OCTOBER 2022 // VOLUME 40 // ISSUE 10 svconline.

com

SOUND&VIDEO
CONTRACTOR
R E V I E W S | T E C H N O LO GY | A P P L I C AT I O N S

PRODUCT-AT-WORK
PTZ CAMERAS AND
STREAMING DEVICES
CONFERENCE MICS
AND SYSTEMS
CONTROL ROOMS

MEGA RF
MANAGING RF INTERFERENCE FOR WORSHIP
 contents OCTOBER 2022 // VOLUME 40 // ISSUE 10

30
6 | O n the Circuit
FEATURES By Chief Editor Cynthia Wisehart

8 | C ase Studies: Worship

30 | Mega RF 22 How three houses of worship have
A look into how Prestonwood Baptist leveraged today’s leading AV systems to
Church tackles huge productions in a bring their productions to the next level
highly challenging RF environment
14 Tech Showcases
Supplement
14 | P TZ Cameras and Streaming Devices
35 | Control Rooms
From a renovated historical 22 | C onference Mics and Systems
site to the cutting-edge
of healthcare, see inside
a variety of control rooms
where AV is mission critical
35 Open Mic

50 | Why Color Matters

By Bob Wudeck

Sound & Video Contractor, Volume 40, Issue 10, (ISSN 0741-1715) is published monthly by Future US, Inc., 130 West 42nd Street, 7th Floor, New York, NY
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4 SVC | O C TO B E R 20 22 | SVCO NLINE . COM

 on the circuit
I
’ve been to the Jupiter Systems headquarters in
Hayward plenty of times. It’s cubicle-y, beige,
resolutely unpretentious. The trees around the
parking lot have grown bigger over the years and
that’s pretty much it. The company was always in my
life; my integrator husband counted on Jupiter for decades, as many
people do, for heavy-lifting and reliability on hard, complicated, often
trail-breaking installs. Maybe not so much for glamour. But now I can
confirm that for myself (and my colleague Cindy Davis) Jupiter has one
of our top coveted products—the swanky adjustable, lie-flat desktop
version of the Jupiter Pana display line. Jupiter Systems VP of sales
Justin Shong (himself an integrator) has one on his desk, and a big Pana
on the wall for situational awareness and general flash. The next-gen
look of these gorgeous displays with their unique aspect ratio doesn’t
By Cynthia Wisehart really go with the Dodgers’ jersey on the wall, but there’s a certain
poetry in the juxtaposition of the new and the timeless.
For 40-ish years, Jupiter has been the brains behind a lot of cool
displays, but now they are wearing cool on their sleeve with the Pana
range. As demonstrated at InfoComm, Jupiter is coming out from
behind the glass to be the glass (or the LED). It’s leaving behind—or
learning the lessons of—the InFocus years to do something that seems
quite innovative. While of course it seems obvious that the brains
behind the display would want to sell display, the implementation for
Jupiter’s display strategy is bold. The 12:9 aspect ratio does feel fresh
and functional.
The reason for my visit was an open house with Microsoft, Lenovo,
and Jabra, in part to show off how these partners became Microsoft’s
infrastructure of choice for Teams Front Row, used to pitch the
interface at Microsoft’s own sales centers.
It’s Shong’s job to sell me on Jupiter’s display strategy of course.
Given the all the notice the displays received at InfoComm, he knows
he doesn’t have to pitch the displays themselves. Instead, he picks
up the other threads that haunt/drive AV right now. First, he says,
Jupiter has these products available, citing four warehouses and
displays on ships. Secondly, talk turns to Equity. This is the word of
the moment in collaboration. It’s a pretty good word. It’s supposed to
acknowledge that technology affects relationships, politics, learning,
all the jockeying of human relationships in our hybrid world. It’s clear
Find me those who are more comfortable with a communication technology
will override those who are not. It’s possible to marginalize people
online
in hybrid working environments as a direct result of poor resolution,
or intelligibility, or latency, connectivity, or GUI. This has always been
true, it’s just more noticeable now. From that standpoint, thinking
about all the pieces of artificial face-to-face communication including
cynthia.wisehart@ sound, picture, signal distribution, and user experience requires the
futurenet.com kind of thinking that in some ways Jupiter has supported for a long
time in other ways. I’m rooting for everyone who is trying to make our
www.svconline.com/
new hybrid world an ultimate plus and not just an accommodation. I
proav-today
love 12:9. And it was nice to see the big trees towering over the taco
truck and do something in person for a change.
Even if it was to talk in person about virtual meetings.
6 SVC | O C TO B E R 20 22 | SVCO NLINE . COM
Volume 40 Issue 10 October 2022
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 the buzz
CASE STUDY / WORSHIP
MAX HEADROOM
Founded by Pastor Bill Scheer in 1992, GUTS
Church is a contemporary Christian church
that maintains a ‘Come as you are’ approach
designed to appeal to those who are put off
by the formality of many more traditional
worship environments. As part of a facility
upgrade geared to increase the overall effec-
tiveness of their main worship sanctuary, the
church recently moved away from their exist-
ing projectors and increased the video inten-
sity with two MAXHUB LM220A07 220-inch
diagonal Integrated LED Wall Displays.
Tulsa, OK-based TES Productions, which
in addition to being a live event production
company, also operates a design/build AV
integration business that serves the com-
mercial, education, worship, and other mar-
kets throughout Northeastern Oklahoma and
beyond, was contracted to deploy the new
MAXHUB displays at GUTS Church. Alex
Forrest, who serves as a Sales Engineer
for TES Productions’ A/V integra-
tion group, was integral to the GUTS
from the wire Church project from the initial sale
For more case studies, visit
svconline.com/the-wire.
through installation. He discussed
8 SVC | O C TO B E R 2 0 22 | SVCONLINE . CO M
the job and the reasons for deploying the
MAXHUB equipment.
“The main auditorium at GUTS Church has
roughly 1,000 seats built into an old ware-
house space complete with concrete floors and
exposed ceiling structure,” Forrest explained.
“They use a 60 ft. wide video wall behind their
stage for graphics and lyrics while image mag-
nification from the church’s 4-camera video
system and other video content is pushed to the
MAXHUB screens positioned on the left and
right sides of the stage — bordering the outside
edges of the stage area.”
With 1920 x 1080 screen resolution, three
HDMI inputs, and one HDMI output, the 220-
inch diagonal MAXHUB LM220A07 features
integrated video processing, support for PBP
(Picture By Picture) functionality, along with
PIP (Picture In Picture) capability; it can be
configured with minimal setup time.
“The low-profile cabinets of these displays
provide a clean aesthetic that enables them to
blend seamlessly into the overall atmosphere
of the sanctuary,” Forrest comments. ‘And with
their rich feature set, they eliminate the neces-
sity of having to mess with a Novastar pro-
cessor to make everything work. The overall
combination of functionality and connectiv-
ity—in addition to being priced very competi-
tively—made them extremely well suited for
this installation.
“Sam Malik, MAXHUB’s Senior Director
of Sales & Marketing for the Americas, main-
tained regular contact with us throughout the
sales and installation process, so we felt like the
project really mattered to the company. Equally
notable, video engineer Jason Seas was very
much on top of business—managing the techni-
cal aspects of the project. Jason was hands-on
throughout the entire process and made certain
everything went as smoothly as possible.”
“We needed a long-term solution for our
side wall displays in our main sanctuary. The
projectors we had just weren’t cutting it,”
says Zach Blake, Technical Director at GUTS
Church, “Now that the MAXHUB displays are
operational, I have been blown away by the
clarity, definition, and overall aesthetic that
these walls provide. They make services much
more engaging.”
 the buzz
CASE STUDY / WORSHIP
IN SYNC
Glen Haven Baptist Church, just south of
Atlanta in McDonough, Georgia, turned 75
years old this year and celebrated with a new
KLANG:konductor, capable of delivering up
to 16 immersive mixes and processing 128
input signals at up to 96 kHz with an internal
latency of less than 0.25 ms.
They need the power, with 18-20 musicians
onstage playing for its 100-voice choir. The new
KLANG:konductor, purchased through and
installed by Clark Integrated Solutions, is linked
to the church’s Allen & Heath dLive C3500
front-of-house console, whose DM64 MixRack
digital stagebox hosts a superMADI card, and
which in turn interfaces with a pair of DiGiCo
DMI-MADI-B cards. That signal flow is used
to allow the input onstage to be converted to
XLR for use with the church’s Shure PSM 900
in-ear monitors, then converted back to MADI
for use with the KLANG:konductor. It’s a
slightly complex workflow, but one with
hugely positive and productive impli-
from the wire cations for the church’s audio staff and
For more case studies, visit
svconline.com/the-wire.
musicians.
10 SVC | O C TO B E R 202 2 | SVCO NLINE . COM
“The superMADI card feeds our
KLANG:konductor’s two DMI cards, then
we’re sending all 128 channels from the con-
sole over the input lines, and then sending eight
mixes back to the dLive and using the tie lines
in the dLive to feed our in-ears via the DM64
outputs,” explains Glen Haven Baptist Church
Director of Technical Ministries Brett Hill.
“Now, rehearsals and sound checks are much
faster and effective, and the KLANG:konductor
takes a lot of the pressure off of the mixing engi-
neers and we can work with a smaller crew,”
says Hill. “Also, once a musician moves onto
the KLANG platform, they tend to stay there;
once they experience the ability to place them-
selves in the mix onstage, they’re not going back
to mono or stereo. The 3D space gives them a lot
more clarity on their own sound and the sound
of the other musicians.”
“I was pretty skeptical about it at first,” says
the church’s musical director Harrison Smith,
but after about an hour with it, I can see why
everyone loves it,” he says. One immediate
benefit: Harrison says that as both the church’s
MD and drummer, he was constantly fighting
in his mixes with the critical click track on one
hand and the vocals and reverb on the other.
“With the KLANG:konductor, I can dial in
everything exactly as I need to hear it,” he says.
Just as KLANG:konductor has changed the
culture at front of house, it’s done the same
onstage. Previously, Harrison would have to
act as a moderator between the monitor mixes
at front of house and the stage, taking requests
from musicians for a little more of this or that
in their “cans” and communicating those to the
FOH mixer.
“Now, I have the KLANG:app on an iPad
in the drum enclosure,” he says. “If they need
an adjustment in their mix that they can’t do
themselves, I can handle that from my iPad. It’s
one more way it’s taking the burden off of front
of house, too.” And the way the KLANG plat-
form works, the church didn’t have to change
any of its onstage monitoring infrastructure—
antennas, earbuds, and so on were the exact
same the week after the KLANG:konductor
was installed as they were the week before.
 the buzz
CASE STUDY / WORSHIP
LEAP OF FAITH
Princeton Pike Church of God, in the northern
Cincinnati suburb of Hamilton, Ohio, has been
around since 1928, and its worship spaces have
continually grown. By the time the congrega-
tion began meeting in its new sanctuary—
nearly 3,000 seats in 2001—it was clear the
sound reinforcement systems were not keep-
ing up. As part of a sweeping upgrade, they
chose L-Acoustics L-ISA immersive sound
technology for the main auditorium, in part
to improve the acoustical and emotional con-
nection between the large stage and the fan-
shaped seating area.
“The system we replaced was the original
install from 21 years ago, and we wanted some-
thing forward-thinking enough for the next
two decades,” says Princeton Pike Church of
God Production Director Eric Chancey. “The
difference in cost between the L-ISA-based
design and a standard left-right stereo system
for us was barely five figures. Our church
board looked at the numbers and real-
ized that this is where church sound
is going. We didn’t want to look back
from the wire and think we’d missed the boat.”
For more case studies, visit
svconline.com/the-wire.
Chip Self, owner and CEO of
12 SVC | O C TO B E R 202 2 | SVCONLINE . CO M
Cignal Systems, the AV division of St. Louis-
based Logic Systems integrated the L-Acous-
tics system. The setup is seven Scene arrays,
the centermost five each being comprised of
three A15i Focus flown over a single A15i
Wide. These are flanked by two more Scene
arrays of three smaller A10i Focus over one
A10i Wide, with Extension arrays of one A10i
Focus over two A10i Wide hung even farther
out. All A15i and A10i systems are suspended
using custom-engineered and fabricated Logic
Systems exoskeleton plate systems.
Additional loudspeaker systems include left
and right out-fill arrays of two A15i Focus over
two A15i Wide, 13 ultra-compact 5XT coaxi-
als spread out across the stage lip for spatial
front-fill, five X12 stage wedges, a dozen flown
12KS21i subs, and 12 LA4X and seven LA2Xi
amplified controllers. This is all controlled
via a brand-new L-ISA Processor II that was
purchased with a standard 16-output licens-
ing level to best match the church’s relatively
modest production needs and significantly
minimize the cost of entry into an immersive
system.
Onstage, a pair of KLANG:vokal 3D in-
ear monitor mix processors provide up to
two dozen individual mixes at 48 kHz and
96 kHz via KLANG:kontrollers for wireless
IEM monitors. “This was a huge leap of faith
into immersive sound,” says Self, “not only
the L-ISA-controlled PA system but also the
KLANG 3D monitoring. Moving into immer-
sive with one system is a huge undertaking,
particularly for a house of worship, but to do
so with a second system is really taking on
a lot—they literally went from mono to the
cutting edge of sound. But they also realize
that immersive audio is the way forward for
churches.”
Self says the church turned down an offer to
initially use the system without immersion and
decided to start the learning curve right away
with Self pacing the training. “We’re finding
the tech staff loves it,” he says. “On one level,
it’s more complicated, but on another level,
they don’t have to make allowances for the
elements in the sound, such as carving out EQ
for certain things. With L-ISA, everything has
a place. As a result, volunteers are finding it
easier to mix. There’s way less use of EQ and
dynamics, and the sound breathes more.”
 TECH SHOWCASE
PTZ CAMERAS AND
STREAMING DEVICES
By Bennett Liles and Cynthia Wisehart
Developments in the past two years have catapulted
conferencing and live streaming into killer app status.
AV manufacturers have responded with cameras,
streaming hardware, and capture devices that
integrate sophisticated capability with ease of use. The
items surveyed here illustrate those current
trends and highlight that innovative industry
response to the most challenging of times.
In March, Crestron acquired 1Beyond.
The company came into prominence with a
compelling conferencing solution for small
to medium sized rooms. The 1 Beyond
Hawk features dual PTZ cameras that switch
between wide angle and close-ups on the par-
ticipants. Each camera has a 12x optical zoom
that can bring in small detail while using the
unit’s built-in audio-locating microphones to
find the featured presenter from one moment
to the next. A variety of room microphone sys-
tems can be used to route the far end audio to
the device for echo cancellation.
In April AJA Video Systems debuted
the AJA Helo Plus, a new H.264 stream-
ing and recording device that includes a pair
of openGear 12G-SDI to fibre converters
Helo Plus
14 SVC | O C TO B E R 2 02 2 | SVCONLINE . CO M
1 Beyond
Hawk
for transporting high-band- provide 3G SDI, HDMI, USB 3.0,
width signals up to 10km. Dual and HD video over IP, the Apantac
streaming outputs allow users to cre- AP-1080P-PTZ-20x has also incor-
ate assets with different parameter Atlona porated the NDI protocol into its
settings per output (bit rate, GOP CAPTIVATE capabilities. This technology allows
length, frame rate, picture geometry, video and audio sources to be shared
b-frame cadence, etc.), and feed each bidirectionally across a network and
into one of two destinations. Users can select it gives the camera a wide range of applica-
either of the encoders to drive USB, SD card, tions. The camera supports NDI|HX, USB,
or NAS recording, and can include the output IP, HDMI, and SDI outputs. Control options
of the graphics layout compositions just about include standard IP VISCA, serial, TCP/IP,
anywhere. and Pelco-P/D control protocol.
Designed to capture video up to 1080P and In June, the Atlona Captivate AT-CAP-FC110
debuted. This new enterprise-grade ePTZ (elec-
tronic pan-tilt-zoom) camera is designed for
Apantac use in video conferencing, distance learn-
AJA AP-1080P ing, huddle rooms and small to medium-
-PTZ-20x sized meeting spaces. It’s the second
NDI product in Atlona’s new Captivate family,
joining the AT-CAP-SP100 speakerphone.
Universal PC and Mac compatibility through
standard UVC 1.1 drivers enables simple, plug-
and-play operation with popular soft codec con-
ferencing and UC platforms. The camera’s USB
interface provides video and audio connectivity
 TECH SHOWCASE

