A virtual press conference from Sound & Video Contractor

Archive by David Steinberg

WorldStage Returns to Annual Cisco Partner Summit with Six Screens and 9,322 Pixels

WorldStage marked its tenth year supporting the annual Cisco Partner Summit by providing its AV expertise and equipment to the general sessions of the 2014 conference in the Venetian Hotel ballroom in Las Vegas.

Hired by InVision Communications, WorldStage executed a very complex design for the summit, which was staged for Cisco’s channel network. The ballroom was dominated by a ribbon of six projection screens, all of them angled in a forced perspective set design. They boasted a 9322×1254 pixel map for speaker support, demos and entertainment by the Magnetic Poets, Android Jones, Mason Bates and the Las Vegas Youth Orchestra.

Two of the screens doubled as scrims so performers behind the screens could be lit and seen clearly by the audience. Three other screens were muslin, and the center screen utilized a zero-gain Da-Lite fabric.

WorldStage also furnished a compliment of Christie S+ 16K and HD 20K projectors, a 14-channel Pandora graphics/playback engine to feed three screens directly and a Vista Systems Spyder 3 Series image processor to feed the other three screens, including the widescreen. Projection mapping was performed within Pandora for a fluid and borderless screen look.

“Last year, the summit was in a very large convention space with 60-foot ceilings,” says WorldStage account executive Richard Bevan. “This year they were in a ballroom where the rigging points were more limited. Getting the right spot and making sure the projection cones were clear of the stage areas took a lot of coordination.” The rapid install was achieved in a remarkable 18 hours – load in, rigging, cabling, screen building.

WorldStage also provided a distributed audio system suitable for screens that reached almost to the ceiling, productions comms, and mics and monitors for entertainment support. The audio team juggled over 90 audio sources while managing the wireless frequency coordination in a venue shared by four other meetings and numerous simultaneous breakouts.

“Like many projects these days, the set up time was aggressive but the entire team showed up well and outperformed expectations .” says WorldStage project manager James Sarro. “Our client, his client, the production staff and all involved were very happy with how the show went.”

At InVision Communications Rick Voigt was executive producer, John O’Brien main tent producer, Aaron Hiester producer for the Americas portion, Tony Castrignio designer and Danny Champ technical director.

Obscura Digital was the content creator for the multi screen images and videos.

At WorldStage Florian Mosleh was media consultant and Pandora programmer, Luke Frey and Charlotte Ibarra projectionists and Kenny Stanford freelance video director.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

Clay Paky Sharpys and grandMA2 Consoles Go Bollywood at the IIFA Awards for the Hindi-Language Cinema

An awards show like none other took Tampa’s Raymond James Stadium by storm when the annual International Indian Film Academy (IIFA) Awards came to the U.S. for the first time. The IIFA Awards honor artistic and technical excellence in Bollywood, India’s famed Hindi-language film industry that sells more than 3 billion tickets every year. The show, which aired on Star World Network, used a large complement of Clay Paky Sharpy fixtures, grandMA2 consoles and grandMA 3D for preprogramming. A.C.T Lighting is the exclusive distributor of the Clay Paky and MA Lighting in North America.

“The IIFA Awards are the Indian equivalent of the Oscars with 800 million viewers worldwide,” says lighting designer Eugene O’Connor. “Cinema is huge there, and the awards show lasted more than five hours. It had a very big open and included production numbers with 60-70 dancers.”

O’Connor knew that Clay Paky Sharpys “were always going to be the main light” for the show in a stadium that demanded “big looks” for its giant TV audience. “With so much video on stage we needed something that was going to break through,” he adds.

Sharpys always top O’Connor’s fixture list. “You can’t beat them, especially if you can get enough of them,” he says. “We had 85 Sharpys from PRG on the IIFA Awards. We positioned 16 on the floor across the front of the stage and 14 across the back. There were six vertical towers with three or four Sharpys on each, plus a bunch on the roof.”

