ORLANDO, Florida — In an exciting introduction that will immediately transform the design experience for integrated systems consultants and contractors by providing ease of deployment and seamless integration, HARMAN Professional today debuted its new Architectural Media Systems program at InfoComm 2013. Elegant, streamlined and powerful, HARMAN Architectural Media Systems combine the processing power of BSS Audio and Crown Audio’s category leading amplifier technology with the configuration and control capabilities of HiQnet. This solution will provide audio industry professionals with the most complete, versatile platform available for small to large-scale AV system design, with the single point accountability of one-stop comprehensive support and logistics.

“The HARMAN Architectural Media Systems program is the direct result of client input and HARMAN innovation,� said Dan Saenz, Market Manager Amplifier Business Unit, HARMAN Professional. “Working with consultants, contractors and end-users on a wide array of projects using BSS Audio, Crown and HiQnet, we have arrived at a range of processing, amplification and control technologies that work optimally together. These systems are efficient to deploy, easy to maintain and readily expandable. With this system solution, we’re leveraging our HARMAN product portfolio to make it even easier for all parties to get the very best from their AV technologies.�

HARMAN Architectural Media Systems include signal processing from BSS Audio‘s Soundweb London family, amplification from Crown’s DriveCore Install Series, and networked audio connectivity via the designer’s choice of AVB, HARMAN’s proprietary BLU Link bus, Cirrus CobraNet or Audinate Dante. System configuration and control is provided by HiQnet Audio Architect, with HiQnet Motion Control and Powered by Crown iOS apps providing mobile control. HARMAN Architectural Media Systems are engineered to provide the best user experience for the designer right through to the operator. The systems are built upon a foundation of over 40 years of combined networking expertise, and provide category-leading scalability via distributed DSP architecture and the most transport-agnostic, flexible approach to audio network design. This flexibility is achieved with HARMAN’s new HiQnet Audio Architect software application— designed to be powerful and scalable with advanced integration and persona-centric workflow. HARMAN Architectural Media System projects will benefit from the global training and support network of the company’s worldwide regional offices.

Network designers will have more choice and greater flexibility. System designers will save valuable time and money with the enhanced efficiency of intelligent software. Contractors will have access to a wide range of tools and worldwide, multi-language support. Facility managers will gain easy access to no-compromise audio performance. Most importantly, HARMAN Architectural Media Systems will provide audiences with a premium sound experience.

“It’s truly the best of many worlds: industry-leading signal processing, amplification, software, networking and control technology, working together to provide a uniform experience, seamless integration and the quality assurance of HARMAN,� said Iain Gregory, Market Manager Signal Processing Business Unit, HARMAN Professional. “We’re pleased to debut this approach at InfoComm 2013 and we look forward to working with the consultant and contractor communities as they adopt this solution into their system designs, and as we continually expand the capabilities of HARMAN Architectural Media Systems.�

HARMAN is exhibiting its Architectural Media Systems at InfoComm in Booth 800. Technical presentations are scheduled in Demo Room 202A.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

ORLANDO, Florida – Like many older houses of worship, First United Methodist Church in Jefferson City, Missouri had a sound system that had been in use since the 1980s. When the church made the decision to update the system, it went with an installation based around HARMAN’s dbx PMC16 Personal Monitor Controller, used in a unique way as both a personal monitoring system and as a recording mixer.

The church officials entrusted St. Louis, Missouri-based sound contractor The Aries Company (www.ariescompany.com) to design and specify the system for the 375-seat church. In addition to clear, intelligible audio throughout the sanctuary, the church needed an effective monitoring system for the members of the worship band.

Based on their analysis of the church’s architecture, Aries and its team, led by Technical Operations Manager Kelly Barrera specified a JBL loudspeaker complement that was as economical as it was effective. Just two JBL CBT70J+70JE-1 column speakers are needed to cover the sanctuary along with a PRX418S subwoofer and three AC25 compact loudspeakers under the balcony. Two JBL STX812M floor monitors are placed in front of the stage. In addition, four JBL Control 25CT in-ceiling speakers are installed in the lobby.

Crown CDi 4000, CDi 2000 and 180A amplifiers power the sanctuary’s loudspeakers. Front of house mixing is provided by a Soundcraft Si Performer digital live sound console, which among other aspects Barrera likes for its ability to name each channel and its channel patching, linking and grouping capabilities. A BSS Audio Soundweb London BLU-800 Signal Processor with Digital Audio Bus handles audio networking and processing for the system.