Aurora
VPX-TC1

BenQ
DVY23

Aurora
VPX-TC1

AVPro Edge as well as power to the device. The

Impulse 12.8” CMOS camera delivers reso-
lutions up to 4K at 30 Hz, with a 110°
wide horizontal field of view and a 4X
digital zoom; a dual-element microphone
array provides a 16-foot (five meter) audio
pickup range. Autoframing for up to six partici-
pants is supported, as is manual positioning.
For portable streaming, the AVPro Edge
Impulse single-channel streamer/recorder can
stream and simultaneously record directly to a
SD card or USB flash drive. The Impulse fea-
tures HDMI, component and SDI inputs, SDI
output, direct audio input, and an RS-232 port.
Capable of handling video signals at a resolution
up to 1080p, the device’s capabilities include
H.264 and H.265 encoding. The USB port is
on the front panel along with an LCD screen
with navigation buttons for setup and operation.
There is also an LED indicator that changes
colors to indicate operational status. The RJ-45
port allows it to be set up and managed on IP
with a web browser.
The Aurora VPX-TC1 uses Aurora’s new
Mimix CODEC technology to stream video
and graphic images at resolutions up to 4K60
4:4:4 over 1G networks. It can be configured
as a transmitter or receiver and with no fan, it
uses as little as 8W of power producing only a
single frame of latency at the output. When the
unit is used as a transmitter and connected to an
off-the-shelf 1G RJ-45 Ethernet switch audio,
video, data, and control can be sent securely to
one or many receivers. When set up as a receiver,
a user can select the local HDMI inputs or an IP
source.
For those large conferences where it’s a chal-
lenge to get all the participants included in the
video image, the BenQ DVY23 has fast move-
ment and a 20x zoom to get fine detail and close-

O C TOB E R 2 02 2 | SVC 15
 TECH SHOWCASE

Blackmagic
Web Presenter
4K

Bolin
Technology
D Series

Canon
CR-N700
ClearOne
ups while still getting the whole group in the Unite 200 Pro
wide shot. Setup is facilitated by the camera’s Camera
built-in gravity sensor which automatically
adjusts the video image depending on the cam-
era orientation. The system supports stream-
ing formats such as YouTube and Facebook
Live. The variety of output and control
connections allow it to be easily interfaced
with a range of streaming platforms.
There is live 12G-SDI signal stream-
ing to YouTube, Facebook, Twitter, and
other platforms with the Blackmagic Design
Web Presenter 4K complete streaming solu-
tion. The unit’s built-in USB connections
enable a computer to be connected with
any streaming software along with
Skype or Zoom. The user can stream
to the internet via Ethernet or con-
nect a 5G or 4G phone to use mobile
data. The technical monitoring output
includes video, audio meters, trend graphs, Crestron
and SDI technical data. ‘deep learn- DM-TXRX-100-
The Bolin Technology D Series Dante AV ing’ auto focus, STR
PTZ cameras include the D412 and the D220. 12G-SDI connectivity, multi-
These bring Dante AV network technology ple protocols for streaming and control,
to the PTZ camera world over a standard as well as region of interest crop capabilities. switcher with one or more streaming inputs or
1Gbps network. They feature the capabil- An unobtrusive and capable conferencing outputs and it can operate with other systems
ity to output a high quality color image up camera is available in the ClearOne Unite as well transporting all video, audio, control,
to 4K60/Full HD with control via the Dante 200 Pro professional PTZ system. It com- and power signals through a single PoE LAN
Controller Software. The D412 PTZ pro- bines a 20x optical zoom with a 16x digital connection. The system supports streaming
vides up to 4K60 3860x2160p: 60/59.94 zoom to enable a very wide array of applica- input or output at resolutions up to HD 1080p
image resolution with 12x optical zoom tions. With 1080p60 resolution, the imaging and bitrates up to 25 Mbps while the sound
while the D220 PTZ provides image reso- system can produce fine detail within large uses AAC audio compression for stereo. Uni-
lution up to Full HD 1920x1080p: 60/59.94 meeting spaces. It can be controlled through cast and multicast streaming are supported,
with a 20x optical zoom. USB network, RS-485, and RS-232 interfaces with or without RTSP. The RTSP can be used
At press time, Canon announced a new while the signal-to-noise ratio of the CMOS to manage the configuration of numerous con-
flagship 4K PTZ camera. The Canon sensor combined with 2D and 3D noise reduc- nections automatically.
CR-N700 is a 4K 60P 4:2:2 10-bit PTZ camera tion algorithms gets clear images in low light. The Contemporary Research 232-ATSC
with a 1.0-inch Type CMOS Sensor and 12G- The Crestron DM-TXRX-100-STR HD 4K HDTV tuner also provides an option
SDI connectivity and 15x optical zoom (30x H.264 streaming transmitter/receiver is for IP streaming via Ethernet output. Start-
in HD). Features include Dual Pixel AF with designed to work with a DigitalMedia ing with Version 2.01 firmware, users can

