As a distributor of presentation and production technologies, we are often asked our thoughts on the market for 4K. One of the related factors regularly cited is the availability of 4K content, or lack thereof. The May issue of Videomaker magazine, does a nice job of addressing 4K from the content creators perspective. The issue focuses on the pros and cons of entering the market, unexpected challenges, system requirements, etc. If you make videos and are considering the switch to 4K, consider taking a look. It will give you some food for thought as you consider your next steps.
What does a camera’s zoom lens specification really mean and how do I know if it will work for my application?
I am frequently asked to calculate if a zoom lens will work for a specific application. Perhaps someone is shooting from the back of a sanctuary and looking to project a life-sized image of a worship leader in an overflow room. Or, maybe they want to make sure they can get a close-up on musicians’ hands.
So, how do you figure out how much zoom is required?
Let’s use the example of making a worship leader look life-size in an overflow room to help figure this out. Given a shooting distance of 150’, if we are trying to make a 6’ tall person appear 6’ tall on a 9’ screen, we are shooting the entire 9’ high field, of which the worship leader is occupying 6’ (the target size.)
We then need the manufacturers spec sheet for the proposed camera and a lens calculator. The spec sheet we’ll look at in this example is the Panasonic AW-HE120 PTZ camera.
- Sensor Size. This is the size of the device in the camera that turns light into an electronic video signal. In this spec sheet, we see this camera is a 1/3” sensor with Full-HD resolution.
- Shortest Focal Length. Focal length is the distance from the lens to the sensor. The AW-HE120’s shortest focal length is 4.5mm
- Zoom. Zoom is created by changing the focal length; increasing the distance between the lens and the sensor. Sometimes this is expressed in terms of a range of available focal lengths or as a multiplier of the shortest focal length. Increasing the focal length reduces the field of view (how wide of angle you can see) thereby increasing the apparent size of the image. The AW-HE120 shows the range of 4.5 to 90mm. 90mm is twenty times longer than 4.5mm. So this camera has a 20X Zoom.
Armed with the above information, you can use an online lens calculator, such as one provided by Fujinon.
Under the “field of view” tab, enter the subject distance (150’), camera format (1/3” JVC/Panasonic/Sony), Field of view (9’ high). If you only know the height, it will automatically calculate the width and vise versa. Press “calculate” and it shows a required focal length of 48.9mm. This is well within the 4.5-90mm zoom range of the camera.
This same process can be used in most any scenario by plugging in the appropriate variables. Be aware, that the more an image is zoomed in, the more small structural and other vibrations appear as large vibrations in an image. In these cases, proper isolation of the mounting becomes important.
While there are other factors beyond zoom range that determine if a camera is suitable for an application, the preceding information should help address one of the basic criteria.
In college, one of my closest friend’s dad was a physicist who specialized in acoustics – PhD, Professor, consultant for the Air Force – the type of guy that other experts went to when they were stumped. He used to describe acoustics as the “Black Magic of Physics”. The idea he was trying to convey is that acoustics is such a complex field, that it takes a physicist’s physicist to make sense of it – and he, a man distinguished in his field, felt he was just starting to wrap his head around it. I am in no position to argue with one of the worlds experts on the subject. Yet, after working with and teaching acoustics for a number of years, it has become evident that the basics for our applications need not be as frightening, dangerous, and unapproachable as “Black Magic” may imply. In many cases, understanding some fundamental principles allows system designers to approximate the acoustic behavior of an environment, match the right treatment and equipment to the location, and assist in maximizing performance of a system within a given space. Even if someone elects to rely on – or even ignore – the expertise of others, it is important to recognize that acoustic issues, whether simple or complex, impact the performance of all audio systems. By some standards, this accounts for 50% of system performance – intentionally or otherwise. Even modest awareness can be the difference between a satisfied customer and a failed installation. This very scenario came up last week when a system designer called looking to replace a system installed by another company. The audio portion of a VTC system was suffering from feedback issues and the first place they looked to solve the problem was to replace the equipment. In reality, the equipment alone was not the primary culprit.
With this in mind, the room itself is one of the first elements we look at when someone asks for help with an audio system design – either new or retrofit. Taking in to account the room dimensions, layout, construction, HVAC systems, and in many cases room contents, it is helpful to estimate the behavior of the room in order to select the right type and location of equipment. Using a conference room example, the following are some acoustic characteristics to consider and their implications:
- RT60 (Reverb Time – or how long does it take for a sound to decay by a 60 dB). This measurement indicates general intelligibility in a room and can have major implications for speaker and mic placements. Conference rooms need a lower RT60 than a music performance space. Mixed use spaces sometimes benefit from adjustable acoustics with movable panels, or finding a balance between the two. A Sabine analysis, which uses published absorption coefficients for various materials, their surface area, and the volume of the room, can be used to estimate RT60.
