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Archive by David Steinberg

National Civil Rights Museum Reopens in Memphis With New Audio-Visual Systems by Electrosonic

Following a $27.5 million renovation, the National Civil Rights Museum in Memphis held its grand reopening on April 5, nearly 50 years after the passage of the landmark Civil Rights Act. Although the museum has retained the iconic Montgomery Bus, sit-in lunch counter and Memphis sanitation truck, the renovation features new spaces, films and interactive audio and video exhibits with AV design, installation and programming by Electrosonic.

For the past 20 years, the National Civil Rights Museum has been located at the site of the former Lorraine Motel, where Martin Luther King, Jr. was assassinated. Electrosonic worked closely with exhibition designers Howard+Revis Design Services on numerous new displays and exhibition spaces.

The motel’s courtyard was renovated to house five interactive Listening Posts, which comprise portrait-oriented 10-inch outdoor-rated touch screens, waterproof speakers and network-enabled video players with touch screen interfaces.

Visitors enter the museum at the Slavery & Culture of Resistance exhibit, where they wait for the orientation show in the Introductory Theater. The “Mapping Slavery and Resistance” exhibit features an ultra short-throw NEC projector and an 85 by 53-inch rear projection screen.

In the newly-enlarged Introductory Theater a 12-minute movie introduces visitors to the museum and recaps the history of the civil rights movement. Electrosonic outfitted the theater with a 6,000-lumen, ceiling-mounted Christie 3 chip DLP projector, which makes an image on a 20 by 11.25-foot screen, which is part of a door, supplied and installed by L.A. Propoint. At the end of the show, the screen, door assembly moves to usher visitors into the main exhibit area.

Electrosonic also provided the theater’s surround sound system and the AV system controller, which times and commands the show. A control touch panel is next to a lockable wall-mounted box containing a hand-held paging mic for docents. An FM wireless assisted listening system has also been supplied for visitors.

In addition to operating in film mode, the theater is equipped for presentations with a small portable rack featuring a Blu-ray player and AV switcher. A custom plate enables connection to an Ethernet network and the VGA output of a laptop; remote control is provided on an Apple iPad.

The main exhibit area is packed with compelling displays conveying the struggles of the civil rights movement. “Living Under Jim Crow” features 30 portraits, which deliver testimonials when touched. “Brown Versus Board of Education” has a 67 by 50 inch front projection screen, a 3,000-lumen ultra short-throw NEC projector, and wall and ceiling-mounted speakers. Three 55-inch monitors, in portrait mode, fitted with a multi-touch overlay frame help visitors engage in “Mapping School Desegregation” across the country.

“Albany Freedom Songs” is highlighted by a 6,000-lumen ceiling-mounted Panasonic projector, four wall-mounted speakers in the ceiling alcove and a 10 by 7.6-foot screen wall painted with Screen Goo. A similar projector displays photos from the “Children’s Crusade” on a screen made from a special film applied to a glass substrate so images can be viewed from the front or back.

Four interactive stations, featuring mini PCs, Elo 15-inch touch screens, headphone amps and handsets, bring the “March on Washington” to life. The momentous “Freedom Summer of 1964” is illustrated by a 3,000-lumen ultra short-throw NEC projector mounted below and behind a rear projection screen made of a rigid material with an image size of approximately 62 by 44 inches.

For “Join the Movement” Electrosonic installed four 55-inch ultra-narrow mullion monitors into a touch table with eight active mini array speakers in the table surround. The four monitors are sourced by PCs and turned on and off by the AV control system.

Martin Luther King, Jr. makes his famed “Mountain Top Speech” on a 55-inch monitor and four ceiling speakers. Gospel singer Mahalia Jackson is heard over four ceiling speakers, which gradually increase in volume as visitors enter the space between the rooms where King and his guests stayed that fateful night in Memphis.

The museum tour ends almost as it began, this time in the new Ellipsis Theater where a 6,000-lumen 16:9 ceiling-mounted Panasonic projector displays images on a 183 by 103-inch wall-mounted screen. One long speaker is installed under the screen along with eight ceiling speakers and two ceiling-mounted subwoofers. An FM wireless assisted listening system is available for visitors.