16 SVC | O C TO B E R 2 02 2 | SVCONLINE . CO M

Contemporary stream off-air or QAM chan-
Research nels and output the tuned
232-ATSC 4K
MPEG stream as a Unicast
or Multicast AV Over IP
Stream. Channels may also
be embedded into digital signage
players. The 232-ATSC 4K is compatible
with control systems from AMX, Crestron,
Extron, RTI, and others, as well as remain-
ing fully compatible with the RS-232, Tel-
net, and IR commands.
The EvertzAV EV-ENCS-4K-1 4K H.264
encoder is a live streaming media encoder
that interfaces with HDMI signals to deliver
media over IP networks. It can be used with
the 4K H.264 EV-ENCS-4K-1 decoder (or a
third-party decoder) for end-to-end stream-
ing systems. It features one HDMI input and
one Ethernet output for simplified integra-
tion of AV signals over a LAN or WAN.
SVC478.AD.indd 17
EvertzAV EV-
ENCS-4K-1
Jabra
PanaCast 20
The Extron Studio Station One Touch
Recording and Streaming Solution is simple
to use and empowers instructors and pre-
senters to record and stream high quality
content with a single touch. Extron designed
StudioStation so that anyone, of any skill
TECH SHOWCASE
Extron
Studio
Station
level, can quickly and easily record and
stream content; a pre-configured pack-
age takes the guesswork out of designing,
installing, and programming a recording
system. For customers wanting to custom-
ize StudioStation for their application, an
interactive, online, step-by-step StudioSta-
tion Builder navigation tool is available.
The next-gen PanaCast 20 is a 13-mega-
pixel camera that delivers 4K Ultra-HD
9/21/22 10:27 AM
 TECH SHOWCASE
Kramer
KDS-EN6
video while AI-powered features handle
new Intelligent Zoom, Intelligent Light-
ing Optimization, and Picture-in-Picture
features. It works with all leading UC plat-
forms and clips onto any computer screen or
monitor. The protective carry case is a nice
touch for hybrid workers and it integrates
with Jabra headsets or speakerphones.
Equipped with NDI|HX and SRT stream-
ing, H.265/H.264/MJPEG encoding, and
VITC (Vertical Interval Timecode) multi-
camera synchronization technologies, the
JVC KY-PZ400N provides high quality, low
latency IP video. The camera adds automatic
repeat request (ARQ) and forward error cor-
rection (FEC) to prevent packet loss. There
is also stream encryption for content pro-
tection. The multi-camera synchronization
aids its use in live event streaming cover-
age. The 4K 1.25in. progressive scanning
CMOS image sensor sees through a lens
with 24.5mm wide angle view and a 12x
18 SVC | O C TO B E R 202 2 | SVCO NLINE . COM
Magewell
Ultra Encode
AIO
optical zoom. Models are the KY-PZ400N
4K PTZ and KY-PZ200/N HD PTZ
The Kramer Electronics KDS-EN6
encoder does 4K@60Hz (4:2:0) video
streaming in addition to audio, IR, RS−232,
USB on IP networks in unicast or multicast
through RTSP. Sound is input on the HDMI
or through the direct audio 3.5mm line-in
port. The unit can handle 7.1 PCM, Dolby
True–HD, and DTS–HD Master audio. The
system is HDCP 2.2 compliant and it can
run on an external power supply or PoE. The
RS-232 port is on a terminal block and the
IR connection is a 3.5mm mini jack. The
front panel includes a reset button, up and
down buttons, and 7-segment display along
with status, link, and power LEDs.
The brand new flagship Magewell Ultra
Encode AIO builds on the flexibility of the
company’s original Ultra Encode models
with expanded features including HDMI
and SDI input connectivity in a single unit,
4K encoding and streaming from the HDMI
input, simultaneous multi-protocol stream-
JVC 4K
KY-PZ400N
Matrox
Maevex
6152
Marshall
CV730-ND3
ing, higher streaming bitrates, file record-
ing, and more. Ultra Encode AIO supports
multiple video encoding formats -- includ-
ing H.264, H.265 (HEVC), NDI®|HX 2,
and the new NDI®|HX 3 -- and a wide array
of delivery protocols including RTMP,
RTMPS, SRT, RTSP, RTP, HLS, and TVU’s
ISSP technology. Video can be encoded at
resolutions up to 4096x2160 at 30 frames per
second from HDMI sources, or up to 1080p
HD at 60 fps from the device’s 3G-SDI
input. Presets enable streaming to popular
social platforms. It supports NDI|HX 2 and
3 and is compatible with Magewell Cloud.
The Marshall CV730-ND3 PTZ camera
uses the new NDI|HX3 platform to deliver
ultra-low latency and superior video qual-
ity in less bandwidth required by Full-NDI
enabled cameras. The CV730-ND3 features
a premium Sony 4K sensor with 9 million
pixels and square pixel array designed
behind a long 30x optical zoom range (6.5~
202mm). In addition, all Marshall PTZ
cameras support a 340° horizontal pan
 TECH SHOWCASE

Panasonic MAXHUB
range with 120°vertical tilt with speed AW-UE150 UC P20
adjustments from slow to fast. Stream-
ing options include NDI|HX3 and stan-
dard IP (HEVC) encoding with SRT,
while also offering 12G/3G-SDI, HDMI and
USB3.0 outputs.
Real time decoding of four 4K live
MPEG2-TS, RTSP, and SRT streams at low
latency is no problem for the Matrox 6152
Quad 4K Decoder. This H.264 decoder
integrates seamlessly into existing 1GbE tal zoom) was announced. This premium PoE (power over Ethernet), an HDMI 2.0
networks and exhibits latency down to 4K UHD camera carries a 8.51 megapixel port, and a USB 3.0 connector.
50ms at low network bitrate consumption CMOS image sensor for UHD video quality The demands of high-end video produc-
when paired with the Maevex 6100 Series of up to 4K at 60fps. The UC P20 can zoom tion are easy to handle for the Panasonic
encoders. The unit achieves secure connec- up to 192 times, extending capture reach AW-UE150 PTZ camera with its 20x opti-
tions through encrypted transmission over to as far as 656 feet. The camera’s HFoV cal zoom, optical image stabilizer, High
internet. PowerStream Plus software allows (Horizontal Field of View) is 71 degrees; tilt Dynamic Range and Night Mode support.
configuration of multiple screens including functionality equals ± 30 degrees and pan Up to 100 still images can be captured and
Picture-in-Picture (PiP). measures ± 170 degrees, with 255 presets. saved as JPEG files to the built-in camera
In October, the MAXHUB UC P20 4K Gravity sensors support ease of installation memory and there is even a large tally light
60fps PTZ with 12x optical zoom (16x digi- as does an an RJ45 connector, support for on the lens front. IP image output, settings
 TECH SHOWCASE

Sony
SRG-X400

PTZOptics
Move Pro

and control can be performed using a web cal zoom, 80° horizontal FOV) and Q-SYS also users can scale down by combining
browser. IP connection from the Remote NC-20x60 (20x optical zoom, 60° horizon- with Q-SYS Core Nano or Q-SYS Core 8
Camera Controller AW-RP150GJ through a tal FOV) both offer motorized pan, tilt, Flex to expand software-based audio, video
HUB (switching hub) enables control of up and zoom (PTZ) functionality to enable a & control into smaller collaboration spaces.
to 200 AW-UE150W/K units. broader range of room layouts, sizes and The versatile Sony SRG-X400 remotely
At press time, PTZOptics and its sister purpose. In addition, all NC Series cam- controlled PTZ camera brings a 1/2.5-type
company HuddleCamHD announce the eras include hardware to allow mounting Exmor R sensor complemented by the inte-
release of four new cameras: Move 4K is an above or below displays. As native Q-SYS grated high-resolution lens that offers zoom
advanced robotic PTZ camera with multiple devices, options open up for routing and capability up to 40x in Full HD (30x in 4K),
outputs, built-in tallylight, and auto-track- delivery including simplifying streaming to with an expansive wide-angle coverage of
ing. Move Pro carries an upgraded optical standard IT videoconferencing platforms; approx. 70°. high-speed movement during
lens, stealth-mode motor, and beamform- preset recall captures the speaker’s every
driven tracking. Studio Pro is a handheld movement; Picture Freeze during transitions
content creation solution with DSLR-qual- ensures that rapid camera movements don’t
ity imaging, built-in noise-cancelling mics, disturb the audience. The PTZ Motion Sync
and multiple simultaneous outputs. Mini- function allows smooth blending of separate
track is a highly affordable 4K web- pan, tilt, and zoom movements. IP-based live
cam with ePTZ, autotracking, and production is augmented with support for
autoframing. NDI|HX (via optional license), allowing flex-
TekVox
The QSC NC Series includes ible configuration with other networked
79068-4K-12
three models. The Q-SYS NDI-enabled devices. Images can also
NC-110 is the first fixed-lens, be reviewed remotely via a web browser,
ePTZ camera available for Q-SYS, with support for RTSP (Real Time
featuring a 110° horizontal field- Streaming Protocol) ensuring smooth,
of-view (hFOV) with digital zoom stable streaming of video plus audio (from
capabilities for smaller, wider
rooms. The Q-SYS NC-12x80 (12x opti-

QSC NC
Series

20 SVC | O C TO B E R 2 02 2 | SVCONLINE . CO M

an optional microphone,
available separately) over
an IP network. The Ver-
sion 3.0 update for the
BRC-X400, SRG-X400,
and SRG-X120 cameras will sup-
port the SRT (Secure Reliable
Transport) protocol.
For indoor production appli-
cations where silent pan/tilt and
versatile controllability are high-
ranking features, the Tekvox
79068-4K-12 is a first-rate con-
tender. The 12x optical zoom
and HDMI/USB video output
formats work especially well for
conferencing, lecture capture, and house of
Vaddio worship production. Among the control fea-
IntelliSHOT-M tures are RS-232 In/Out, RS-422/485, rotary
DIP switch and LAN on RJ45. There is also
a stereo audio line input and the camera has
TECH SHOWCASE
255 configurable preset positions along with
advanced auto-focusing and noise reduction.
In June, the Vaddio IntelliSHOT-M ePTZ
camera debuted. It’s specifically engineered
and certified for Microsoft Teams Rooms,
featuring a 30x zoom with 70.2-degree
field of view and is equipped with Vaddio’s
advanced IntelliFrame technology, the only
auto-framing solution that can be adjusted
based on the room conditions and user’s pref-
erences. The technology is the culmination
of Vaddio’s years of research and engineer-
ing delivering the most precise and reliable
auto-framing experience. Rather than rely on
facial recognition alone, which can fail with
facial coverings or falsely identify objects
like posters on the wall as people, Intelli-
Frame uses a combination of exceptionally
sensitive motion detection and complex algo-
rithms to deliver smooth, accurate, and reli-
able participant framing.
 TECH SHOWCASE

CONFERENCE MICS
AND SYSTEMS
By Bennett Liles

AKG CS3
Conference
System
What conferencing systems have in common with military gear is that they are
designed by geniuses to be run by, well, non-techies. Corporate conferences often
involve the highest-ranking personnel in an environment in which technical glitches
are not just embarrassing but sometimes quite costly. Since the onset of the
pandemic, conference technology has seen widespread adoption along
with technical advances aimed at increased reliability and user
friendliness. In between subsequent Covid surges, large in-person
conference meetings have returned. The tools surveyed here are
just the tip of the iceberg of that huge movement and they’re getting
better all the time.