- Critical Distance – Close micing sources in a conference room provides the best intelligibility since the level of direct sound from the source will mask background noise and reverberation at the microphone. Close micing also improves available gain before feedback and minimizes system noise caused by additional gain from mic preamps. However, close micing is not always practical due to aesthetic, ergonomic, or budgetary reasons. Critical Distance is the distance from a sound source where the direct sound and reverberant sound are equal. Knowing the critical distance is helpful for mic placement as it is one factor that helps identify how far a mic can be placed from a listener. Too much reverberant sound in the mics and intelligibility suffers. The polar pattern of a microphone also determines how much of the reverberant sound becomes part of the signal. As a general guideline, directional mics should be less than ½ the critical distance to a source. Since omni-directional mics pick up all around – including reflected sounds from the back of the mic, staying within 1/3 of the critical distance can help with intelligibility.
- Signal to Noise – while this is typically a specification associated with equipment itself, it is helpful to assess the environmental background noise in the space that participants may encounter and that the system may need to overcome.
- When determining mic and speaker placements, calculate the proposed distances from talkers and to listeners. This can help gauge effectiveness of various options for mic placement and count, along with potential speaker locations and power requirements. These distances, together with the above measurements, facilitate calculations related to gain before feedback, or PAG-NAG (Potential Acoustic Gain – Needed Acoustic Gain). This is what InfoComm refers to as “Stability” in their CTS-related documentation.
I know the above ramblings don’t unlock any mysteries of acoustics, or begin to scratch the surface, but hopefully they draw attention to some of the factors that should be considered during system designs. There are resources available to make these elements manageable. If there are specific areas about which you are curious, let me know and we can address it in another post or offline.
NAB – three short letters. Three sprawling wings of the Las Vegas Convention Center. Over 2,000,000 square feet of exhibit space (plus conference rooms, hospitality suites, and outdoor displays), 1,500 vendors, and precious few hours available to cover it all. Where to start? I had only two days. Plus, I needed to write this… yet another recap of a heavily press-covered show. How would I see it all? What new, exciting, must see items would I totally miss – cheating myself and you out of enlightening insights into the latest from the world of broadcasting? I decided to try something new and chuck my typical trade show approach that works well in smaller venues with more time.
First up – take care of the critical business. I scheduled to see the essential people and vendors on day one. Panasonic had a great showing with new Varicams – both a 4K version and a high speed version for sports. The new AG-PX270 handheld AVC-Ultra camera and AV-HS6000 2M/E switcher were both well received. The price to feature and quality ratios should make these huge hits. Next up, conduct product demos for clients, then to the lens manufacturers and Teredek to see the new streaming products for Panasonic’s broadcast line. From there, hit the floor running.
I usually take a structured approach to tradeshows, but in this case, recognizing the impossibility of seeing everything led me to introduce an element of randomness. I had targeted manufacturers, but I also I decided to leave some time to roam and see what caught my eye. In addition, I tried to spend time in technology areas that were totally foreign to me – just to broaden my awareness. I’m glad I took this approach as it opened my eyes to a number of elements I would have missed.
So what trends seem to be prevalent at the show? From my vantage point the following items really jumped out
- IP based signal distribution and workflows have progressed substantially in the last year
- Single cable 4K transport seems to have taken leaps forward
- Lower power requirements, along with feature and quality advances in portable equipment across the spectrum of technologies will make run-and-gun shooting and remote projects easier
In contrast, there were some vendors touting the latest, greatest, up and coming technology by showing the same items as last year. Particularly when it came to pushing resolutions higher than 4K
One entertaining moment was being asked if I thought 4K will go the way of 3D. Then I saw the badge holder indicated “Member –Flat Earth Society”. Speaking of 3D… autoscopic 3D displays looked like they have advanced, some were actually pretty cool. But they are still not ready for primetime due to limited effective viewing areas. Scaled down versions for a single user on phones or tablets could function very well if 3D ever gains traction. Current trends do not make this likely.