1220 Exhibits was the exhibit fabricator; Cortina Productions and Second Story were the media designers and producers.

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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Alcorn McBride is on a Roll – the High Roller – in Las Vegas

The aptly named High Roller, the world’s tallest observation wheel, has opened in Las Vegas where it serves as the focal point of The LINQ, the innovative shopping, dining and entertainment district on the Las Vegas Strip developed by Caesars Entertainment. The 550-foot tall wheel has 28 glass-enclosed cabins that hold up to 40 passengers each. The 30-minute ride, scheduled day and night, offers unparalleled views of the Strip and surrounding valley. The experience includes a dynamic video and music show that fades away as the wheel ascends along with a colorful nighttime light show. Running behind the scenes is a full suite of Alcorn McBride gear.

“It was a challenge to work with a system spread over a 550-foot tall wheel and a 30-minute ride,” says Kevin M. Ruud, a consultant with Design Horizons who served as the design engineer and programmer for the High Roller, the pre-ride building and The LINQ. “It took a lot of rides for us to get all the cues and programming worked out. The programming was especially complex with 28 different timelines for the cabins running simultaneously. We knew the only gear that could handle this accurately and reliably was Alcorn McBride.”

When visitors arrive at the wheel’s pre-ride building they meet Lucas, the narrator of the High Roller experience. Two Alcorn McBride A/V Binloop HD units feed monitors throughout the facility. In the security area, visitors see five consecutive portrait-mode monitors where Lucas’s image is locked together and interacts with five different feeds of himself. In the reception and bar areas sets of monitors feature graphics and pricing for the ride. A photo area allows visitors to get their pictures taken with the wheel.

The departure concourse houses a 270º curved screen measuring 121 x 13 feet. Six video projectors display a giant, edge-blended image across the screen offering a glimpse of the adventure to come. Moving lights enhance the space and a 12-channel plus subwoofer sound system delivers the audio. An additional screen is over the ride entrance that leads out to the platform. All of the imagery and audio are run from Alcorn McBride V16 Pro and LightCue Pro systems.

Each cabin on the High Roller has a dedicated V16 Pro and A/V Binloop HD, which feed eight monitors wrapped above the windows of the cabin. They display content relevant to the position of the wheel at that moment, such as what sights visitors are seeing and how high in the air the wheel is; a celebratory piece displays when they reach the zenith of the ride. Dedicated AM4 units in each cabin play background music and announcements. All 28 cabins talk back to another V16 Pro on the platform that sends information to each cabin when the wheel is rotating.

When visitors finish riding the High Roller they can stroll along the quarter-mile LINQ, which features a sound system along its entire length. A V16 Pro runs the time-of-day routines, sets levels and adjusts music types. Announcements are run through an AM4, controlled by the V16 Pro.

“I’ve had experience with Alcorn McBride products and have found them to be reliable and cost effective – just what we needed for the High Roller and the LINQ,” says Ruud. “The people at Alcorn are always great to work with, too. They’re always available and more than willing to help.”

Content for the High Roller attraction was created by the Hettema Group. Hettema Group was also responsible for the design of the wheel, cabins and the building entry. The installation was performed by National Technology Associates; the cabins and cells were built by Leitner-Poma of America, Inc. Building wiring was done by Bombard Electric.

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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Lightware Will Show UMX-TPS Range at InfoComm 2014

Lightware Visual Engineering has begun shipping its new UMX-TPS product family, featuring HDBaseT extenders with stand-alone, under desk mount and wall plate models. The full range of products, offering various connector options, will be shown at the Lightware booth at Infocomm 2014 at the Las Vegas Convention Center, June 14-20, where working demos will be scheduled.

“Lightware users are now able to use UMX-TPS extenders with our MX 65×65 and 80×80 modular matrix switchers,” says Drew Taylor, director of sales and applications at Lightware U.S.A., the US distributor of Lightware Visual Engineering products. “What’s unique is that customers can use them to combine local, HDMI, and TPS inputs and outputs in the same frame. They can mix and match instead of having to commit to one or the other type of I/O.”

Lightware previously introduced fiber-optic, twisted-pair and two-CAT cable versions of the extenders but now customers can find the same functionality in a single CAT cable product. Targeted to boardrooms and classrooms and a variety of other commercial integration applications, these devices transmit digital video at resolutions up to 4K, audio and control signals up to 170 meters over just one CAT cable.