Through its modular design, the AKG CS3
plug and play conference system is completely
adaptable to its installation environment. The
base unit works with as many as 60 micro-
phone stations and connects to recording sys-
tems, PA systems, and camera control devices.
The microphone base can connect either the
CS321 cardioid condenser capsule on a 12in.
gooseneck or the 20in. CS521. The system
operates in four modes including Override,
Normal, Free, and Request.
From a basic meeting room to the most
sophisticated corporate conference facility,
the AnkerWork Webcam PowerConf C302
can provide easy video communication as an
AI featured 2K webcam. The mount is adjust-
able to fit a wide assortment of monitors,
tables, or bases and the camera can be swiv-
eled up to 300 degrees. The unit works imme-
diately when connected to a USB 3 port and
for privacy, a cover can be slid over the lens
when not in use.
The Atlona AT-CAP-FC110 Captivate 4K
ePTZ auto framing camera is a perfect example
of the way that ease of operation and reliabil-
ity have been teamed in today’s conferencing
devices. In addition to automatically detecting
and framing the camera for up to six participants,
the unit has a 4x digital zoom and 110-degree
wide horizontal field of view. From 16ft. away,
the dual microphone array can clearly pick up
voices. The USB-C interface for sound and
video can provide device powering.
Large discussion systems can be a chal-
lenge to set up and operate but the Audio-
Technica ATCS-60 uses infrared links to
eliminate a lot of wiring. For multi-language
environments there are four channels and
the automated camera functions
makes it easy to use video as well.
Optional Conference Manager soft-
ware allows remote control of audio
recording, camera positioning, and
microphone adjustments. Delegate
microphone stations can accept hand-
held and lavalier microphones in addi-
tion to the normal gooseneck models.
Sleek and professional looking, the
Audix M65 tabletop installed micro-
phone uses its innovative “swivoting”
mount to allow 240 degrees rotation
and 40 degrees vertical pivot.
The mic has fully integrated Audio-
preamp circuitry and its output Technica
is balanced to reject noise from ATCS-60

AnkerWork
Webcam
PowerConf
C302 Atlona AT-
CAP-FC110

22 SVC | O C TO B E R 2 02 2 | SVCO NLINE . COM

 TECH SHOWCASE

cell phones and mobile devices. This model is finished in black nickel
plating and it includes an 8ft. cable with a terminal block connector. Audix M65
The Aveo Systems Mira Connect 10 Smart AV Control System
is housed in a black ABS plastic touchscreen enclosure that can be
put on a conference table or mounted on a wall. The 10in. diagonal
screen has LED light bars to indicate when the system is muted or
in a call. Control extends to microphones, audio playback, cam-
eras, input selection, and camera functions. Audio or
video calls can be made from a dial pad or imported
contact list. Even content sharing and room schedul- Aveo
ing can be controlled right on the screen. Systems Mira
Connect 10
Users can quickly convert an ordinary mid-size
conference room to a multimedia showcase with the
AVer VB342 Pro Video Bar. This all-in-one solution has AVer
VB342 Pro
features including Smart Gallery, SmartSpeaker, Gesture Control, and
Audio Fencing. The integral PTZ camera has a 3x optical zoom and with
the digital zoom combined it goes to a 15x total zoom. All the way out
at 92 degrees the camera takes in the whole room. Auto-tracking is eas-
ily turned on/off with gestures. The 10-element beamforming micro-
phone array has a pickup range of 27ft. and the output power of the stereo
speakers is 12W.

SVC478.AD.indd 18 9/21/22 10:43 AM

 TECH SHOWCASE
Biamp
Systems
Vidi 250
Bosch
DICENTIS
Flush
Auto framing and a futuristic design
highlight the BenQ DVY-32 Zoom certified
4K UHD conference camera. The view can
go from 120 degrees diagonal to a 5x digi-
tal zoom for tightly framed details and its
main stream delivers 1080p resolution. Low
light performance goes down to 0.1 Lux and
its dual noise suppressing omnidirectional
microphones pull in conversation from up to
26ft. away. The versatile mount fits a range of
tables, display bevels, and other surfaces.
It doesn’t get any easier to have wires out of
the way for conferencing than with the beyerdy-
namic Space wireless Bluetooth speakerphone.
The 1.5in. full range speaker and four integrated
MEMS microphones deliver perfect sound
quality and smooth voice pickup. The mics can
distinguish between voices and background
noise to reduce distractions. Full-duplex allows
participants to speak simultaneously and still be
heard without dropouts or cut offs.
Small to medium sized conference rooms
are completely A/V covered with the Biamp
Systems Vidi 250 wide angle 4k camera fea-
24 SVC | O C TO B E R 202 2 | SVCONLINE . CO M
beyerdynamic
Space
turing a 120-degree field of view. Meeting
participants are identified through auto fram-
ing technology that adjusts the focus and 5x
zoom. Mounted on a display or on a wall, it
shows camera activity with LED indica-
tors and the multi-microphone array brings
in clear sound for solid communication. The
remote control includes user defined presets.
The Bosch Security Systems DICENTIS
Flush IP-based conference system keeps
cabling below the table and its OMNEO media
ClearOne
BMA 360
BenQ
DVY-32
Bose
Videobar
VB-S
networking architecture uses Power over Eth-
ernet (PoE) to speed and simplify installation.
Each mic station enables voting with identi-
fication and provides an LED on the micro-
phone to indicate the mic status. All modules
have a click-to-fit mechanism for easy flush-
mounting into metal or wood surfaces.
The all-in-one conferencing system that’s
ready to go for small conference spaces and
huddle rooms, the Bose Videobar VB-S auto-
matically finds the speaking presenter with its
four beam-steering microphones while avoid-
ing exclusion zones. Capable of Group Mode
and Individual Mode operation, the 4K cam-
era can frame everyone or follow a specific
participant. The device connects to existing
wireless networks, plays Bluetooth audio, and
can be controlled from a smartphone.
Winner of multiple recent trade show
awards, the ClearOne BMA 360 microphone
system incorporates Deep Sidelobe Beam-
forming for ultra-directional speech pickup
and its Voice Lift feature allows the system
to drive multiple mix-minus speaker zones.

Crestron
Flex
In rooms equipped with the ClearOne CON-
VERGE Pro 2 DSP mixers, Voice Lift can
be configured on up to three BMA 360 units.
There are also built-in power amplifiers con-
figurable as 4 x 15W or 2 x 30W for directly
driving speakers.
The Clockaudio CUB-33 USB Tabletop
Microphone requires no drilled holes but
instead can be placed on the table surface
where it provides an LCD capacitive touch
screen that can be used as a mute button and
Clockaudio Epos
CUB-33 EXPAND
Vision 5
a VU meter. The unit has local mute control
for its rugged C33/SR gooseneck microphone
and C3 capsule. Mute Sync compatible with
the Zoom meetings app, the CUB-33 is USB
bus powered and it includes a local gain con-
trol knob.
Without requiring a team of A/V experts to
deploy, the Crestron Flex videoconferencing
system can be easily configured for any size
conferencing space. Remote presenters appear
TECH SHOWCASE
on the conference room video monitor while
local room devices such as shades, lighting,
HVAC, and sound are controlled on the screen
as well. For single desks and small spaces the
Crestron Flex Phone is equipped with a 10in.
high screen, camera, and Microsoft Teams
software. Zoom conferences and BYOD are a
breeze for all participants.
Conference centers and universities tend to
have a few large conference rooms and many
smaller ones. The all-in-one solution for these
smaller rooms is the Epos EXPAND Vision
5 video bar with its dual speakers and four
microphones. The 4K wide angle camera fea-
tures EPOS AI intelligent picture framing to
get all the meeting guests into the shot and the
 TECH SHOWCASE