Barrera was particularly impressed by the flexibility of the dbx PMC16. The praise band uses six of them for onstage monitoring – and in an unusual application, a seventh is employed as a recording mixer for the church’s video production. The dbx PMC16 Personal Monitor Controller is a remote control designed to give performers the ability to set up and control their own personal mixes of up to 16 channels of audio. Each channel can be tweaked with EQ, panning, Stereo Width control and effects, including a choice of built-in Lexicon® reverbs.

“The PMC16 has enhanced the band’s ability to hear themselves and really dial in their mixes to their personal preference,� Barrera noted. The PMC16 is also being used as a controller for the passive stage monitors. Barrera notes that when the PMC16 is used with the Soundcraft console, users can patch any microphone channel to aux and have the PMC16 run a passive monitor. “The PMC16 is a great little product,� Barrera concluded.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Diversified Systems Plays Key Role in Both Sales

WOODBURY, NEW YORK – Hitachi Kokusai Electric America, a leading provider of affordable, high performance cameras, today announced that MetroEast Community Media and Portland Community Media—two non-profit public access media centers serving Portland, OR—each installed eight Hitachi Z-HD5000 HDTV studio/field production cameras.

Brad Fisher at Diversified Systems, a national systems integration firm with an office in Portland recommended this camera based on its price performance. He placed the order with Hitachi Sales Representative David Morris on behalf of the two customers.

While the community media centers are not related, they often coordinate their equipment choices and studio configurations to ensure that their operational workflow will be familiar to all Portland residents who use both facilities. After Portland residents complete the training sessions, they are free to use the broadcast-quality studios to produce and cablecast Public Access, Educational, and Government (PEG) programming on any issue or topic.

“Both of these community media centers do an excellent job keeping their facilities running, and they do it on very limited funds. One way I feel I can help them is by making sure that their dollars are leveraged in the best way possible. I recommended the Hitachi Z-HD5000 camera because I felt it would enable their HD transitions at a very affordable price and give them the quality they deserve,� said Fisher.

Portland Community Media

Portland Community Media, which focuses on Multnomah County, receives 70 percent of its operating budget from the City of Portland. Despite the tight budget, Portland Community Media is nearly finished transitioning its facility to HDTV.

According to Bea Coulter, director of operations for Portland Community Media, they currently downconvert their HD programs to SD for broadcast by local cable systems. However, when these cable systems provide them with HD channels—which is expected within the next four months—they’ll be ready.

Five of the eight Hitachi cameras purchased in the summer of 2012 are situated in Studio A, and three are in Studio B. These 2/3-inch Hitachi Z-HD5000 HD cameras, which replace older 1/3-inch HD cameras, were chosen because they offer higher video quality at an affordable price point.

“We immediately recognized that this camera offers high-end functionality, and the ability to produce high-quality programming. Since the people who use our studio equipment are not video professionals, the user-friendliness of this camera was very appealing,� said Coulter. “These factors made the decision to choose this camera very easy. The training, tech support and service we’ve received from Hitachi has been great, so much more than I expected from an equipment vendor.�

MetroEast Community Center

MetroEast Community Center, which serves East Multnomah County and towns east of Portland, installed four of its eightHitachi Z-HD5000’s in Studio A, which has a green screen for live graphics. The remaining four Hitachi cameras are in a fly-pack in a mobile video unit used for multi-camera remote productions, including town council meetings and high school sporting events.

MetroEast’s operating budget is funded in part by franchise fees collected from Comcast cable and Frontier Fios, two local cable systems that carry the programming. MetroEast also expects to be producing and broadcasting in full HDTV this summer.

According to Jamie Groce, technical manager for MetroEast Community Media in Portland, these Hitachi Z-HD5000 cameras are the first step in their transition to HD. “Budget was a big issue for us,� said Groce. “We felt that this camera had all the features we needed at a competitive price. So it came down to bang for the buck on an all-around great product.�

Their cameras are configured for digital fiber optic cabling, which Groce said enables them to have long cable runs fairly inexpensively compared to triax or multicore cabling. The durability of fiber optic cabling is especially important when the cameras are used for field production.