The UMX-TPS-TX140 extender transmission unit can connect to a single receiver or any of Lightware’s matrix switchers via an HDBaseT board. The extender features VGA, HDMI, DisplayPort DVI-I inputs with a single HDBaseT output for a 4×1 video switch combined with signal extender.

Analog audio and video signals are converted to digital and can be transmitted on the same CAT cable along with remote power, Ethernet and RS232. All UMX-TPS products handle HDCP encryption. Using the factory, custom or transparent EDID emulation, users can fix and lock EDID data on each input connector.

Advanced EDID Management forces the required resolution from any video source and fixes the output format conforming to the system requirements. The unit offers bi-directional and transparent IR, RS232 and Ethernet transmission.

Remote power is available through the single CAT cable; a local power supply can also be used.

The TPS product line also features an HDMI-only extender and DVI-TPS extenders as well as TPS input and outputs boards supported by the MX Series of Modular Matrix routers which range from 8×8 to 80×80 in size. All devices can be mounted on a rack shelf, under desk mount or used as standalone units.

About Lightware U.S.A.

Lightware U.S.A. is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. For more information on these products, visit www.lightwareUSA.com.

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Skyscraper is Movie Screen for WorldStage Projection of Iconic Moments in Film History

The famed Tribeca Film Festival likes to regard all of New York City as a canvas for filmmakers. That was never truer than this year when, as part of a fully-integrated campaign by agency Spinifex for new presenting sponsor AT&T, iconic moments from great films were re-imagined and projection mapped by WorldStage onto the AT&T Long Lines Building in lower Manhattan.

The 550-foot high AT&T Long Lines Building was an ideal choice for bringing the Tribeca Film Festival to the streets. The windowless skyscraper features a concrete slab façade clad with granite that acted as the 125-foot wide x 300-foot tall projection surface for a three-minute video that captivated New Yorkers watching on the streets below.

With the theme that great films are meant to be shared, the video projected an animated homage of memorable moments from cinema history: Muybridge’s racing horses, “King Kong” swatting airplanes from atop The Empire State Building, gears forming the face of Charlie Chaplin in “Modern Times,” the winding Yellow Brick Road of “The Wizard of Oz,” little Danny pedaling across the patterned hotel hallway carpet in “The Shining,” “ET” silhouetted against a full moon, “Godzilla” crashing through a wall, the “Transformers” clicking into action, defying “Gravity” in outer space. All of the segments were re-imagined as playful, brightly colored graphics by Spinifex.

The video projection also invited New Yorkers to cast their votes via Twitter hashtag #FilmForAll for the one film every New Yorker should see. The winning film will be screened to the public in all five boroughs this summer. Selected voters were invited to have their avatars integrated with the Long Lines Building projection proving that every New Yorker has the makings of a movie star. The projection mapping was staged for five nights, April 22-26.

The WorldStage team lent its technical prowess to the complex outdoor job starting with painstaking preproduction planning and extending to being buffeted by 40 mph rooftop winds during the install and exhibition. The completed design was engineered to ensure there was enough light to make the projected images pop when viewed by New Yorkers on the street.

WorldStage supplied four banks of multiple projectors that delivered more than 300,000 lumens of illumination. The projectors were housed in temporary enclosures, furnished by Mountain Productions, and located on the roof of the building across the street from the Long Lines skyscraper. A d3 Technologies media server fed the projectors, providing super-accurate warping and pre-visualization capabilities.

Spinifex provided a system that enabled the integration of voters’ avatars; a camera located near the projectors captured an image of the customized projection and tweeted it back to the contributor.

The WorldStage team included account executive Lars Pedersen, project manager Tom Whipple, d3 programmers Peter Acken and Ben Keightly, network technician Kim Dowd, projectionists Alex Donaldson and Michael Johnson, and installation technicians Gabriel Weisberg and Jeff Wong.

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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Full Motion Productions Adds Vista Systems Spyder x20

Full Motion Productions (FMP) in New Orleans has invested in the Vista Systems Spyder x20 and control surface. By acquiring the image processor FMP expands its capabilities with a next-level professional tool designed to offer increased creativity and efficiency to new and existing customers with multi-image needs.

Founded in 2005 with a remote television truck, FMP has steadily grown to service the video production needs of the southern states with its mobile unit and fly packs. FMP specializes in broadcast, corporate and large-scale festival video production, including such events as the New Orleans Jazz & Heritage Festival and the Essence Festival, as well as corporate clients such as Microsoft.