JVC KY-
PZ510NWU Lumens
VC-R30
Lifesize
Icon 700

beamforming function zeros in on tion, full-duplex operation, automatic

Magewell
the speaking presenter. Installa- gain control and automatic noise reduc-
USB Fusion
tion is simple thanks to the sys- tion. The system’s inputs include PoE
tem’s many mounting options. LAN, HD video IN, and analog mic/
The recently deployed Hall Tech- line IN.
nologies Discovery Series transmitter/ Don’t be fooled by the simple
receiver kits are a comprehensive video style and small profile of the Lumens
conferencing solution. These consist of one HDMI/USB/IP output and its multi-slice VC-R30 full HD IP PTZ camera. The styl-
or two-gang U.S. and U.K. standard HDBa- encoding technology enhances image quality ishly minimalist appearance belies its hefty
seT 2.0 wall plate transmitters and the DSCV- with reduced latency. Capabilities such as ver- capability including 1080p 60fps resolution,
70-RX receiver unit. The receiver features a tical interval time code (VITC) and network 12x optical zoom, and simultaneous HDMI,
built-in PSE module that can supply power to time code (NTC) ready this unit for a variety 3G-SDI, USB, and IP streaming ability. It
the transmitter. UHD video, multi-channel of sophisticated applications including remote gets everybody in with a 72.5-degree horizon-
audio, USB 2.0, RS232 signal and power can production over internet (REMI). The tal field of view and its range of outputs
be extended up to 131ft using a single Cat 80-degree wide field of view can see in addition to Teams, WebEx, Skype,
5e/6/6a/7 cable. a whole classroom and the camera’s Marshall and Zoom compatibility make it right
For AI-enabled personal video conferenc- 2.8mm to 261.8mm focal length range CV605-U3 at home in virtually any conferenc-
ing the Jabra Panacast 20 is loaded with gets details from a distance. ing environment. This model’s
processors and fitted with a 13-megapixel 4K Compact and capable, the Lifesize intelligent white balance and
Ultra-HD camera that can make great video Icon 700 delivers 4K video auto-exposure make all par-
in ordinary office lighting. When lighting while its 20x zoom makes any ticipants appear at their best.
conditions change suddenly, the system auto- part of the conference or class- For elevating a single
matically adjusts. Presenters enjoy its picture- room accessible to the picture. camera conference connec-
in-picture mode and the versatile mounting The 3840 x 2160 progressive tion to a professional looking
clip makes camera setup simple. Panacast 20 resolution allows clear detail multi-source presentation,
works with a variety of platforms and is certi- in presentation and it pairs the Magewell USB Fusion
fied for Zoom and Microsoft Teams. with the Lifesize Phone HD is the perfect device. It can
The new JVC KY-PZ510NWU ultra wide for sound that is equal in input multiple cameras,
angle 4K60P NDI/HEVC SMART auto- quality to the video. There wired screenshare sources
tracking PTZ camera features a 3G-SDI/ is acoustic echo cancella- and, using the USB Fusion
Jabra
app, users can even prepare
Panacast 20
playlists in advance and record
entire sessions on the unit. Webcam, PC, and
HDMI cameras can all be connected simul-
taneously. The USB Fusion can operate with
Zoom, TEAMS, Skype and other conferenc-
ing platforms.
Hall The Marshall CV605-U3 is designed for
Technologies top quality video and versatility in confer-
Discovery ence and meeting room applications using a
Series 5x optical zoom and HDMI/USB-C/IP out-
put. Showing resolution of up to 1920x1080p
at 60fps, this camera can even go beyond
the conference room to a full video produc-

26 SVC | O C TO B E R 2 02 2 | SVCONLINE . CO M
 Maxhub V5 TECH SHOWCASE
Transcend
Series
MXL
AC-360-Z V2

Mipro
ACT-5800
Series

tion environment. Through a single Ethernet

cable it can carry video, audio, PoE, and con-
trol over IP. The optical zoom extends from
3mm to 15mm and that is augmented with a
10x digital zoom. All connections including
RS232 are discreetly located on the back.
A very high-end system with myriad capabil-
ities can be found in the Maxhub V5 Transcend
Series. Built around a 45MP flip-over camera
with auto-zoom and high signal to noise ratio,
the units feature a voice localization algorithm,
6-element mic array, automatic gain control,
and noise cancellation. The incredibly thin dis-
play houses 40W speakers. A newly added USB
Type-C port shares the screen to the MAXHUB
V5 and enables reverse touch control from the
touch screen.
Ready for any conference from a one-on-one
remote to a large meeting hall, the well-known
and proven Mipro ACT 5800 Series of wireless
microphones has the versatility to adapt to the
environment. Among its variations are hand-
held, body pack, and desk base microphones in
addition to single or multiple channel receivers
with balanced and unbalanced audio outputs.
The BC-24T and BC-58T desk mics can operate
in wired or wireless configuration and a variety
of gooseneck mics can fit the bases.
Designed specifically for the Zoom Rooms
platform, the MXL AC-360-Z V2 has twelve
internal microphone capsules divided into
four quadrants for full 360-degree coverage at
distances up to 25ft. The housing blends eas-
ily with room décor and includes a securely
locking DC power connection. Each quadrant
of the AC-360-Z V2 is individually processed
and optimized using Zoom Rooms DSP and
echo cancellation technology. If there is tight
space on the table, the mic’s rubber feet can be
removed for ceiling mounting.
Audio conferencing for groups of up to ten
has moved up to a new level with the Sennheiser
Intelligent Speaker, set for Microsoft Teams
Rooms. No need for laptops or tablets, as the

O C TO B E R 2 02 2 | SVC 27
 TECH SHOWCASE
Shure
MXA920
speaker can identify all voices and even tran-
scribe the meeting automatically. Microsoft
Cortana voice intelligence responds to voice
commands for operation of its seven beam-
forming microphones. This model is Micro-
soft Teams Certified and includes a 3-meter
cable. With its 200HZ-14kHz (±6dB) frequency
response, the omnidirectional speaker radiates
perfectly natural sounding voices.
In a conferencing or meeting environment,
sound pickup can be more challenging than
video but the Shure MXA920 ceiling array
microphone is up to the task covering a seating
area up to 30ft. square. The built-in web inter-
face enables the user to drag and drop up to eight
adjustable coverage areas. Steerable Coverage
is also available to place 8 pickup lobes with 8
individual audio outputs. The unit is available in
white, black, or aluminum finish.
In a large conference or meeting when there is
no second chance to get the sound system right,
the Taiden HCS-4800 Fully Digital Congress
System uses a closed loop daisy chain layout
to connect all individual congress units. Up
to 64-channel audio signals can be carried on
a dedicated 8-pin cable while gain and 5-band
EQ of each microphone is separately adjustable.
Widely separated conference rooms can be con-
nected on its optical fiber interface and there is
multi-channel intercom capability.
Yamaha
Unified
Communications
RM-CG
28 SVC | O C TO B E R 2 02 2 | SVCONLINE . CO M
Televic
uniCOS
T/MM10
Sennheiser
Intelligent
Speaker
the elegant flat
black finish blends
The Televic uniCOS T/MM10 with any meeting room. The stem
tabletop multimedia conference unit consists of has two flexible sections to facilitate
a base and tilting touchscreen and it connects perfect positioning for multiple participants. On
on installation with a single CAT 5e cable. the base is a push button for mic activation and
With power delivered over the Plixus network, blue LED to indicate mic status.
the unit handles 6 lip-synched video streams, Among the best evidence of the new ease
document sharing, and other features. Con- in conferencing is the Vaddio EasyIP 30
figured as either delegate or chairperson unit, ePTZ Camera with IntelliFrame technol-
it can also be flush mounted as the uniCOS ogy. It can auto-track conference presenters
F/MM10 or F/MM7 (7in. screen). The screw- with its 30x zoom and include all partici-
lock microphone connector allows a wide pants with a 70.2-degree field of view on
variety of microphones with various pickup the wide shots. The EasyIP output also pro-
patterns to be securely connected. vides PoE for quick installation. Best reso-
Large Meetings and conferences are the lution is maintained through user adjustable
perfect home for the TOA EM-380-AM goose- maximum zoom levels while the 20x optical
neck microphone and with the optional power zoom capability outputs clear details. Avail-
supply it can be switched between battery or able in black or white, the camera is table
phantom power. The condenser design offers and wall mountable.
a wide 15Hz-16kHz frequency response and No table mics are in the way when using
the new Yamaha Unified Communications
RM-CG Ceiling Array Microphone and
Vaddio its standard network audio support for
EasyIP 30 Dante. The unit fits right into a room
ePTZ
ceiling and uses multi-beam tracking to
Camera
find the main presenter’s voice. A single
PoE+ network cable makes it quick to
install and 3 types of mounting meth-
ods enable it to work in a range of ceil-
ing types. Once the Adecia devices are
installed, the Remote Conference Processor
RM-CR automatically detects and config-
Taiden ures the whole system.
HCS 4800M
TOA Main Unit
EM-380-AM
 CONNECTORS.
CREATORS.
EXPERIENCE MAKERS.

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RSM247.AD_.indd 4 6/10/20
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4:24 PM
PM
 MEGA RF
Managing RF interference
on a grand indoor scale

30 SVC | O C TO B E R 202 2 | SVCONLINE . CO M

 ith as many as

W
1,000 people
onstage and 40
channels of wireless
microphones,
Prestonwood Baptist Church
celebrates major holidays with
massive productions that feature
many moving parts all taking
place in a highly challenging RF
environment.

Prestonwood Baptist Church’s main loca-

tion in Plano, Texas, is an enormous facility
that hosts 8,000 to 10,000 worshipers each
weekend. The productions can match the scale
of the attendance, with no detail overlooked
– especially on the major festival days, Eas-
ter and Christmas. The Gift of Christmas, the
church’s annual seasonal production, is a visu-
ally stunning multimedia event complete with
special effects, a nearly 1,000-member cast
and choir, a live 50-piece orchestra, Cirque
du Soleil-style aerialists, and eye-popping
virtual scenery on LED video walls bring-
ing the Christmas story to life in a breathtak-
ing way. Award-winning lighting and a bold
scenic design give a unique look that inspires
and engages the congregation. But as many
churches and other large-scale facilities find,
it can be hard to implement the right solutions
in a typically challenging RF environment,
and Prestonwood Baptist is no exception. In
this application, RF Venue’s RF Spotlight
antennas, a 4-ZONE active antenna combiner
and a DISTRO4 Antenna Distribution System
were able to tame the church’s RF challenges
and eliminate dropouts.
The challenges presented by the RF envi-
ronment near the Plano church building aren’t
small: its 7,000-seat auditorium have an unim-
peded line of sight to television and radio
transmission towers 40 miles to the west and
are even closer to the Dallas-Fort Worth Air-
port’s massive antenna farm, barely 10 miles
away in the same direction. The area also has
over a dozen DTV stations of varying power
levels on the air (one of which, TV 17, had been
dormant but popped up suddenly just before
last Christmas’ production began). Then there
are the corrugated metal elements in the roof