He notes that “when you light for TV you tend to light for FOH, but I light for many different angles. I like a lot of heights, and I let light wrap around the stage so everything is very big, bright and colorful. And the Sharpys performed really well.”

Three grandMA2 full-size consoles and one grandMA2 light were deployed for the show. “Console one was for all the moving lights, console two was its back up, console three operated the media servers and console four, the grandMA2 Light, was its back up,” explains technical director Ola Melzig of M & M Production Management AB, Stockholm.

“With the schedule as tight as it was during load in and rehearsals on stage from 10 am to 4 pm daily, once the stage was ready grandMA 3D was crucial for the lighting team,” Melzig says.

O’Connor agrees. “Using grandMA 3D for preprogramming was a life saver. Last year we couldn’t get the lights in the air until the last minute, and grandMA 3D really saved us. This time I decided to do a lot of preprogramming, and it performed perfectly.”

Programmer Aloysius Dsouza deployed grandMA 3D on his Apple MacBook Pro, which was connected to a plasma screen for external display. “We only had three days for programming while the crew was rigging lights and getting all aspects of the show ready,” he says. “The show also had the challenge of being outdoors with sunset timings.”

Dsouza says he uses the grandMA2 exclusively. “It has unique features that are ahead of their time,” he notes. “I have used only a small portion of them and aspire to use all of them very soon. It’s an excellent and trustworthy console.”

O’Connor also gives kudos to the grandMA2s. “They’re great desks with a lot of fire power. I really like them.”

Melzig says he’s done “a ton of big, high-profile events” and has been “extremely impressed with how stable the MA platform is. They performed flawlessly at the IIFA Awards.” He adds that, “the MA network ties everything up very nicely in a safe and secure way.”

Melzig also showers praise on the staff of the Raymond James Stadium. “I’d like to send them an extra thank you. They were, hands down, fantastic to work with.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Clay Paky Sharpys 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.

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.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The Sharpy is a great fixture for television as well as live entertainment. This application is a perfect example of both of those.”

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

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

Robert Juliat Victor Followspots Light Up Broadway Hit, “Hedwig and the Angry Inch”

Photo: Joan Marcus

The unconventional rock musical “Hedwig and the Angry Inch” is lighting up Broadway, and its lighting designer, Kevin Adams, is using Robert Juliat Victor followspots to light up the stage at the Belasco Theatre.

Neil Patrick Harris stars as Hedwig Robinson, who’s described as the “internationally ignored song stylist,” in John Cameron Mitchell and Stephen Trask’s musical tale of life, love and a botched operation. The show garnered eight Tony Award nominations and four Tony wins, including Best Lighting Design of a Musical, for Kevin Adams, Best Musical Revival and Best Actor in a Musical, for Mr. Harris.

Adams consulted with his associate Paul Toben on what followspots to use for the show, and Tobin “spoke highly” of Robert Juliat’s Victor 1800W MSR followspots. “He knew the parameters and selected the Victors,” Adams says. “We needed really bright, white spots, but we also needed quiet, small units since we were putting them in the house close to the audience. With this in mind Paul knew we’d be happy with a pair of Victors.”

Adams explains that the Victors “are really close to the box seat wall, so there is no room for someone to stand at the wall side. The spot operators have to stand on opposite sides of the unit. I had a lot of anxiety about whether we were going to be able to keep that position.” The solution? One of the Victor followspots is a left-handed model.

“They are a dream come true – super bright with a really even field of light,” Adams reports. “The Victors are very white, so whatever color we put in it looks great. We never have to balance them. And they’re also really quiet.”

He says the followspots are “holding up well” during performances. “They are everything I was hoping they could be and more. They’re terrific!”

Adams acquired the Victors from PRG.

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

# # #

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

Vista Systems URS Supports Fiat-Chrysler Automotive Group 2014 Investor Day Meeting in Detroit

TVS Communications Solutions recently provided production services to the newly-formed Fiat-Chrysler Automotive group (FCA) at its Auburn Hills, Michigan world headquarters, using a Vista Systems URS-1608 Universal Routing Switcher (URS) to support the visuals.