Given the advances in IP-based signal distribution, it’s surprising that ClearOne did not have a presence at NAB. Their ViewStream products could be a good fit a production environment. While this is not their target market, the quality, flexibility, scalability, and network management features outshines much of what I saw at the show.
Covering the NAB show in two days – or even a week – is like being blind and describing an elephant.
Stay with me….
Imagine four visually impaired people who come in contact with an elephant for the first time. One grabs a leg, the second a tusk, another the trunk, and the last an ear. Imagine how different each of their descriptions would be…. “Fat and Rough”; “Skinny and Smooth”; “Skinny and Rough”; “Thin and floppy”. Each describes the beast from their limited vantage point. With NAB, there is so much to see and no way to see it all, that everyone’s experience is different. I’d like to hear your thoughts and perhaps open my eyes to what I missed.
I receive requests on a regular basis from integrators trying to find solutions for large conference rooms, training rooms, or other environments where control of the audio needs to be addressed with little or no human interaction other than power up, source selection, dialing, and volume control. However, the complexity of the audio needs oftentimes requires more advanced functionality working in the background. These applications may call for an automixer. In short, an automixer receives audio signals, such as multiple microphones, phone lines, computers, and other sources, combines them and routes them to endpoints such as local speakers for speech reinforcement (a.k.a. “voice lift”), remote locations via phone lines, recorders, etc. One of the main benefits of an automixer is the ability to automatically turn off unused microphones in order to minimize background noise and improve gain-before-feedback. They can also decrease the output automatically to compensate for level increases that would occur when multiple people talking activates more than one microphone simultaneously – keeping the overall output to a reasonable level. Before talking technology, I start by looking at non-technical elements such as at how the room will be used and by whom, room layout(s) and acoustic elements, including construction and ceiling heights. Not all automixers are created equally. Without going too deep into the technology, let’s look at some factors to consider in narrowing choices to those options that may work for your application.
- Number of inputs. Remember to address each type of source including:
- Mics – If you are using wired condenser mics. Make sure you have phantom power.
- Line – Count stereo sources, such as CD players, as two inputs.
- Phone – Find out if you need POTS (analog) or VOIP compatibility
- USB – This simplifies sharing computer audio from presentations with local and remote participants. It is also the easiest way to connect to software based VTC CODECS. While audio connectivity from a computer can be accomplished using the line inputs and outputs, using USB reduces the number of digital to analog and analog to digital conversion stages, thereby improving quality.
- Specialized inputs – for example, the ClearOne Beamforming Mic Array is only compatible with the E-Bus on certain ClearOne Converge Pro automixers.
- Number of discreet outputs. Count the number of unique zones. If you are using ceiling speakers for voice lift, plus stereo speakers at the front of the room for playback, these will need to be on separate outputs.
- Routing flexibility – Can you get the signal to the correct output through the correct processors? For example, can you get the DVD player to the output that feeds the front speakers, without routing them to the ceiling speakers? Some applications, such as courtrooms, require the ability to route to recording devices prior to any gating, yet still gate signals routed to outputs used for voice lift. In room divide / combine scenarios, flexible routing is essential to accommodate various room configurations.
While it is imperative to ensure sure you can connect all sources and get them to where you need, the following items may also help narrow the field to identify the best solution for your application.
- Control – Do you need front panel access to most functions – which may also give end users more control than is in their best interest. Will you need third-party control via RS232? If using third-party control, do you prefer to simplify programming by having recallable presets or macros? Do you prefer an end-user- and programmer-friendly basic remote controller that emulates a telephone dial-pad? Will software-based control simplify revisions, troubleshooting, and cloning complex setups between similar rooms?
- Processing – Beyond filters (EQ), gating, ALC, AGC, etc, options can include Stereo Acoustic Echo Cancellation (AEC) or the much more effective distributed AEC. Adaptive Noise reduction can help reduce background noise in changing environments, such as can occur with cycling HVAC systems.
- System Expandability – Are changes in the future? Can the system be expanded without forklifting the original equipment from phase one?
- Built-in or external amplification – while it is easy enough add external amplification, some automixers add multiple internal low Z and 70V amplifier channels at a favorable price point.
As previously mentioned, suitable inputs, outputs, and routing, are essential to the basic functionality of a system. The remaining elements are more of a personal choice for the system designer. Please feel free to share your thoughts on what you consider important when choosing an automixer. I look forward to your comments.
10/100BaseT… Gigabit Ethernet… 802.11b/g/n… IPv6… HDBaseT…. For some folks in AV, just hearing IT terminology requires a dosage increase in the antacid du jour. The good news is that HDBaseT, while sounding like something borrowed from the world of networking, is actually an easy to implement AV technology.