SV C ON L I N E.C OM | OC TO B E R 20 22 | S VC 31
 and other parts of the building’s con-
struction, which can interfere with
RF propagation.
For the year’s biggest holiday events,
the stage is expanded to form a larger
production area than used on a typical
Sunday. For The Gift of Christmas in 2021,
for example, it measured over 120 feet across,
with a second stage added. “If you were to list the
top ten challenges wireless microphones have to face for
a theatrical or musical production, most them would be right here,”
says Ryan Sartell, the RF specialist that has managed the produc-
tion’s wireless microphones for the past five years. “The production
takes place in a massive space, the ceiling curves left to right and front
to back, and the corrugated metal means the multipath in the room
is extremely aggressive. Plus, two 12-foot video screens also put a
lot of RF into the environment. Previously, we’d used some helical
antennas, but things would just dance across them. We’d have regu-
lar dropouts. Sometimes we’d have to turn the gain up on the trans-
mitters under the costumes, but that comes with its own problems.
There came a point of consensus: we needed a better RF solution.”
That solution came in the form of six RF Venue Spotlight antennas, four
of which were positioned equidistant 30 feet apart behind the orchestra
on stage, and two more placed near the end of the stage thrust built for
the production. The Spotlight antennas were linked using an RF Venue
4 ZONE active antenna combiner placed in the stage-right equipment
area used to house the wireless-microphone receivers. The RF Venue
solution became the pathways for reception of the 40 channels of Shure
ADX1M micro bodypack wireless microphone transmitters used dur-
ing the production. “The Spotlight
antennas gave us much more latitude
in terms of placement of RF anten-
nas, which was critical for a complex
show like this, and as a result there was
less distance between the antennas and the
transmitter on stage, allowing them to use
the Micro transmitters, which are much smaller
and really help with costumes and makeup,” Sartell
explains.
“I now no longer have to worry about wireless,” says Mike Smith,
Lead Audio Engineer and Live Production Lead for Prestonwood Bap-
tist Church, who mixes front of house for services as well as the sea-
sonal productions. “For the Christmas production, there were some
70,000 seats sold over two weeks, so the pressure to make it perfect
is there. You do not want dropouts, which had been a problem in the
past.” Smith says that he and Sartell will work together for next year’s
event, looking to fine-tune antenna placements even further. “Because
of the extensive staging, once you place an antenna it’s not easy to go
back and reposition it, so we’ll learn from this year’s experience,” he
says. “But the improvement we had this year because of the RF Venue
antennas was very real and very welcome.”
Easter 2022 was another success, with a setup including two Spot-
light antennas under the pulpit and integrated with the 4 ZONE active
antenna combiner supporting another huge (yet less massive than
Christmas) production. And a pair of Spotlight antennas and a DIS-
TRO4 Antenna Distribution System are permanently in place in the
church’s student building. “Coverage for RF is no longer a concern any-
where here now,” Sartell sums up.

At the desk
Working closely with integrator Paragon 360, Pres-
tonwood installed three DiGiCo Quantum7 consoles
in the 7,000-seat auditorium of its main campus in
Plano, Texas, used for front of house, monitors, and
broadcast. The 140-acre Plano campus is also now
fitted with an ample complement of I/O stations,
including two SD-Racks backstage, along with an
Orange Box loaded with DMI-DANTE 64@96 and
DMI-OPTO Optocore cards for wireless microphone
inputs. On stage are two more SD-Racks, plus an
SD-Nano Rack for tracks, with yet another SD-Rack
found in the church’s broadcast studio. Also, SD-
MiNi Racks are located at both FOH and monitors,
with another SD-MiNi Rack in the amp room, and an
SD-Nano Rack positioned up in the catwalk.
When Mike Smith, Prestonwood Baptist Church’s
Live Production Lead and Lead Audio Engineer, first
arrived over two years ago, he quickly realized that
the church’s existing audio console infrastructure
was nearing the end of its useful life. “We created
what we called a ‘failure log,’ and in a little over a year
we had between 60 and 70 entries,” he recalls.
“We have a big service, a full choir and orches-
tra, and lots of inputs, so we needed a big input
count, and with auxes and submixes we’re pushing
48 outputs,” he says. “The monitor desk runs over
50 outputs and we’re running close to 200 inputs.
We’ve multed all 15 vocal channels and split them
into two channels, which allow us to have sepa-
rate mixes,” Smith says. For the holiday spectacu-
lars the channel count goes up further still with
a full percussion rig and a whole rhythm section
with drums and two guitar players and full tracks.
“The macros are super powerful and the Waves
integration is very helpful,” Smith points out.
The installation was able to utilize much of
the existing fiber infrastructure for the Optocore
network, with a few additional strands installed
by Paragon 360 to accommodate the Q7s’
bandwidth requirements. Mark Coble, Lead Audio
Designer at Paragon 360, says he was aware of
both the scale of the church’s production needs
and the level at which they operate. “The need
for seamless backup in the event of a failure was
just as important, and the Quantum7 fulfills all
of those requirements. It’s one of the few dual-
engine consoles on the market—if one engine
were ever to fail, the other takes over immedi-
ately and seamlessly.” Coble also cites the Q7’s
operational features that make managing live pro-
duction at this scale easier. For instance, utilizing
virtual soundcheck, engineers can use previously
recorded tracks to fine-tune the mix prior to
musicians and singers arriving for rehearsal. The
Q7 also allows sessions to be saved and loaded,
which can be especially useful for broadcast,
ensuring optimizations made each week are saved
for future services.

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Risen Again: Ground Zero
It was a moment both solemn and celebratory:
the re-establishment of the Saint Nicholas Greek
Orthodox Church in Manhattan, in the form of
a new structure with a distinctive transparent
dome. Monday, July 4, 2022, was a fitting date to
restore one of the iconic structures damaged by
the Sept. 11, 2001 attacks. St. Nick’s predates
the World Trade Center: founded in 1916 by
Greek immigrants, the church was one of the first
stops in the U.S. for new arrivals from Ellis Island,
where they would light a candle and give thanks
to the patron saint of seafarers.
The reopening event, during which sanctified
relics of the saint were sealed within the altar
table, saw a procession circumnavigate the new
church building three times, each time employing
17 channels of wireless microphones used by
clergy and other VIPs to commemorate the event,
while operating within one of the densest RF
environments on earth, home to dozens of nearby
law enforcement facilities, government agencies,
media enterprises, and other intense RF spectrum
users. The stakes were high, and interference was
likely, but New York City-based One Way Event
Productions, which handled the production for the
event had RF Venue on its side. In this case, five
RF Venue Diversity Fin Antennas, one 4 ZONE
active antenna combiner, and a pair of RF Band-
Pass Filters were used along with a Shure Axient
wireless microphone system.
“We knew RF was going to be a challenge,” says
Miguel Peguero, head of production at One Way
Event Productions, noting that a much smaller
event on July 2 with fewer microphones had some
areas with no coverage, prompting the use of
far more microphones and transmitters for the
July 4th event. “The procession would be circling
the new church building three times outside,
with stops along the way during which church
leaders, media, and VIPs would make speeches
and announcements using wireless microphones.
We had 17 transmitters ready to go.” One Way
Event Productions’ audio engineer JP DaLeo
used Shure’s Wireless Workbench to coordinate
frequencies for the event, but the potential for
interference and dropouts remained significant
in the RF-heavy environment. And as many event
producers do, Peguero called Don Boomer, Senior
applications engineer at RF Venue, who made
some very specific – and successful – recom-
mendations. They included the deployment of five
RF Venue Diversity Fin antennas, placed at every
corner of the new building and pointing down
towards the walking path. These were run into
additional RF Venue hardware – a 4 ZONE active
antenna combiner, with a pair of RF Band-Pass
Filters implemented post combiner. “Everything
worked perfectly, with not a single dropout,” he
says. “The new church is literally built on top
of the headquarters for a major transportation
authority, plus T-Mobile’s 5G was being rolled out
in the area, so you know the RF was everywhere.
But we had zero interference, zero dropouts. We
had strong signal going into the receivers. It was
an important event for a lot of reasons, and it had
to be perfect.”
SVC478.AD.indd 14 9/21/22 2:38 PM
 CONTROL ROOMS

Imago Images/Sepp Spiegl

* I NCLUDING
ADDER • DATAPATH • G&D • IHSE • MAXHUB • PHILIPS • VUWALL

SV C ON L I N E.C OM | OC TO B E R 20 22 | S VC 35
 CONTROL
ROOMS
A lone operator at work in the control room of Battersea Power Station in London.
CONTROL HISTORY
he first photos of London’s Battersea Power Station’s newly
T restored Control Room A debuted this summer, showing the
resurrected Art Deco furnishings and style that were all the
rage when the control room was opened in 1933 to manage
the distribution of London’s electricity.
Built between 1929 and 1931, Control Room A was the Power Sta-
tion’s original control room; its controls and dials sending power across
the capital from Carnaby Street to Wimbledon – even powering Buck-
ingham Palace and the Houses of Parliament – from 1933. Art Deco
style was of the moment with Control Room A boasting teak parquet
flooring laid in a herringbone pattern and walls tiled in grey Italian mar-
ble offset by black Belgian marble detailing through the room, matched
by a gold painted coffered glass ceiling.
At its peak, Battersea Power Station produced a fifth of London’s elec-
tricity, and Control Room A, later joined by Control Room B, which was
36 SVC | O C TO B E R 202 2 | SVCONLINE . CO M
Photo by Ian Tyas/Keystone Features/Getty Images
finished in the 1950s, managed the distribution of electricity generated
by the Power Station’s turbines. Control Room A remained in use until
1975 when the 1930s half of the building, which includes Turbine Hall A,
closed down. Battersea Power Station was fully decommissioned in 1983.
Now, in what seems an almost impossible feat, the elegance of Control
Room A has been painstakingly restored, in some ways looking even
more impressive than its original counterpart. Battersea Power Station
has partnered with Historic England, Wandsworth Council, lead archi-
tects WilkonsonEyre, and restoration specialists Lucas UK to make
the magic happen. No detail has been left unnoticed, from the banks
of switchboards that run along the western side of the room to the large
synchroscopes, long since dormant, that once displayed vital informa-
tion to engineers on duty. Featured in the Academy Award-winning film
The King’s Speech, the semi-circular control desk has also been revived
to its former glory.
 CONTROL
ROOMS

Getty Images/Jim Dyson/Contributor

Starting this fall, visitors will come
through the Directors’ Entrance with its
bronze doors adorned with sculptural panels
depicting a personification of energy, and see
a panoramic view of Turbine Hall A. The con-
trol room, no longer arbitrates the output of
the mighty generator, but instead has a new
life as a unique events space, part of a mas-
sive restoration and reinvention of Battersea
Power Station.
“The unveiling of our completely restored
Control Room A is another pivotal moment in
the regeneration of this iconic Grade II* listed
building,” says Simon Murphy, CEO at Bat-
tersea Power Station Development Company.
“It has been a key objective to bring these his-

Getty Images/Peter Dazeley

toric areas back to life, whilst remaining true
to their original forms. We are looking for-
ward to bringing a new purpose to this piece
of London’s history upon our opening this
Autumn and to showing the public all of the
incredibly detailed restoration work under-
taken over the past decade to open this landmark up for all.” experience – a glass elevator taking visitors 109 meters in the air with
The Control Rooms make up just one element of the exemplary res- stunning 360-degree views of London’s skyline. A combination of resi-
toration that has taken place across the entirety of the Power Station, dential, office, retail leisure, dining, and fitness elements will serve
which has been decades in the making. Opening to the public from this more than 1800 residents, and the visiting public, and guests at a new
Autumn will be both Turbine Halls, several floors of the Boiler House 164-room hotel. Control Room A is the bridge between Battersea’s
and the north-west chimney, which will be home to the chimney lift working past and it’s dynamic future.