Both Portland Community Media and MetroEast Community Media received cameras outfitted with FUJINON HD lenses as well as Hitachi CU-HD500 camera control units and Hitachi RU-1000VR control panels. The Hitachi Z-HD5000 offers three high-sensitivity, low noise 2/3-inch IT CCDs in a lightweight 2-piece dockable camera body as well as 800 TVL resolution, F10 sensitivity, and 14-bit analog to digital conversion.

About Hitachi, Ltd.

Hitachi, Ltd. (TSE: 6501), headquartered in Tokyo, Japan, is a leading global electronics company with approximately 326,000 employees worldwide. Fiscal 2012 (ended March 31, 2013) consolidated revenues totaled 9,041 billion yen ($96.1 billion). Hitachi is focusing more than ever on the Social Innovation Business, which includes information and telecommunication systems, power systems, industrial, transportation and urban development systems, as well as the sophisticated materials and key devices that support them.

For more information on Hitachi, please visit the company’s website at http://www.hitachi.com.

Unique solution enables customers to bypass ISP policies and preserve network bandwidth for non-critical communications

ZURICH, SWITZERLAND, June 10, 2013 — IP audio and control specialist Barix introduces a unique solution helping media companies, businesses and other multi-site network users to route multicast traffic over remote network links, enabling bandwidth-efficient, multicast delivery over the public internet.

Multicast uses special destination addresses to target groups of subscribed devices, and deliver data and streams such as voice (general paging) and audio (background music). In contrast to standard connections where each device needs its own stream, multicast data distribution requires only a single stream to send the same content to any number of receivers on the same network segment, minimizing bandwidth and network usage. Multicast delivery is traditionally limited to private, in-house networks as Internet Service Providers block multicast traffic on normal Internet connections.

Barix has developed a unique multicast routing and tunneling firmware that turns its Barionet IP control devices into flexible, multisite multicast routers — effectively enabling delivery of multicast traffic over the public internet to remote locations. The solution forwards multicast IP blocks to remote receiving devices, re-packed as unicast streams. The receiving devices then re-issue the packets as multicast on the destination network.

“This solution addresses challenging situations for systems integrators and network operators that want to use multicast transport between subnets but have previously been blocked from doing so,� said Johannes G. Rietschel, CEO and Founder of Barix AG. “We are effectively bridging multiple multicast groups between multiple sites for general data and our specialty, Audio over IP, preserving network bandwidth and increasing the efficiency of remote communication.�

Using Multicast, system integrators can configure Barix IP Audio systems with more flexibility and less labor as streams are concurrently distributed to many nodes using IP multicast delivery. This minimizes streaming bandwidth requirements and simplifies configuration; it is not necessary to know the IP address of each individual receiver on the network. Instead, subscription protocols are employed so that relevant receivers – such as a Barix Exstreamer IP audio decoder – receive relevant streams, even if they use dynamic, unknown IP addresses.

The Barix multicast routing and tunneling solution can be deployed across a large number of scenarios as functionality is independent of actual protocols. This enables the firmware to be used alongside automation, IP audio, video, VoIP, SIP or RTP streams, for example. Furthermore, the entire operation can be monitored over SNMP to enable a complete bird’s eye view of system efficiency.

Barix: The Voice of Simplicity (www.barix.com)
Barix AG, headquartered in Zurich, Switzerland, specializes in the research and development of state-of-the-art IP based communication and control technology. The company is a long-term and reliable supplier of IP audio and control devices, with more than 150,000 devices shipped in its first decade of business. Barix products are stand-alone and able to remotely connect worldwide over standard networks/Internet, offering new and improved solutions to the commercial audio distribution, communication and automation industries. Barix products provide solutions in Audio over IP (audio distribution and monitoring, communication, security) and automation (remote controlling, monitoring and maintenance).

# # #
Barix AG, Seefeldstrasse 303, 8008 Zurich, Switzerland
Phone: +41 43 43322 11, Fax: +41 44 2742849
Barix Technology Inc, St. Paul, MN – (866) 815-0866

http://www.barix.com

http://www.ip-audio.info

THOUSAND OAKS, California, June 7, 2013 – The Summer Solstice this year falls on a Friday, June 21, and there’s no better day to show off your backyard’s new SunBriteTV all-weather television. Enjoy more sun than any other day of the year, all the while entertaining your guests with a modern outdoor entertainment system.

“The Summer Solstice might not be your sole reason for throwing a summer party,� said Tom Dixon, VP of Marketing, SunBriteTV. “But a SunBriteTV will certainly be the reason your guests clamor to know when you’ll be hosting the next one.�

Much more than just a television, SunBriteTV’s transform outdoor areas into outdoor living rooms. Even after the big party is over, a SunBriteTV becomes the center of a moonlit family home theater in idyllic summer heat.

All SunBriteTV models withstand temperatures from -24°F to 122°F and completely resist rain, humidity, salt corrosion, dust, and insects. Anti-glare screens are specially designed to deliver bright high-definition images in any outdoor climate, any time of day or night.

Every SunBriteTV includes a two-year warranty, a weatherproof remote, and 20 watt built-in speakers.
Optional accessories include a variety of wall-, ceiling- or pole-mount installation solutions, dust covers and FM Radio.

For more information on SunBriteTV please visit www.sunbritetv.com.

About SunBriteTV
SunBriteTV’s all-weather televisions have been time-tested in home installations, outdoor sports arena, restaurant and hotel patios and even on military vehicles participating in field operations. All models are available through SunBriteTV’s network of Authorized Dealers. To inquire about becoming an Authorized Dealer, contact SunBriteTV at 866.357.8688, or visit the Dealer Inquiry page at www.sunbritetv.com.

Minor league baseball games provide a wonderful opportunity for fans of the game to enjoy the sights and sounds of baseball in a fun, family-friendly environment. From the crack of the bat to the sheer grace of middle infielders easily turning a double play, it’s hard to beat a night at the minor league ballpark on a beautiful spring or summer evening. However, for fans of the Nashville Sounds, AAA affiliate of the Milwaukee Brewers, the ability to watch video replays and highlights on a state-of-the-art digital scoreboard is missing from an otherwise perfect experience, as Greer Stadium, the team’s 36-year-old ballpark, isn’t equipped with such video technology capabilities.

While talks proceed on moving the team to a new ballpark with current day amenities, including a video scoreboard in the outfield, the Nashville Sounds were able to enhance the fan experience during a recent night game by utilizing lightweight and flexible LED video curtain panels manufactured by PixelFLEX. With more than 3,000 fans in attendance for Music Industry Night, a popular promotional event scheduled several times a season that features a pre-game musical performance, the Sounds kept fans in the action throughout the game by delivering video and player information across the PixelFLEX panels in right-centerfield.

“Our fans are among the best across the country, so we are hopeful in regards to the possibility of a new ballpark with better amenities, including a video scoreboard,” said Brad Tammen, the team’s vice president and general manager. “In the meantime, we’re glad we had an opportunity to test out the PixelFLEX system. I was really impressed with the clarity, sharpness and brightness of the panels.”

Videos and images can be sent to PixelFLEX’s screens using any computer with a DVI-D connection. Each typical screen panel is approximately 8′x4′, but modifications can be made easily to meet specific needs of the consumer – panels can be attached together with PixelFLEX’s proprietary quicklock system. During the Sounds’ game, PixelFLEX provided a 24′ wide by 16′ tall wall of 20mm panels.

“The thing that surprised me most was the ease of set up,” Tammen continued. “All of a sudden, the PixelFLEX video screen appeared out of nowhere, hanging above the right-centerfield wall. We’re planning to use the screen again for our game on July 3rd, which will feature fireworks and probably a much larger audience. We’re looking forward to it.”

For more information on PixelFLEX and its growing line of lightweight LED video screens, visit www.LEDCurtain.com. Follow PixelFLEX at www.Facebook.com/PixelFLEXUSA and @LEDCurtain.

BUENA PARK, Calif.—Columbus Crew Stadium in Columbus, Ohio was the place and mid-May was the date of this year’s Rock On The Range Festival, marking the seventh annual rock festival expanded to three-days this year due to its success and interest by bands to be part of the line up.

Once again, Logic Systems Sound and Lighting of St. Louis handled audio and lighting production for the 105,000+ concertgoers treated to music over three stages by Love & Death, Hollywood Undead, Buckcherry, Cheap Trick, Korn, Pop Evil, All That Remains, Halestorm, Papa Roach, Three Days Grace, Smashing Pumpkins, Sevendust, Bush, Alice In Chains and Soundgarden, to name a few.