“This will be our first Spyder,” says FMP co-founder Nate Page. “It’s something that we needed to buy to fill our customers needs and to take our events to the next level.”

Page calls Spyder “the hot box, the only thing on the market that does what it does. Its 16 inputs and 8 outputs are very flexible. There’s nothing it can’t do in routing, switching and control. It’s the right box for all of our applications.”

He sees deploying the Spyder on “numerous jobs that have multi-image components. We work with companies that own thousands of LED panels, for example, and they don’t have a Spyder. So we’ll be collaborating with them, using our new system.”

FMP also plans to take advantage of Spyder training, which Vista Systems offers.

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

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Clay Paky Sharpys and grandMA2 Treat TV’s “Nashville” Stars Like Country Music Greats

ABC-TV’s musical drama, “Nashville,” features a number of performances in every episode. The final episodes performance got the full star treatment with Clay Paky Sharpy fixtures and two grandMA2 consoles for lighting and media control. A.C.T Lighting, Inc. is the exclusive North American distributor of both brands.

The series, which just finished its second season, shoots in and around Nashville with many of the musical performances staged in a purpose-built studio in town. Sometimes the musical sequences are shot on location; the recent two-part season finale featured performances at Fort Campbell, the US Army base on the Kentucky-Tennessee border, and at Nashville’s LP Field.

“The storyline included performing for the troops at Fort Campbell and involved a mobile stage on the tarmac with Apache helicopters flying over the stage,” says lighting director Steve Fallon, who works with DP Michael Lohmann on the lighting design for these segments. “Then we had the star of the show in the grandeur of a stadium performance at LP Field.”

Fallon, of Fallon Media Design, has been using Clay Paky Sharpy Wash fixtures throughout season two. “They’re a great light for TV in terms of color temperature and their small footprint,” he reports. “But we opted for the Sharpy Beams for the stadium, and they were perfect.”

The stadium was a challenge to light because Fallon had “a vast, three-level area to cover,” he explains. “Sharpy was the right choice because it was the only fixture that would give us the throw distance required. And it was the only one that delivered the punch we needed.”

Fallon deployed 150 Sharpys from Tony Macre of VER Nashville spread over multiple levels of the stadium, and reports no failures. “The load in was in the rain and freezing cold, but we had literally a zero failure rate. That’s amazing. We’re very happy with the Sharpys.”

The grandMA2 was located on the 50-yard line, “1,000 feet away from many of the instruments,” he notes. A back up unit was also on hand. The show marked Fallon’s first time using the grandMA2, and David (Fuji) Convertino handled the programming.

“We needed grandMA2′s networking capabilities since it was controlling not only the lighting but also the Hippotizer, video elements, the stadium Jumbotron and video ribbons. grandMA2 was the only solution for handling everything; it was the console of choice for that kind of application. Distribution was via the console to the NPUs; we used fiber optics, which made the process really simple.”

According to Fallon, the plan for season three of “Nashville” will include larger production values. “It will feature lighting, media servers, ENG cameras and video screens, all controlled via grandMA2.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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LUMINEX Announces New GigaCore 16RFO Tailored for Touring Applications

LUMINEX Network Intelligence has introduced the latest member of its product family, the GigaCore 16RFO Ethernet switch specially tailored for touring applications and designed with the input of key industry players. The Belgium-based developer of lighting control, pro audio and video data distribution equipment for the entertainment industry will showcase GigaCore 16RFO at InfoComm 2014 in its Booth C11447.

“We are very pleased to add this touring-friendly device to the GigaCore product line,” says Hugo Larin, Director for LUMINEX Network Intelligence in America. “This no-compromise Ethernet switch is the result of feedback from the best users out there.”

The unit brings all the advanced functionalities of the GigaCore Ethernet switch range to a custom touring package. The 2U-high device offers rugged optical connector options, including OpticalCon, which can be set at the front or rear of the unit, for a very flexible solution.

A full back up power supply is available for true redundancy at the power level. A redundant PoE supply kit is also available as an option.

“Front-end display, rugged connectors and the easiest managed switch interface on the market combine to make the GigaCore 16RFO the ideal companion for a stressless tour,” Larin declares.

About LUMINEX

LUMINEX Network Intelligence was formed by Bart Swinnen and Jan Renckens as a branch of parent company LUMINEX Lighting Control Equipment nv, which has an extensive technical background in the lighting industry. LUMINEX Network Intelligence launched its successful Ethernet-DMX8 converter in 2004 when it ran 32 DMX lines at the Paralympics in Athens. Their complete DMX and Ethernet solutions range debuted at Siel 2005 in Paris.

For more information visit www.luminex.be
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HRS Control Launches Complete Line of ECS Embedded Control Servers At InfoComm14

HRS Control has introduced a complete line of ECS Embedded Control Servers encompassing both touch screen and central control servers. They will be unveiled to InfoComm14 attendees in the HRS Control booth # C4834 at the Las Vegas Convention Center, June 18-20. This family of products expands the capabilities of today’s available control system technology to meet the needs of a wide array of applications for permanent AV installs large and small.

The new stand-alone Mantis and Enterprise servers join HRS Control’s UDC Pro ECS-Raptor, which was introduced last year. Raptor offers embedded Linux for 24/7 operation and reliability; it has a small footprint and low power consumption and is designed for one to three rooms or areas. Raptor supports all protocols: UDP, TCP, Telnet, HTTP, RS232/422, IR, Art-Net/DMX, MIDI, relays, contact closure and more. The SDK incorporates JavaScript and JSON objects to give power to developers.

Raptor is fast and easy to configure. Users can connect to the control system with the HRS Control Pro app on iOS, Windows 8 and RT, and Android. It also works with HRS Control’s new eTouch series of wall-mount and desktop embedded touch screens.

Users who need more power and reach than Raptor can now step up to Mantis, which is designed for five to ten rooms or areas. It’s built on a Linux embedded OS and runs multiple instances of the HRS server.

“Mantis enables users to independently manage six different control systems from one server,” notes Drew Taylor, director of sales and applications at HRS Control. “Mantis features the power of six Raptors on one computer, so it’s ideal for customers who need control in multiple rooms and want access and management from a central server.”

Users with enterprise or university-style applications can now check out the aptly-named Enterprise server for control of 10 to 100 rooms or areas. It boasts enterprise class hardware full of redundancy running HRS Embedded.

“Enterprise features a modular licensing model,” Taylor explains. “It comes with 10 server licenses, but customers can add up to 90 more for managing 100 different control systems from one server. This eliminates the need for a small black box or control processor in every classroom or conference room. Instead, users get up to 100 virtual controllers, which are independently managed and configured from a central point. That equates to cost savings since customers don’t need to purchase and install equipment in every room, and they have a single point of control, management and advanced monitoring.”

Rounding out the product family are two new HRS-eTouch touch screen controllers available in wall-mount and desktop configurations in 4 inch screen and 7 inch screen models. They can be used with Raptor, Mantis and Enterprise in a multi-controller interface environment. They also feature a built-in control server for a stand-a-lone single-controller application requiring no additional hardware or software investment.

The HRS-eTouch wall-mount kit is shipping now; desktop kits will be available soon.

Raptor is shipping now. Orders for Mantis and Enterprise will be taken at InfoComm14.

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.

Lightware to Showcase New 25G Hybrid 80×80 Digital Matrix Switcher At InfoComm 2014

Lightware U.S.A., the US distributor for Budapest-based Lightware Visual Engineering products, has announced that the 25G Hybrid 80×80 digital matrix switcher has begun shipping. The 80×80 frame will be showcased in the Lightware Visual Engineering booth at InfoComm 2014, June 14-20, at the Las Vegas Convention Center where working demos will be scheduled. It will also be displayed in the HDBaseT 4K switching demo area where it will run with fiber HDBaseT extenders and HDMI local in and out.

“The 80×80 is the second frame size in the 25G Hybrid series; the 25G Hybrid 160×160 has been shipping since last year,” says Drew Taylor, director of sales and applications for Lightware U.S.A. “No other matrix switchers have the capabilities of this series, which is ideal for any application concerned about building a large-scale, future-proof switching system. Instead of running cable for every signal type the 25G Hybrid architecture, saves cost and energy by using a single fiber or CAT cable to deliver full HD and 4K digital video, audio, Ethernet, IR, RS232 and power.”

Designed for exceptionally high-resolution image quality and 24/7 reliability, 25G Hybrid technology sets a new standard in the pro AV industry. More than just a switcher, the 25G Hybrid is a complete source that manages and distributes all digital and analog signals over a single CAT5 cable or fiber via specially-developed input/output cards combined with audio add-ons. As a comprehensive line of digital matrix switchers, transmitters and receivers, 25G Hybrid combines switching with a powerful suite of diagnostic tools for the digital age, delivering a superior user experience for yachts, corporate infrastructure, government data centers and university infrastructures.

“The 25G Hybrid series is the Rolls-Royce of switchers,” Taylor points out. “They are custom built for each customer; they are not an off-the-shelf solution. Once shipped here to our facility in the US, we outfit the frames with Lightware’s MODEX (Modular Extender) family of external signal extenders to build a complete, facility-wide infrastructure solution using one matrix chassis and multiple MODEX units. Then we test the systems and document that they are fully functional and complete based on the project requirements. We offer training for customers at our location while the entire system is setup before shipping to the project site.”

At the heart of the 25G Hybrid line is super-fast 25Gbps data-rate switching, which allows transportation of next-generation video signals like HDMI 2.0 and DisplayPort1.2. The future-proof platform is ready for all video and audio standards, including 4K and stereo 3D formats.

Multilayer architecture allows independent routing of each signal type (breakaway switching) for all layers. This feature provides switching and extending of all signal layers separately, or in a breakaway format, to be recombined at output to a single connection.

Each video port is equipped with a separate audio input and output (audio return channel) connector forming a 320×320 S/PDIF crosspoint switch. It manages stereo and multichannel audio as well as high-bit rate formats like Dolby TrueHD and DTS-HD Master Audio. Multichannel-to-stereo down mixing can be provided as an option.

Other 25G Hybrid features include Ethernet 10/100 connection at all input and output ports and MODEX extension end points, USB KVM connectivity, and IT/CEC/RS-232 control signal support.

“Prospective customers attending InfoComm will have a chance to see the new 25G Hybrid 80×80 first hand in a working environment at the Lightware booth as well as out MX Series 80×80 matrix supporting HDBaseT in the 4K switching demo area,” Taylor says. “It’s a great opportunity to meet the future.”

About Lightware U.S.A.

Lightware U.S.A. is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. For more information on these products, visit www.lightwareUSA.com.

Robert Juliat Victor Followspots Come to the “Cabaret” at Studio 54

A pair of Robert Juliat Victor followspots with DMX dimming has been installed at Studio 54 in Manhattan where the Roundabout Theatre Company’s production of “Cabaret” is packing the house. Tony Award-winner Alan Cumming reprises his role in “Cabaret,” which also stars multi-Oscar nominee Michelle Williams who is making her Broadway debut.

“I was very familiar with Juliat fixtures from working in Europe,” says Mike Baldassari, co-lighting designer for “Cabaret” with Peggy Eisenhauer. “The Victor followspot was in the exact neighborhood of what we needed at 1800 watts. We did a shoot out with some other followspots to test not only for brightness but also for noise level. The shoot out was facilitated by electrician John Wooding; Ron Fogel of Fogel Associates and Fred Lindauer of Robert Juliat provided the Victors for us to test.”

Baldassari points out that Studio 54 was originally built as the Gallo Opera House in 1927 so its acoustics reflect its heritage. “The way the dome is constructed projects all sounds like a microphone. The two followspots were off to the sides on custom-built platforms, exposed and in the house. So how much noise they made was a critical issue for us. Sound is not always a consideration, but in this case it was paramount.”

During the shoot out the Victor followspots scored points for their quiet operation and for having the smoothest field of the fixtures tested.

The use of the DMX douser control provided with the Victor followspots allowed the intensity of the fixtures to be controlled from the lighting console which was a “huge feature for us,” Baldassari says. “Because of the side spots being 45˚ off of center from each other, it was very difficult for the operators to judge their relative intensity against each other. By using the DMX dousers, we could set the level to exactly what we wanted, which would be 100% repeatable, and the operators only had to worry about finessing their pickups and irises.” After acquiring the Victors Baldassari and Eisenhauer added scrollers in front of the units which are also controlled from the lighting console.

The Victor followspots’ “set up is really perfect for what we need for ‘Cabaret,’” he declares. “They’re a really great light. We knew they would be spot on – no pun intended!”

Eric Yaple was the sales person at dealer PRG. Steve Beers is the technical director at Roundabout Theatre Company.

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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