38 SVC | O C TO B E R 202 2 | SVCONLINE . CO M

 CONTROL
ROOMS

HIGHER VIZ
high-functioning, efficient com-

A mand and control room is founda-

tional to the operational success
of any Army. The EU military
force relies on critical information that is
continuously displayed and rapidly chang-
ing, in order to perform a range of functions.
They need ongoing access to multiple infor-
mation streams, available for visualization
in real-time, visible to all the operators in
the control rooms and other stakeholders in a
nearby situation room—in other words a uni-
fied visualization platform.
When they were unable to visualize the
information they needed for their mission-
critical operations in the most optimal way,
they realized that their existing equipment
was outdated and nearing the end of its life

Imago Images/Sepp Spiegl

cycle. To meet their operational objectives,
they began to seek a solution that would
streamline the visualization experience to
enable them to monitor, assess, and respond
quickly, especially in critical situations.
The Army selected an AV integrator with
decades of experience in technology integra-
tion designed to meet military standards and
compliance. The integrator outlined a unified visualization solution for
the Army’s central Network Operation Center (NOC), Security Control
Center (SCC) command room and situation room. The integrator paired
VuWall’s VuScape video wall controllers, VuStream encoders and
decoders, the ControlVu touch panels and Color Detection Server, all
controlled by VuWall’s TRx centralized management platform, to create
a fully integrated video wall management and AV distribution system.
VuWall’s VuScape powers Samsung’s The Wall microLED display
in the NOC, their central control room. Paired with VuWall’s TRx, the
Army can seamlessly move content around and add more sources while
rearranging them on the huge 15x2m display with quick and easy drag-
and-drop operations. Additionally, VuWall’s VuScape also powers a sec-
ond The Wall in the Cyber Security Control Room to provide increased
functionality for the display. It enables operators to mirror content from
the NOC to the SCC, ensuring that both teams can accurately visualize
the same content in real-time when necessary.
VuWall’s TRx operates harmoniously with IHSE’s Draco tera flex
matrix switch to enable operators to use a single TRx interface to control
both sources from the IHSE matrix and additional sources from other
applications, thanks to VuWall’s IHSE integration. TRx’s Control Panel
Designer has allowed operators to quickly create customized control
panels to change layouts and presets with the touch of a button. These
control panels are available for operators in their browsers and also on
VuWall’s ControlVu touch panels, placed throughout the command and
control centers. These PoE touch panels provide unified and seamless
control over the entire ecosystem. VuStream encoder and decoder appli-
ances, compatible with VuScape controllers, are centrally configured
and managed by TRx. The installation included 15 VuStream E220
encoders and 30 VuStream D211 decoders for transcoding H.264 sig-
nals in VNC for Color Detection. A Color Detection Server was paired
with the devices to observe signals from the VuStream D211 decoders
to send alarm triggers when there are specific changes in color on the
screens that require attention. VuWall’s Color Detection Server was one
of the main differentiators for the Army as it enabled them to automate
workflows and trigger alarms, improving operator efficiency and over-
all system reliability.

40 SVC | O C TO B E R 202 2 | SVCONLINE . CO M

 CONTROL
ROOMS
PREDICTIVE CARE
ith human lives in the balance, project partners for GE
W Health set out to create an innovative approach to the Mis-
sion Control at AdventHealth in Florida. This new command
and control center allows workers at the hospital to predict
needs ahead of time and take a proactive approach based on a common
operating picture. Patient care needs to be timely and carefully consid-
ered. This means operators can adjust staffing and other resources as
necessary to make more informed care decisions for patients.
Dr. Sanjay Pattani, Executive Medical Director of Mission Control,
said “the goal of Mission Control is to give each patient more efficient
care.” Advent Health Mission Control is the nation’s largest healthcare
command center, at over 12,500 square feet with 78 workstations that
were designed, built, and installed by Constant Technologies, an inte-
grator with global experience that specializes in command and control.
The space was built for an initial team of 50 team members with the
capacity for future growth. Mission Control is built to evolve as the sys-
tem and the needs of the hospital change and progress.
As with operations centers in financial, cybersecurity, and space agen-
cies, medical institutions require the same capability to have informed
and rapid response to critical incidents. Round- the-clock care is the
standard in healthcare facilities.
AdventHealth needed a robust operations center solution that could
withstand the demands of 24/7/365 mission critical environments. GE
Healthcare had a vision for an environment within the hospital system
where all the data, from all departments, would be accessible in one room.
42 SVC | O C TO B E R 202 2 | SVCONLINE . CO M
It was about bringing all the departments together into one room to cre-
ate the common operating picture.” Craig Stumbaugh, director of North
American sales for Jupiter explains that GE Healthcare had the tools to
create a treasure trove of data for hospital teams to pore over — every-
thing from the number of incoming patients per minute and available
beds, to equipment inventory and breathing-apparatus availability, to doc-
tor and nurse staffing levels. Creating a space to view, synthesize, and act
on behalf of nine campuses of the hospital system is no small operation.
In collaboration with long-time integration partner Constant Tech-
nologies, Jupiter supplied their Catalyst XL video processors to power
the 60-tiled videowall in AdventHealth’s control center. Catalyst XL
offered the rapid-response data sets needed to govern AdventHealth’s
3,200 hospital beds. Dispatch at AdventHealth averages 107 trips per
day, including 2 helicopter flights per day. Overall, the Mission Control
Center allows AdventHealth to view information of the over 425,000
patient movements made per year.
AdventHealth’s data is now displayed in real-time on the video walls
allowing insight into helicopter dispatch, emergency rooms, inpatient
care environments, and more. Proper sightlines and image quality were
key considerations for the teams at Constant Technologies and Jupiter
to facilitate seamless responses. Additionally, AdventHeath uses artifi-
cial intelligence (AI) and machine learning to understand patterns and
dynamics to ensure shorter wait times and improved care. Sixty LCD
monitors comprise AdventHealth’s video wall, which takes in 500k mes-
sages per day.
 CONTROL
ROOMS
SEEING SPACE
world-renowned multi-user American spaceport in the
A Southeast USA supports over 90 private-sector partners and
around 250 partnership agreements. The complex activities
of the 219 square mile spaceport and its vast array of cam-
pus utilities are monitored from the control room, a major feature of
which is the 10 x 4 LCD video wall from Christie Digital, replacing an
older system that no longer met government requirements in terms of
operating system and warranty. Datapath’s VSN1182-RPSU was chosen
to provide a replacement video wall controller that would offer flex-
ibility, while improving the existing hardware and software security,
and to take advantage of Datapath’s graphics cards and powerful data
third-party visualization software from Primate Technologies. Since
the VSN11 range has been developed to support Image graphics and
decoding cards, both physical and IP video sources can be displayed on
medium and large-scale video walls. As a result, operators can view any
source on single or multi-screen layouts.
This launch operations center is a heavily utilized facility managing
complex activities for both public and private customers. Due to this
extremely tight schedule and limited access to the 200-square mile site,
44 SVC | O C TO B E R 2 02 2 | SVCO NLINE . COM
the installation of this video wall, processor and control System had to
be well planned and executed.
Datapath worked with the Space Agency’s integrator, AV-Worx, to
deploy the new video wall controller with minimal interruption to the
campus activities. The VSN1182-RPSU was selected along with mul-
tiple Datapath Image graphics cards to support the Christie wall.
This was a unique control room video wall controller deployment that
leverages the data visualization software of Primate Technologies. This
low CPU overhead application runs natively on the Datapath controller
to create a single window of content across the entire video wall.
With its video processor replaced and the latest graphics cards
installed in the Datapath VSN chassis, the Spaceport now has a con-
trol room visualization experience that is far superior and more secure
than what was previously used. To minimize installation disruption,
AV-Worx, Datapath, and Primate carried out meticulous planning and
testing before installation day.
“After 9 months of planning and advance testing the hardware systems
to be installed in the Launch Control Center it was all systems go for the
installation to commence,” said Johannes A. Csonka, CEO at AV-Worx.

Moon Room
Humans haven’t been to the surface of the Moon
in nearly fifty years. Pittsburgh, Pennsylvania
based Astrobotic plans to change that as a
lunar logistics company providing end-to-end
delivery services for payloads to the Moon. Late
this year, Astrobotic plans to launch Peregrine
Mission One, which is poised to be the first
commercial mission to successfully land on
another planetary body. To prepare for this historic launch, Astrobotic needed
a control room expertly equipped to support their team.
Astrobotic was founded in 2007. Today they have 167 employees with
more than 1000 years of combined experience across the space, robotics, and
aeronautics industries. Their home base in the heart of Pittsburgh is a 47,000
square foot complex, the largest private facility in the world dedicated to lu-
nar logistics. Within this massive facility, Astrobotic scientists and engineers
build and operate their line of landers, rovers, autonomous spacecraft naviga-
tion systems, and other space technologies.
“The Peregrine lander will carry a diverse suite of scientific instruments,
technologies, mementos, and other payloads from six different countries,
dozens of science teams, and thousands of individuals,” said Jennifer Lopez,
CONTROL
ROOMS
Astrobotic’s Director of Business Development,
Commercial and Civil Space. The Peregrine will
be carrying multiple diverse payloads to the sur-
face of the moon, 11 of which are from NASA.
“When looking to develop our new mission
control center, we wanted to prioritize operator
experience to ensure a successful launch and
landing,” Lopez says. Astrobotic set out to
engineer their new mission control room with
intelligent ergonomics and smart furniture at
the forefront. The new mission control room required seating for 18 operators
at a time, with extra space for additional employees to observe and support
from the sides.
“The Winstead Sightline consoles was the perfect solution for Astrobotic
because it can accommodate the broadest range of users who need to adjust
and set sightlines and viewing angles, customizing to their personal needs
simply and quickly,” said Lopez. The console’s features include cable manage-
ment and double panel doors to support a CPU shelf or swing-out file/storage
bin. An integrated horizontal aluminum track system supports a wide variety
of monitors; Versa-Trak offers the ultimate in versatility with easy horizontal
adjustment. Openings for a universal data mounting plate duplex power are
conveniently located at the back of the work surface.
CONTROL
ROOMS PRODUCTS
DATAPATH AETRIA
Aetria from Datapath brings all the elements of control room design,
management, control, and monitoring into a single solution, allow-
ing integrators and end users to design systems to meet requirements,
including connectivity, video walls, workstations, and source man-
agement, ranging from small to very large installations. Aetria has
been designed to make content sharing easy for operators, plus pro-
viding easy control, management, and security for administrators. It
manages the underlying technology, enabling users to focus on their
primary objectives with simple and secure ‘any source/any screen’
management to control rooms. With Aetria, Datapath is also introduc-
ing several workstation options, depending on end-user requirements
and connectivity preferences. The comprehensive Aetria Worksta-
tion solution offers almost unlimited connectivity and flexibility
of source viewing, sharing and control, and security depending on
requirements.