The crowd was treated to superb sound as this year Logic Systems brought in the new NEXO STM line array to the main stage that consisted of 36 STM M46 main cabinets, 36 B112 bass cabinets, 36 S118 subs, 10 NUAR racks, 12 GEO-Ts, and 12 CD-18s. A Yamaha PM5D-RH was used as the primary monitor console for the main stage.

“The overall response to the new NEXO STM system by guest engineers was very good,� states Chip Self, President, Logic Systems Sound and Lighting. “Everyone was duly impressed by the sound quality and the overall SPL achieved with so few boxes. The rigging on the STM is exceptional, and very fast. We were able to fly each side of the main PA with just four crew in less than 20 minutes!�

In related Logic Systems news, the company brought in their NEXO GEO T rig for the Carolina Rebellion Festival that took place in the beginning of May at the Rock City Campground located at the Charlotte Motor Speedway.

For more information on Rock On The Range, visit www.rockontherange.com.

For more information on Logic Systems Sound and Lighting, visit www.logicsound.com.

For more information on the NEXO STM, GEO T or Yamaha PM5D-RH, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Clay Paky Sharpys and grandMA2 consoles are heading out on the road with Tim McGraw as the country superstar kicks off his Two Lanes of Freedom 2013 Tour in support of his new namesake album. A.C.T Lighting is the exclusive distributor of both Clay Paky and MA Lighting in North America.

McGraw’s Two Lanes of Freedom Tour will play 30 cities across the country. It follows his incredibly successful joint Brothers of the Sun tour with Kenny Chesney, last year’s highest-ranking country tour in Billboard’s list of the top treks of 2012.

For McGraw’s latest show Premiere Global, which has been a vendor for the artist for the last decade, supplied 30 Sharpys and two grandMA2 full-size consoles. “The Sharpys are being used on the floor, on the rig and in the air for fanouts. They give a really big look,” says Steven (Creech) Anderson with Premier Global.

“The shape of the production is a big spider with arms coming down and pods at the end of each,” he continues. “There are lots of LEDs and video, and the Sharpys really enhance things. They’re great lights – everyone is trying to copy them right now, but there are no fixtures out there that compare to them.”

Lighting designer Pat Brannon went with “the ACL old-school look” by clustering four groups of four Sharpys on the rig and positioning 14 more on the floor. “I’ve used them before, but this is the first time I’ve had Sharpys on a tour,” he says. “I’m really happy with them. I like their narrow beam, the quickness and brightness of the lamp, and the great color choices. They’re small and lightweight but make a huge impact.”

Everything in the show, including the video content, is triggered by the grandMA2; a back up unit is also on hand. “We had a multi-user interface for two programmers,” says Brannon. “They could save to the same cue files at the same time, and that was great. The main feature is the video interface; I’m very fond of the DMX bridge that Control Freak provides. And it’s great to be able to write your own fixture profile.”

Brannon says he “loves the feel of the desk and using the NPUs. The speed and processing is unmatched by anything I’ve ever used.” He enjoys the new layout feature of the grandMA2 series, which he finds “very useful – it eliminates the old fashioned process of grouping. Now you can lay out in the exact formation that you have in the system. You can see what your fixtures are doing live by just looking on the screen.”

John Zajonc is production manager for the tour and Troy Eckerman was the programmer. Jeff Bertuch assisted on the video programming. Drew Finley is the content creator.

The Space Shuttle Endeavour’s final journey is captured in a compelling nine-minute video being shown on a Christie Roadster HD10K-M 3-chip DLP® projector at the California Science Center in the Mission 26: The Big Endeavour exhibit. The film follows the shuttle as it flies over Los Angeles – transported on top of a NASA Boeing 747 shuttle carrier aircraft – before landing at Los Angeles International Airport and taken on its 12-mile, three-day voyage to the Science Center with a cheering crowd of over 1.5 million who lined the route. The Space Shuttle Endeavour flew 25 missions into space, deployed three satellites and orbited Earth 4,671 times. Mission 26 refers to its final journey through the streets of Inglewood and Los Angeles to its permanent home at the Science Center’s Samuel Oschin Space Shuttle Endeavour Display Pavilion where it will inspire future generations of scientists, innovators and engineers.