Many of us are familiar with pulling cables from multiple sources to an output device, along with the potential challenges that can arise. A basic projector installation may require pulling nine or more cables and then labor for terminations; one for control, one for HDMI, five for RGBHV, and perhaps a couple for audio. Nine terminations at roughly fifteen minutes each, equates to over two man-hours of just terminations on a single projector. HDBaseT can reduce materials cost and installation time by reducing the total number of cables and field terminations to a single Cat5e/6 cable with RJ45 connectors – all without the need to know anything about networking, switches, IP addresses, or other reflux inducing technology.
HDBaseT can carry all of the following signal types simultaneously:
- Uncompressed full HD digital video – It is HDMI 1.4 compliant and HDCP approved
- Uncompressed Audio
- Control signals – However, it is not compatible with CEC
- 100BaseT Ethernet – with future support of Gigabit Ethernet
- Power – 100 watts maximum
Implementing HDBaseT is not much different from other AV signals. This is a point-to-point technology. On the projector or display, just select HDBaseT as input in the same manner as selecting any of the other conventional inputs. There are no IP configurations or other network related settings to fiddle with. Cable runs up to 100M are supported, along with up to eight hops (or 800M). It is important to use solid wire with a shielded cable as signal dropouts have been reported with UTP (unshielded twisted pair). Cables listed as STP, FTP (Foiled Twisted Pair) or ScTP (Screened Twisted Pair) are acceptable. The same common sense that applies with other signal types applies with HDBaseT – such as avoid running parallel to power cables.
Digital Link is a Panasonic brand specific feature set added on top of HDBaseT that provides two-way communication with Panasonic projectors. This includes the ability to control other devices from the projector’s remote. Many manufactures are now building HDBaseT outputs into their control devices and signal extenders. Signals feeding these systems are output as HDBaseT. AMX and Kramer are two such manufacturers. This allows you to run short cables to a device mounted in a rack near the sources. Then run a single cable from the rack to the display device – potentially replacing 15-20 lbs of various signal-carrying cables running through conduit.
Many manufactures are now building HDBaseT outputs into their control devices and signal extenders. Signals feeding these systems are output as HDBaseT. AMX and Kramer are two such manufacturers. This allows you to run short cables to a device mounted in a rack near the sources. Then run a single cable from the rack to the display device – potentially replacing 15-20 lbs of various signal-carrying cables running through conduit.
If the projector does not have a Digital Link or HDBaseT input, third-party HDBaseT receivers can be installed at the projector or display end. The example shown in Figure 3 is a Kramer TP-582R. The HDBaseT/Digital Link signal is sent from the interface shown above, and connected to the line input on the receiver. HDMI and RS-232 cables are then connected to the projector or display.
In summary, a single Cat5e/Cat6 cable with RJ45 connector…
- Simplifies and reduces cabling and termination costs
- Eliminates the need for long and expensive pre-fab HDMI cables
- Reduces potential points of failure
- Provides reliable, extended cable runs
While reducing installation cost may help win more business, you may also choose to keep some of the savings and potentially increase profits.
“Power tends to corrupt, and absolute power corrupts absolutely.” (Lord John Dalberg-Acton 1834-1902)
Have you ever had a service call on a projector or a display where the customer said the unit was unresponsive? What about phantom problems that seemed to appear from nowhere and slipped back into the ether just as mysteriously, never to be heard from again – except at the worst possible moment? Maybe you’ve had multiple devices in a single installation fail prematurely. In many situations, issues such as these can be traced to a problem with electrical power – corrupt or otherwise. Lord Acton was not referring to electrical power. Yet, for a person born in the 19th century who never saw anything remotely like today’s AV systems, he had some impressive insight into our world of Pro AV.
I’ve had clients call me for emergency service while they were attempting a remote recording of a live concert – the input gain on their digital audio workstation (DAW) appeared to be stuck wide open and everything was distorting. Not my system design, but my client to service. Turns out, the external hard drives in the system were not connected to any type of power conditioning. The DAW interface and hard drives were both sharing the same USB buss and a surge to the drive’s PSU caused an error in the interface’s CPU. A simple reboot of the host computer fixed the problem, but they missed recording part of the concert. I’ve seen this exact situation happen more than once, with different interface manufactures, different drive manufactures and even with both Macs and PCs. (How the problem was isolated to the HD specifically is best left for another article on troubleshooting.)