IHSE DRACO TERA IP GATEWAY

Announced last month, this new product provides users with the
ability to bridge multiple KVM matrices over existing IP net-
works within buildings, across campuses, and between remote
corporate offices. Integrating the high levels of security and per-
formance of the Draco tera KVM system with the flexibility and
ease of connectivity inherent in IP-based communication, users
can access remote computers and interact in real time with mini-
mal latency and no visible artifacts. Via a LAN or WAN, users
have the ability to connect globally to KVM systems as one flat
matrix. It currently supports up to eight bidirectional IP connec-
tions for bidirectional KVM operation with video resolutions of
up to 4K. In addition to the high level of security data transmitted
throughout IHSE’s KVM switching and extension systems, the
Draco tera IP Gateway features IHSE’s Secure Core technology,
which prevents direct access to data within the KVM system from
the IP network.

G&D VISION XS
This line of high-performance KVM extenders support a bandwidth of 10Gb and video
transmission for resolutions up to 4K. Initially, the German manufacturer will ship extender
modules for KVM over IP; the roadmap includes solutions for classic KVM systems for
direct transmission. VisionXS extenders can be combined with G&D’s matrix systems and
are fully compatible with existing models. Initially, a high-end system for DisplayPort UHR
with a transmission bandwidth of 10G will be launched, followed by devices for HDMI and
DVI. The VisionXS series relies on G&D’s High Dynamic Image Processing; the dual-head
modules allow the transmission of two video signals via one transmission cable. Secure and
reliable operation is ensured by AES-128 encryption and the regular exchange of security
keys. VisionXS KVMs is designed to extend fast videos and frequently changing image con-
tent with significantly less compression than previous models, and its compact size makes it
well suited for applications where space is a critical factor.
 CONTROL
PRODUCTS ROOMS
PPDS TAA
Last month, PPDS announced that it had gained
TAA compliance on Philips displays to deliver 24/7
smart, reliable, military-grade and secure 4K UHD
digital signage and videowall displays to the US
Government for the first time. Part of a continued
investment, expansion, and global growth strategy
in North America, TAA (Trade Act Agreement)
compliance now permits the procurement of Philips
professional displays for federal, state, and local gov-
ernment institution projects and installations. The
announcement includes the company’s best-selling
Philips 4K D-Line digital signage and Philips X-Line
videowall displays. Designed for 24/7 usage, these
displays integrate onto an existing IT network; the
displays can be fully configured and customized to
suit any space, whether a vast and creative videowall in reception or a control room, innovative wayfinding displays in corridors, or highly collabora-
tive and communicative solutions in offices, meeting rooms, and cafeterias. Additional Phillips pro display products across the PPDS line will be added
in due course, which, coupled with solutions from PPDS’ evolving third-party partnerships (such as Crestron, Logitech and Intel) are set to provide a
complete suite of customizable visual solutions to the US Government.
 CONTROL
ROOMS PRODUCTS
ADDER ADDERVIEW CCS-MV 4224
Earlier this year, Adder debuted a desktop multi-viewer KVM
switch, the ADDERView CCS-MV 4224. Part of Adder’s
Command and Control portfolio, and designed to put users in
total control, the multi-viewer switch delivers up to four dif-
ferent video, audio, and USB signals to a single workstation in
a user customizable window layout across one or two monitors. The
multi-viewer switch presents a fully configurable, color-coded, window dis-
play onscreen enabling users to quickly choose how data is presented. Simply by mov-
ing the mouse cursor between windows users can switch between sources in real-time and
without latency, meaning they can focus on the mission and not the technology. Users can also tap
enhanced power of the ADDERView CCS-MV 4224 capabilities when used with an ADDERLink INFIN-
ITY IP KVM matrix for onsite, remote, or virtualized work.

VUWALL MILESTONE
At press time, VuWall expanded its software feature set with a plug-in
for Milestone XProtect video management software (VMS). Available as
part of the newly released TRx 3.3 centralized management platform, the
Milestone plug-in enables control room operators to control content and
manage video walls directly from the XProtect interface while benefit-
ing from all of TRx’s features and an open interoperable architecture.
Working with the Milestone software interface, security operators can
remotely display and control tile layouts and required content on video
walls through simple drag-and-drop operations. Operators have full con-
trol over the video feeds on the video wall, whether they need to display
live video camera sequences or playback streams from a video server. In
addition to video content coming from Milestone cameras, the plug-in
allows operators to also view feeds from other sources such as maps,
web pages, RSS feeds, and control data, which can be displayed on the
wall by controlling all sources and presets, hence providing a complete
end-to-end networked solution. In addition to the VuWall plug-in, new
features for TRx 3.3, include a new Carousel feature to rotate through a list of cameras on the video wall. This feature is ideally suited for security
and monitoring applications.

MAXHUB M27
A standardized cabinet ratio design makes the
MAXHUB M27 Series designed for a host of con-
tent-sharing use cases including command and con-
trol. The ultra-slim and lightweight structure takes
up minimal space. Key features of the M27 Series,
which includes the M2712, M2715, M2719, and
M2725 displays, are an ultra-lightweight design with
a panel weight of 10.5lbs, and a depth of 1.2 inches.
With a panel resolution of 480 x 270, these panels utilize a
16:9 aspect ratio with a large off-axis viewing angle. Each mod-
ule in the custom display panel stores the correction coefficients, and
the correction coefficients are automatically read when an individual module is
replaced—thus keeping maintenance issues to a bare minimum.

48 SVC | O C TO B E R 202 2 | SVCONLINE . CO M

 OPEN MIC
WHY COLOR MATTERS
ideo projectors bring sermons to life. For
V
decades, projectors have been the main video
source for showing song lyrics, graphics, and
prerecorded video to the masses. Now, with the
growth of megachurches and the need to deliver
the incoming live stream to multiple campuses,
they’re pivotal for connecting several locations together with a
singular message. However, lamp-based and filter-based laser
projectors have a long history of challenges: washed out color,
yellowing, and the ongoing (and expensive) battle with dust that
impacts the quality.
Problem 1: Poor Color Performance Those who have watched
the 4K remastered movie classic Wizard of Oz know the incred-
ible degree to which color transforms an experience. In that same
way, color accuracy plays a vital role in delivering the message of
a house of worship. Inaccurate colors, such as those that have a
blue or yellow tint, create a sense that something is “off” and can
become really distracting during services. In addition, with almost
every pocket and purse holding an iPhone, congregants are used
to and expect pristine, color-accurate video everywhere. However,
Inaccurate colors, such as those that have a blue or yellow tint, create a sense that
something is “off” and can become really distracting during services.
getting a projector picture to look as good as what congregants
are used to on a mobile device is a tricky challenge because color
perception can be so subjective. Some may see red while others
see pink, which is why the Rec. 709 color standard was created by
the International Telecommunication Union (ITU). The Rec. 709
standard is used by TV, movie, and AV industries to ensure all HD
equipment including displays, DVDs, and Blu-rays use the same
color gamut, resolution, frame rate, and video specifications. The
best projector is one that has been proven and reported to be color
accurate following professional calibration and testing of the Rec.
709 standard.
Problem 2: Yellowing Another common issue affecting the
look of lamp-based projectors is what’s called yellowing, which
is when the picture appears, as the name implies, yellow. A quick
Google search reveals many questions and discussions devoted
to this phenomenon. While the risk of yellowing is hard to define
and may vary by model, what we do know is that projectors that
50 SVC | O C TO B E R 2 02 2 | SVCONLINE . CO M
By Bob Wudeck, BenQ
use Texas Instruments’ DLP chips have shown to never yellow or
fall prey to color decay, even under heavy commercial cinema use.
Problem 3: Keeping filters clean and dust out Dust isn’t just
an unattractive sign of neglect, it’s a destroyer. Even the most
expensive cinematic laser projectors experience a shortened life
span when filter-based models aren’t properly, routinely, and thor-
oughly cleaned. But unlike movie theaters where projectors sit in
easy-to-access booths, most projectors in churches and other large
venues are mounted to vaulted ceilings. As a result, the budget
must carry the additional expense of a renting a scissor lift, which
may not be a good solution if dust errors inconveniently pop up
before a service. If you want to stop the dust dragon in its tracks,
consider an IP5X-certified laser projector model. IP5X is a rating
given to only the most rigorously tested mobile and smart watch
technology available today. It’s all but impervious to dust. On a
projector, the rating certifies that all the openings to the projec-
tor’s engine are completely sealed. There are no filters to clean
and/or replace, no errors, and no extra equipment to rent. What’s
more: The projector will have a much longer life span, which is
great news for the budget.
Problem 4: Cinematic quality is too expensive For decades,
the only way for a church to secure the best image quality a pro-
jector could provide was to look to the digital cinema category.
They were bright and the color accuracy was, of course, outstand-
ing. Commercial cinemas could afford the $30,000+ price tag,
but that’s impossible most churches on a fixed budget. Thank-
fully, a new legion of projectors have entered the market. They
not only provide exceptional WUXGA resolution but also solve
all the problems outlined above. They’re extremely affordable —
less than $15,000; feature high brightness — as much as 10,000
ANSI lumens; are color accurate, delivering cinematic 95% Rec.
709 color coverage and accuracy out of the box; will not yellow
over time, and have a completely dust-free with an IP5X sealed
engine. These projectors are a great solution for the sophisticated
and creative AV ministry at work in almost every church today.
Bob Wudeck serves as Senior Director, Business Development for
BenQ. He can be reached at Bob.Wudeck@BenQ.com.