David Knight and Christie HD10K-M Follow the Voyage to the California Science Center

At the Science Center, guests visit the Mission 26 exhibit, which features more than 80 large-scale photographs depicting Endeavour’s journey. Inside the gallery is the Mission 26 Theater where the new film is running continually throughout the day. Following the movie, visitors can walk downstairs, visit various exhibits and then enter a large pavilion where the Shuttle is displayed.

“We did the film because people love to visually relive this moment in history. It was the first and last time ever something like this would happen on urban city streets and it brought all kinds of people together from all over the world. This commemorates that and gives those who didn’t get to see it a chance to experience it as well,� said David Knight, producer, Endeavour Project.

Knight led a large filming project that documented the entire move-process, beginning with Endeavour being mounted atop the 747 at Kennedy Space Center in Florida, and culminating with her installation inside the Shuttle Pavilion. He pursued the project as a labor of love and the response was overwhelming. The 150-person film crew, equipment and everything involved in the project were all donated.

“For the movie that plays on a nearly 30-foot wide silver screen on the wall – people enter from one side, sit down and watch the movie, and then walk out the other side,� said Knight. “The walls don’t go all the way to the ceiling and hanging above the back wall is the HD10K-M. It is front-projecting and shows the movie in 2D with the plan to make a 3D rendering of the movie, and then we’ll switch over to 3D.�

The most compact in its class, the Christie HD10K-M provides true HD native resolution (1920 x 1080) with up to 10,000:1 contrast ratio, dual mercury lamps, embedded Christie Twistâ„¢ image warping and edge-blending, built-in portrait capabilities and is 3D upgradable.

“I appreciate the brightness and color depth of the Christie projector: the Mission 26 Theater installation utilizes a wall-painted screen, thus the demands for output power are extremely critical. Two other projector-brands were tried and the Christie difference is stunning,� said Knight.

California Science Center Foundation executive William Harris explained the success of the Shuttle’s final trip and the movie capturing the entire event.

“No Shuttle has ever been available for up close viewing like Endeavour here; you can walk right under and around it. Other shuttles have been available for viewing such as in the Smithsonian in Washington, D.C. but they are roped off and you can’t go underneath,� he said. “Endeavour is mounted low to the ground, you can actually walk right under it and can read the numbers on the individual thermal tiles, of which there are over 20,000.

“There has always been a lot of pride in the Shuttle program and what mankind can do when we set our minds to it,� continued Harris. “We flew Endeavour throughout California atop the 747 before landing at Los Angeles Airport (LAX). An estimated almost four million people saw it fly over. The number of people who have seen all this is absolutely staggering.

“We are all very pleased – and with up to 25,000 visitors per day it’s important that we have a highly reliable, extended-duty-cycle solution. Christie has delivered that.â€�

The Mission 26 exhibition runs through Labor Day, September 2, 2013.

Corporate event production company Riverview Systems Group Inc. of Milpitas, California chose four grandMA2 lights to handle lighting and display control for their client Zimmer at the AAOS (American Assoc. of Orthopedic Surgeons) conference in Chicago. A.C.T Lighting is the exclusive distributor of MA Lighting in North America.

One of the systems controlled a private area, another a public space and two served as back ups. The pair of grandMA2s in operation controlled lighting and automation of multiple screen systems, which included 32 x 20 Barco C5 LED wall in the main theater.

“We basically created a theme park in the booth,” says Riverview Systems’ Director Of Technical Design, Franco Berardi. “The whole booth was almost entirely composed of automated fixtures plus 280 Color Blasts. We turned a massive property the size of a city block into an immersive environment of color and evolving sensations. grandMA2 offered control and versatility of the technical cues, all remotely.”

Berardi says the Zimmer featured a main theater plus two 50-person private theaters; each had to be run and triggered remotely by one person. “We also needed two systems on the same network. We chose the grandMA2 for its robustness, its ability to network and its Telnet capability. We visited A.C.T Lighting to get training on the system.”

grandMA video fed the pixel-mapped truss above. “grandMA2 was used to control all the mechanics, automation, pixel-mapping, truss toners and things being lit in the booth,” Berardi explains. “It was like a ballet. We transformed the whole booth.”

The grandMA2 was controlled via High Resolution Systems’ UDC Timecode, which acted as “a bridge,” he says. “The show was very complex, but it was also glitch-free. We never had any problems with the consoles. They came through with flying colors.”

Berardi observes that, “nothing matches the grandMA2, or MA products in general, in terms of control. grandMA2 is bulletproof.”