In another incident, a client contacted me after cancelling training sessions due to a loss of image from their projector. Pressing the power switch didn’t change anything. Directly connecting sources to the projector, bypassing wall plates and intermediate devices, proved fruitless. The only sign of life was the lonely “lamp” LED blinking repeatedly – as if was letting out a tiny “Help Me…. Help Me…” in Morse code. The lamp was relatively new. As the trainees filed out of the room, the training manager was left scratching his head as he stared up at this sole little light on the projector….
The cause was traced to a temporary electrical power issue and the unit was revived with a hard reset by unplugging the unit, counting to ten, and then restoring power to the unit. Fortunately, this projector was mounted in an easily accessible location making this hard power reset a reasonable task for someone onsite. However, the training opportunity was already lost for the client and stress levels needed to be brought back to a lower orbit.
While each of these situations caused moderate financial losses and inconvenience for the clients, there were no catastrophic implications. Yet, who knows how severely the lifespan of the equipment was impacted by these incidents. Not everyone is this lucky. (It’s a good thing displays in the board room or a front-of-house audio console didn’t hiccup as well.) “Power corrupts absolutely” and permanent system failures are to be expected when a system is not protected. Problems can be avoided with the proper power management designed into the system. Additionally, some power management devices provide remote monitoring and power cycling to minimize client downtime, improving your service response times, and reducing costs for both resellers and end-users – not to mention what it does for blood pressure.
If we used an oscilloscope to view the waveform of idealized power at a 110V outlet, we would see something like the 60Hz sine-like wave with overtones, shown in figure 1.
However, we rarely have such clean power coming directly from a wall outlet. Several types of corruption commonly occur.
Spike and surges (See Figure 2)
Temporary significant increases in voltage can originate from activity far outside of an installations location. A myriad of causes are to blame – ranging from a neighbors air conditioner kicking in or fluctuations from the power grid itself.
Sags or other voltage fluctuations (See Figures 3a and 3b)
Power companies will sometimes intentionally reduce output voltages in order to keep up with high power demands. Additionally, as the power comes back up, it does not always return to the ideal level. This can lead to temporary over-powering.
AC power is similar to an unbalanced audio signal, except at a much higher level, and is therefore subject to much of the same types of interference. Line noise from other signals being inducted into the AC path is shown in Figure 4. Causes range from Radio Frequency Interference (“RFI”) to “wireless” intercoms and similar devices that “transmit” over existing power cables.
Finally, one of the most dreaded types of power is illustrated in Figure 5.
Yes, that is a blackout.
As we can see, there can be a big difference between the electrical power “signal” most devices expect, and what is actually coming out of the wall. Modern Pro AV equipment, particularly devices with a CPU or embedded processing, can have a particularly hard time with this.
So, what is the solution? With over 2500 different options, just from a single manufacturer, where is a system designer to start? There are three steps to make this easy.
- Instead of trying to know every product, perhaps start by knowing the general types of power-related solutions and their function.
- Add to that a few basic models and where they can be applied.
- Then depend on resources, such as your Almo rep, to help you find the specific solution for your application.
Let’s dive in….
- Surge Suppression – Minimizes potentially damaging short-term high-voltages. Correcting what is illustrated in figure 2.
- Voltage Regulation/Stabilization – Maintains a constant output voltage even if the input voltage increases or decreases. Uncontrolled voltage fluctuations can manifest in a variety of symptoms in electronic equipment – ranging from a random malfunction to total shut down.
- Line Conditioning – Varies by manufacturer, but typically involves removing “noise” from the power that can corrupt other signals. This addresses the issue shown in figure 4.
- Back Up/Redundancy/UPS – Provides power even if the main power is lost. The need for power back up and redundancy extends beyond the Mercedes-Benz Superdome for the Super Bowl and hospital operating rooms. Most live events, situations where recreating a particular setup is labor intensive, and equipment requiring a shut down period can benefit from this class of protection. For example, skipping cool down for a projector due to a power loss can result in premature lamp failure. In some cases, the replacement lamp may even cost more than a UPS. Computers that abruptly lose power may suffer permanent data loss or may not properly reboot at all.
- Distribution – Allows multiple power sources to be split off a single source. This can be as simple as a power strip or a rack mounted series of outlets.
- Control – Provides the ability switch power on or off from another location – either at the same site or remotely. Helpful for sequencing power up or down, cycling power in difficult to reach locations, or for conducting a hard power reset without dispatching a service technician.
- Diagnostics – Helps maintain an eye on systems to make sure they are functioning properly and to avoid problems before they occur.
Step 2 – a couple examples from the above items:
- Both the Tripp Lite AV2FP and Furman AC215A provide surge suppression and line conditioning in a form factor small enough to fit behind a flat panel display or with a projector.
- For voltage regulation in a rackmount format, both the Furman – PL-PRO DMC and Tripp Lite 2400W Rack Mount Line Conditioner provide a constant output voltage even if the input voltage varies up or down significantly. They both also provide surge protection and line conditioning.
- Properly choosing a UPS or backup device requires a more thorough understanding of the specific application and being able to answer some key questions. Are there acceptable transfer times to backup power or is a zero transfer time required? What type of circuit does the equipment require and how much power does it draw? How long must equipment be able to run on backup power? What type of input circuit is available? One example of a UPS is the Tripp Lite – SU1500RTXLCD2U. Extended run times are available with an external battery pack, such as the BP48V242U.
- When it comes to control and diagnostics, each manufacturer has their own unique approach. Some opt for end user simplicity with widespread browser-based compatibility. Others opt for more comprehensive solutions that may require manufacturer certification in order to deploy or maintain. It is worthwhile to see a demonstration of various solutions before choosing one for a particular application.
Even though “power corrupts absolutely”, choosing the right power management solutions for each project will protect you and your clients. While it may seem like there are a lot of options and variables to absorb, there is comfort in knowing that you don’t need to know them all – or even most. Instead, depend on your Almo representative to help you in the process. Our team has the expertise and resources to ensure you select the proper solution for your project. So the next time you call, ask for details and take advantage of distribution on a personal level.
“Broadcast”… What do you picture when you read that word?
My unscientific polls indicate the answers seem to follow a common thread. Some think of a radio tower, others think of a newsroom, maybe an anchor person, or perhaps a control room filled with a gazillion different images. So, what comes to your mind? If it’s not dollar signs, it may be time to reevaluate broadcast in your business.
For many integrators, life is filled with equipment and solutions focused on the presentation of material created at some point prior to where their skills impact the signal flow: PowerPoint created on a customer-provided computer, playback of a pre-packaged DVD, or maybe educational material displayed using a classroom projector. With the exception of microphones and video conferencing, the media shared in an installed solution does not pass through the system until it is in its final form. While this may be the case for the majority of integrators, it is no longer the case for the majority of systems.
A market shift over time has positioned broadcast-quality cameras to help non-professional end users move from a restrictive playback-only world, to the flexibility of capturing and sharing original content. According to Panasonic, more broadcast equipment is being purchased for non-broadcast environments than for broadcasting itself. Some popular markets include higher education, corporate installations, houses of worship, and sports venues. While the image capture equipment used in these systems is designed for professional use, this is where all similarity to conventional ideas of broadcasting ends.
Let’s consider remote camera systems in a HOW environment. In a common application, the camera follows the pastor while his image is projected on a large screen for congregants in the main sanctuary, and perhaps overflow rooms. The camera’s pan, tilt, zoom, focus, color settings, and other functions are accessed remotely via RS-232 or IP from a control unit, or over the internet using a web browser. These same cameras are widely used to capture the action in popular reality TV shows and some share the imager as several studio cameras.
To be clear, I’m not suggesting you change your business model and start installing transmitters or building production studios. You don’t even need to learn new formulas. Broadcast-compatible production equipment has made major inroads into our world, to an extent where the term “broadcast” has become a ubiquitous misnomer. Yet, the name sticks, striking fear in those who may think they need to get an FCC license to stay competitive. In response, some manufactures are now offering consulting, installation, and training by factory engineers as SKUs available for resale by integrators to end-users.
The term “Light Broadcast” has been cropping up to refer to the utilization of broadcast-quality production equipment in a non-broadcast environment. Perhaps a new phrase is in order… “Optical Reinforcement” or “OR” (akin to “Sound Reinforcement”) when we need to make performances visible beyond what can be seen with our eyes alone. VR, for Visual Reinforcement, is already used for Virtual Reality, which we will probably see in our daily lives soon enough.
While I have no real expectation of a change in daily jargon, the idiomatic use of the word Broadcast in our world is really something very similar to what we already know. The primary difference is we can now bring our revenue stream earlier in the signal chain and facilitate our customers’ ability to capture and create their own material.