Every five years the automaker holds an Investor Day meeting where presentations lay out a five-year plan for the company. This latest meeting, which attracted journalists and investors from around the world, took place in a fully-renovated amphitheater with 16 conference rooms surrounding it. It marked the biggest Fiat-Chrysler gathering in the last five years.

“In just four weeks the FCA team gutted and renovated a 300-seat amphitheater and 16 meeting rooms from the ground up, including all AV and Lighting equipment,” says Chuck Laszyca, Chief Technical Officer at TVS Communications Solutions in Detroit. “IGI installed three Crestron DM routers, which fed all the display devices – a combination of monitors and projectors in the various rooms.” Sources were a variety of graphics computers, two laptops running Playback Pro, and a switched HDSDI program feed.

“I’ve always wanted to use a Vista URS in this type of production environment so it was really rewarding to easily configure and switch all the presentations that were routed through the DMs to all the rooms,” he says. “With the critical nature of the visual material and the need for rock solid delivery it was clear that Vista Systems processing was the way to go.”

Laszyca explains that, “since all the feeds were to discrete displays it was the perfect application for the URS. Four outputs with transitions fed the Crestron DM system that provided four unique signals going out to all these rooms. The remaining four outputs were used as a combination of “Source” and “Confidence” monitoring.

TVS used the URS to provide PIPs, handle transitions and perform aspect ratio conversions as needed. “As dissimilar graphic and unusually-formatted presentations and video clips came in, the URS handled every source with ease.,” he notes. “URS provided programmed transitions via recalled macros with a High Resolution Systems’ UDC-400 Universal Device Controller. With the extensive configuration handles within the URS GUI there was never a question that any last-minute source would be properly configured and ready for screens in no time.”

Since the URS utilizes the same hardware as Vista Systems’ well-known Spyder X20 “the image quality was fantastic,” Laszyca reports. “And the scaling quality doesn’t get any better than Vista. In short, URS performed as expected; flawlessly!”

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

Clay Paky B-EYEs Elevate Easter Worship Experience for North Carolina’s Elevation Church

Elevation Church, based in Matthews, North Carolina, added Clay Paky A.leda B-EYE K20 LED-based moving lights to the extensive roster of AV equipment it used for a series of Easter worship experiences this year.

Main Light Industries, Inc. in Wilmington, Delaware supplied Elevation Church with 35 B-EYEs for the Easter worship experiences, five for its primary broadcast location and 30 shared among nine other satellite locations.

“We place great importance on excellence in production,” says Andy Bentley, lighting designer for Elevation Church and one of the technical directors. “Three of our locations are permanent facilities with AV and lighting gear installed. The other seven have portable rigs that are set up and torn down every Sunday.”

The Easter worship experience featured seven different elements: four worship songs, an opener, a closer and sermon, each of which were programmed to have a different look. Bentley and a team of Elevation volunteers mounted the B-EYEs on the upstage truss; in addition, nine Clay Paky Alpha Spot HPE 1500s were positioned on the deck upstage.

“The B-EYEs had the same, consistent look at every campus,” says Bentley. “I programmed everything a week before Easter at our broadcast location, then used that as a template for everything else which helped reduce the amount of programming time at the other locations.”

The versatile B-EYEs quickly became his “favorite fixture,” he reports. “They were incredible. We used the ability to control the color of every LED to get some really interesting color palettes, including a patterned, stained-glass look that played off the theme of the sermon.”

Bentley also used the beam shaper to “create some really great, big looks with just a few fixtures.” He particularly liked “the ability of the beam shaper to animate, creating a very angelic, wing-flapping look, which we used in one of our worship songs,” he says.

The wash functions of the B-EYEs also came in handy. “The wash creates an awesome color and, compared to other fixtures I’ve seen, the evenness of the wash is the best,” he notes.

