barbizon Dallas.

The overall light level with the new fixtures reaches up to 90FC in places, an increase of almost four times the level of the previous installation.

“Everyone has been very supportive,” says Buresh. “GDS was very helpful in getting the installation up and running for us, and A.C.T and GDS have been very open to suggestions and problem-solving.”

Tim Zednick is the technical director at the First Baptist Church, and has been very involved in the process and totally on board with programming the control system to work smoothly with the GDS ArcSystem software and units.

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