Bentley also praised the performance of the Alpha Spots. “They were great, and I plan on using them again in the near future.”

Main Light came in for kudos, too. “They’re awesome. They go above and beyond every time to make sure we’re taken care of. We do a lot of events with them and love working with their team,” Bentley says.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “It’s great to see our B-EYEs used in so many markets and I’m pleased that Elevation Church was able to get such a great bang from them for their Easter worship.”

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

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

HRS Control Unveils NEW Bridge Products as part of their Embedded Control Servers product line At InfoComm14

HRS Control will introduce a suite of Bridge products as part of their Embedded Control Servers product line at InfoComm14 where the company will occupy booth # C4834 at the Las Vegas Convention Center, June 18-20. The three devices – Lighting Bridge, Studio Bridge and Timecode Bridge – serve as middle-ware hardware devices and are designed to work as stand-alone units or as part of a larger system with UDC Pro ESC-Raptor.

“We have had this protocol translation technology since we developed it several years ago and it has been available as part of our full UDC Software package. Customers now have dedicated hardware to perform the function of protocol translation,” says Drew Taylor, director of sales and applications for HRS Control. “The Bridge products now offer this technology in a cost effective dedicated and embedded hardware platform for even better performance and reliability.”

While the Raptor provides the GUI, the Bridge products act as back-end workhorses linking external equipment for integrated communications. The bridges are ideal for concert touring, live events, broadcast studios, houses of worship, museums, theme parks, theaters and any other AV application.

The Lighting Bridge accepts incoming Art-Net or DMX triggers and executes outgoing HRS Macros that control any AV equipment. Configuration of the Lighting translation table is fast to build and simple to maintain.

The Studio Bridge translates incoming PBUS or VDCP triggers and executes HRS Macros enabling switchers in broadcast environments to talk to equipment such as Vista Systems’ Spyder and AJA Ki Pro recorders.

The Timecode Bridge listens to incoming timecode. The user adds triggers so HRS Macros can be executed at points in the timecode to trigger other equipment. It works with LTC and MTC formats.

All of the Bridge products run on Linux embedded for 24/7 reliability. They come in half-rack width with an available rack shelf. Sharing its form factor with Raptor, a Bridge can sit side-by-side with the Raptor and occupy just a single rack height.

A built-in web page is used for set up configuration and realtime system monitoring.

HRS Control is taking orders and shipping the bridge products now.

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.

LUMINEX V2 Firmware, Which Increases Support for Industry Protocols, Makes Infocomm Debut

LUMINEX Network Intelligence, a Belgium-based developer of lighting control, pro audio and video data distribution equipment for the entertainment industry, has announced the introduction of GigaCore firmware V2, which ushers in a brand new core system for the GigaCore family of Ethernet switches. This latest development will be showcased at Infocomm 2014 in LUMINEX booth C11447.

V2 firmware features support of precision time protocol (PTP v2), development for the support of AES67, new modules for future adoption of AVB, new group web interface, and enhanced PoE and Multicast media support.

In addition to the new industry protocol qualification, the GigaCore 16RFO, an Ethernet switch tailored for touring applications, will bow at Infocomm. Also on hand will be the GigaCore RPSU, a redundant main and PoE supply rack-mount device for the GigaCore family. It can support two GigaCore Ethernet switches and provide back up to one unit in case of power failure.

Visitors to the LUMINEX booth will also have the opportunity to see a demonstration of audio networking offered in conjunction with manufacturer Pivitec LLC. These demo stations will highlight Pivitec Personal mixing systems and interface with a Yamaha digital console, Dante audio support and AVB/MADI bridging from Avid S3L systems.

“After an incredible 2013, we are very excited to be back at Infocomm showing the latest developments from LUMINEX,” says Hugo Larin, Director of LUMINEX Network Intelligence in America.

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

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: InfoComm Newslink, News |

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

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

October 2014
M T W T F S S
« Sep    
 12345
6789101112
13141516171819
20212223242526
2728293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication