Posts Tagged ‘LED Walls’

ISE 2018 In the Rear View Mirror

I just returned from a week in Amsterdam in what is now the largest AV trade show in the world, Integrated Systems Europe. The organizers claim that 70,000 people attend this event and that number is certainly believable: The RAI exhibition center had to erect two additional temporary “bubble” halls to hold all of the manufacturers, and the foot traffic was crazy in the main halls.

If there was an overarching theme to the show, it had to be the migration of AV signal distribution to IT networks. Booth after booth featured exhibits of video encoders, demonstrations of compression and picture quality vs. latency, giant signs extolling the virtues of video and audio distributed over 1 Gb and 10 Gb networks, and plenty of “us vs. them” comparisons.

There are so many players in the AV-over-IT world that you need a scorecard to keep track of them. Of course, everyone has their own “special sauce” when it comes to sampling, compressing, and recovering video (audio is easy!), and those “us vs. them” demonstrations usually featured (a) a live video source, (b) that same video as processed through the manufacturer’s encoding system, and (c) that same video as processed through the competition’s video encoding system.

Crestron claims near-zero latency for their DM NVX codec, compared to SVSI…

 

…except that the SDVoE exhibit showed that DM NVX does have latency – at least, more than SDVoE’s Blue River system.

Latency was a big topic at the show. It’s defined as the time delay between a frame of source video and that same frame of video after recovery from a decoder and is typically measured in milliseconds. For some reason, the AV industry is obsessed with “near zero” latency in AV installations and I lost track of all the booths claiming their products had “little,” “near zero,” and “almost none.”

Crestron had a large exhibit in their booth, touting their DM NVX system for signal distribution and control over IT using 1 Gb network switches while maintaining image quality. To drive the point home, they had a side-by-side comparison of SVSI and HDBaseT transmission with DM NVX to show that it had the lowest latency. Time code was shown on all displays and visitors were encouraged to “take a picture with your phone” to confirm their claims.

At the back of another hall, the SDVoE Alliance had an exhibit saying, “Not so fast!” Their demo compared a video source to DM NVX and an SDVoE Blue River NT codec and appeared to show that the Crestron product had higher latency (and once again, visitors were encouraged to take a picture and confirm what they saw). The big difference? SDVoE promotes the use of 10 Gb switches instead of 1 Gb switches (a point I concur with) so even signals with 4K resolution can travel with light compression.

I’m not sure what codec Crestron is using, but the Blue River codec is adapted from VESA’s Display Stream Compression (DSC), an entropy-based compression scheme with extremely low latency that is well-suited to packing down 4K and even 8K signals.

Epson was mapping images onto a projector (right) that was projecting onto a large screen (left). Did you get all that?

 

Optoma is now in the LED display wall business.

Consider that HDMI version 2.0 is only fast enough to transport 2160p/60 with 8-bit RGB color and you can see the advantage of 1.5:1 and 2:1 compression to increase color bit depth – essential to distributing signals with high dynamic range and wide color gamuts, not to mention high frame rate video. (For those keeping score at home, a 2160p/60 signal with 10-bit RGB color requires a data rate of 21.39 Gb/s, so with a little over 2:1 compression, it will pass through a 10 Gb/s network switch.)

This looming battle between codecs and Valens’ HDBaseT format will only heat up as more manufacturers adopt ‘pure’ AV-over-IT solutions. HDBaseT is still limited to 328 feet of cable length and data rates of 10.2 Gb/s, although Aurora Multimedia claims their IPBaseT hybrid product can push HDBaseT speeds much higher and accommodate 4K signals with deeper color. Further confusing the issue is the TiCo (Tiny Codec) which is based on JPEG XS, a “mezzanine” codec that will permit lighter compression of video so that it can travel through a 10 Gb network.

Another trend was the explosive growth of LED signage. Hall 2 had so many Chinese LED manufacturers that I couldn’t keep track of the all. The “hot” technology nowadays is micro LED, or LED pixel elements with a pitch less than 1 millimeter. Consider that a 50-inch plasma TV from 1998 had a pixel resolution of 1280×768 or about 1.2mm, and we can now install a wall-sized LED display with a dot pitch approaching .8mm.

There’s no question that these products are having an impact on the projector industry. As I’ve mentioned in the past, every concert I’ve attended in the past 3 years has relied on large LED displays to show live video and graphics – none of them employed projectors, so far as I can remember. One consequence of this trend is that projector manufacturers including Barco, Christie, Panasonic, and Digital Projection chose to emphasize LED displays and walls in their booths (like covering their bets) alongside their flagship products. (Even Optoma did this!)

Absen had a humongous booth at ISE and is becoming a major player in LED signage in the U.S.

 

4K LCDs are here for digital signage and Leyard was promoting a full line of them.

In contrast, the challenge for Chinese LED display companies is that no one really knows anything about them, not to mention how reliable their products are. So now we’re seeing familiar names from the U.S. AV industry showing up in engineering, marketing, and sales positions for the likes of Leyard/Planar, Unilumen, Absen, and other brands, a strategy meant to bridge the familiarity gaps and increase sales.

Another area of interest is collaboration. Mersive’s Solstice had an exhibit that stressed the importance of analytics, gathering data on who was logged into a presentation sharing system and when. Kramer’s VIA product also has an analytics function and it looks like other companies are heading in that direction. DVDO, formerly owned by Silicon Image / Lattice, is independent again and has joined the collaboration space with their Tile product. This can stream and tile five independent sources of Full HD video, not to mention share screens and cast.

You wouldn’t think of “Sharp” and “broadcast video camera” in the same sentence – yet, here they are with exactly that.

 

Panasonic showed an 8K workspace, made up of two side-by-side 4K LCD monitors equipped with touchscreen overlays.

The 800-pound gorilla in this space is, of course, Barco’s ClickShare. There are three iterations of the product, with the top-of-the-line CSE 800 allowing 8 shared screens at the same time through dual 4K display outputs. Crestron had a demo of AirMedia that claimed higher bandwidth than Solstice (1.6 Mb/s), full network security, .05 seconds latency (there’s that latency thing again!), and enterprise management software.

There was even a minor controversy at ISE. Barco posted a press release stating that they had “instructed bailiffs to approach the booth of Kindermann and collect evidence of its Klick & Show wireless presentation system present at the show” to be used in patent infringement suits. Apparently, the same thing happened last year with Kanex Pro at ISE. What really happened was that nothing was taken from Kindermann’s booth, but the press release did create some discussion.

The continuing decrease in hardware costs are the real elephant in the room. Consider that it was possible to buy a 50-inch RCA 4K TV at Shop Rite the week before the Super Bowl, and you can clearly see just how quickly value is being sucked out of consumer and commercial AV gear. In addition to the “hang and bang” projector market getting hammered by ever-cheaper and larger LCD displays (which are moving quickly to 4K resolution exclusively), AV signal management equipment – switchers, distribution amplifiers, and extenders – is susceptible to this ‘dollar store’ trend as more and more brands come to market with hardware largely manufactured in Asia.

The AV-over-IT business is a clear example. Most IT products are sold through distribution and it’s likely that most AV products will follow that path in the near future. The core products for any AV-over-IT installation are encoders and decoders, and more than a few products I saw are being sourced from China. Indeed, more than one booth at ISE featured the same exact product in a different housing, the only differential being price and perhaps a few bells and whistles.

One thing is for certain. Many large companies who have ruled the AV roost for decades are finding themselves in an unfamiliar position these days, trying to keep up with the pack as the migration to AV-over-IT continues. We’ll see how the trend plays out at InfoComm in June…

On LED Walls Versus Projectors and Who Ultimately Wins This Battle

It’s been a busy summer for me, travel-wise. In addition to jaunts through Quebec and Korea, I’ve been in Chicago and New York, meeting with manufacturers and checking out the latest in television, projection, and large screen display technology.

I wrote about my visit to LG Electronics last month and their deep dive into organic light-emitting diode (OLED) technology. As part of my visit, I saw some clever uses of OLED panels in super-large videowalls mounted conventionally, mounted overhead, and even warped around different surfaces.

My trips to Montreal and Chicago also led me to inspect numerous and more mainstream inorganic LED wall installations, ranging from the Montreal Jazz Festival to the new block of shops and entertainment venues in and around Rosemont, just east of O’Hare Airport.

What’s mind-boggling is how quickly LED signs have become the dominant display medium and how they’ve essentially booted high-brightness projectors to the sidelines. I can’t remember a concert I’ve seen this year that used video projection – either the area behind the stage was filled with an LED wall, or towers of LEDs were arrayed to either side of the stage.

It’s been like that for concerts I’ve attended in recent years by Paul McCartney (twice), The Moody Blues, Steely Dan, and Sting. The move to LEDs for image magnification has put a noticeable dent in the sales and rentals of projectors, as many of my colleagues in the industry have mentioned. While there are still tours that use some complex projection effects (Roger Water’s various “Wall” tours come to mind), it’s clear that LEDs are the new 800-pound gorillas.

For a festival like Montreal, LEDs make perfect sense. Multiple temporary stages are set up outdoors near the downtown area and performances run continuously from noon until late in the evening. Ambient light levels are all over the place and large crowds form around each stage, constraining the available footprint for AV support. Aside from rear projection, direct-view displays make the most sense.

In Rosemont, an area that was supposed to be a casino, nestled between I-294 and the hotels and convention center on River Road, has instead become a vibrant outdoor mall and concert space, surrounded by restaurants, a bowling alley, an indoor sky-diving attraction, a high-end AMC Muvico theater, and the headquarters of the Big Ten television network. Across nearby Balmoral Avenue lies the Fashion Outlets of Chicago Mall and Rosemont Theater – all replete with big LED signage.

Think about it. If you can stuff 4k worth of pixels into a screen this size AND support HDR and WCG, why would you use a projector?

This fascination with LEDs hasn’t gone unnoticed by the leading manufacturers of LED tiles, most of whom are based in China. I noticed at least a dozen LED tile/wall manufacturers at NAB in April and too many to count at InfoComm in June. The problem is that most of these companies are unknowns to folks in the rental and staging business, so the sharper minds are hiring American industry veterans to handle sales and marketing of their products, hoping to get a foot in the door.

I’m also hearing concerns about product reliability, which generally scares away R&S folks. The gear absolutely must work Monday morning at 8:00 AM as the meeting kicks off or 8:00 PM as the house lights go down– no excuses. With projection, stacking redundant projectors might be an expensive fail-safe, but it works. So does having extra lamps in the optical chain – if one fails, the projected images might be slightly dimmer, but the show goes on.

But how do you provide redundancy for LED displays? Granted, the manufacturer can include extra power supplies in case of a major failure. But what if a column or row driver goes out? Driving home last night along a major interstate, I noticed a prominent LED outdoor sign along the road that had a large, L-shaped black area on it – those tiles had failed completely. Whoops!

It’s rare that imagers fail in high brightness projectors – usually the lamp goes, or there’s an issue with the power supply. But projection technology is mature, compared to LEDs: The first solid-state high-brightness projectors made their appearance in the mid-1990s, over two decades ago, and there’s been ample time to work the bugs out. LED displays were around back then, but they had very coarse dot pitches, were extremely costly to install, and were limited to venues like stadiums and arenas.

Now, we can achieve 4K+ resolution with fine-pitch LED tiles that range from 1.8m down to .9mm. This, of course, increases pixel density, wiring complexity, and power requirements. The upside is a level of brightness on huge screens you’d be hard-pressed to match even with stacks of projectors. To equal a 2,000 cd/m2 16×9 LED wall measuring 24 feet x 13.5 feet (324 ft2), we would need a projector stack that could pour out 190,000 lumens. (And likely a separate power plant to operate it, too.)

If the history of the AV community has taught us anything, any new technology that represents a real breakthrough will win out in the end, failures or not. And that describes LED walls to a “T”. Industry veterans will recall continual headaches with the first high-brightness LCD and light-valve projectors (remember the temperamental image light amplifiers from the late 1990s?) that are now just distant memories. High-brightness projectors are very reliable nowadays, which is a great thing.

LED walls are becoming popular for set backdrops, especially for news broadcasts.

What’s not so great is that they’re falling out of favor for larger-than-life displays, and LED walls are rushing in to fill the void. High brightness, excellent contrast and color saturation, fine pixel pitches, small footprints, modular design and assembly, one-piece solutions – these are all substantial advantages over projection.

The sticking point remains product reliability, 24/7 manufacturer support (essential for staging), and customer service in general. And the Chinese LED wall manufacturers appear to be taking these challenges seriously, based on the flurry of press releases I’ve gotten this year that have announced key hires for their American offices.

If these three challenges can be overcome, I think we all know how this story will end. Projector manufacturers will have to be satisfied with a smaller slice of the pie, going forward. And it might even get smaller: Samsung has announced an initiative to place large, fine-pitch LED screens in movie theaters, promising a high dynamic range (HDR) viewing experience that they claim can’t be equaled with projection technology – even those equipped with lasers.

I’ve been in this industry long enough to remember when “state of the art” in staging meant 35mm slide projection, CRT video projection (with standard-definition video), and 16mm film here and there…and that was just three decades ago. Here we go again…

InfoComm 2017 In The Rear View Mirror

InfoComm 2017 has come and gone, and left us with lots to think about.

For me, this year’s show was hectic, to say the least. I presented my annual Future Trends talk on Tuesday to kick off the Emerging Trends session, then conducted a 3-hour workshop on RF and wireless that afternoon to the largest crowd I’ve ever had for the class. (It may be the largest crowd I ever get as I’m thinking of shelving this class.)

Bright and early on Wednesday morning, I taught a 2-hour class  on AV-over-IT (the correct term; you could also use “AV-with-IP”) to a full house. There were even some folks standing in the back of the room. I guessed at least 200 were in attendance.

Thursday morning found me back in the same space, talking about 4K and Ultra HDTV to a smaller crowd (maybe not as “hot” a topic?) and urging them to set their BS meters to “high” when they headed to the show floor to talk to manufacturers about 4K-compatible/ready/friendly products.

With other presentation commitments, it worked out to nearly 15 hours standing in front of crowds and talking. Tiring to say the least, but I did get a ton of great follow-up questions after each session. People were paying attention!

AV-over-IT was a BIG theme at InfoComm, and it was hard to miss.

Mitsubishi had a very nice fine-pitch LED display at the show – one of the few that are not built in China.

The migration to using TCP/IP networks to transport video and audio instead of buying and installing ever-larger and more complex HDMI switchers and DAs is definitely catching steam. My colleagues and I have only been talking about this for over a decade and it’s rewarding to see that both manufacturers and end-users are buying in.

And why not? Computer hardware couldn’t get much cheaper. For my AV/IT demo, I was streaming a local TV station, broadcasting in the 720p HD format, using an H.264 AVC encoder/decoder pair running through a 1GigE NetGear managed switch. The streaming rates were in the range of 15 – 18 Mb/s, so I had plenty of headroom.

It worked like a champ. I was able to show how adjusting the group of pictures (GOP) length affected latency, along with the effects of constant bitrate (CBR) vs. variable bitrate (VBR) encoding. If I could have dug the gear up in time, I would have demonstrated UHD content through a 10 Gb/s switch – same principles, just a faster network.

I saw more companies than ever this year showing some sort of AV-over-IT solution. (Almost as many as those showing LED walls!) Lots of encoders and decoders, using H.264, Motion JPEG, and JPEG2000 formats; connected through fast switches and driving everything from televisions to projectors.

If it’s REALLY happening this time, then this is BIG. Migration to AV-over-IT is a big shot across the bow of companies that sell large HDMI-based matrix switches, not to mention distribution amplifiers and signal extenders – both made obsolete by this new technology. With AV on a network, all you need is a fast switch and a bunch of category cable. For longer runs, just run optical fiber connections to SPF fiber connections on the switch.

LG showed off its unique curved OLED displays – and they’re dual-sided.

Meanwhile, Samsung unveiled the first digital signage monitors to use quantum dot backlight technology for high dynamic range and wide color gamuts.

Hand-in-hand with this migration to an IT-based delivery system is a steady decline in the price of hardware, which has impacted the consumer electronics industry even harder. Consider that you can now buy a 65-inch Ultra HDTV (4K) with “smart” capabilities and support for basic high dynamic range video for about $800.

That’s even more amazing when you consider that the first Ultra HD displays arrived on our shores in 2012 with steep price tags around $20,000. But the nexus of the display industry has moved to mainland China, creating an excess of manufacturing capacity and causing wholesale and retail prices to plummet.

There is no better example of China’s impact on the display market than LED display tiles and walls. These products have migrated from expensive, coarse-resolution models to super-bright thin tiles with dot pitches below 1 millimeter – about the same pitch as a 50-inch plasma monitor two decades ago.

Talk to projector manufacturers and they’ll tell you that LED displays have cut heavily into their business, especially high-brightness projectors for large venues. LED wall manufacturers were prominent at the show, and some are hiring industry veterans to run their sales and marketing operations; removing a potential barrier to sales in this country by presenting potential customers with familiar faces.

Panasonic showed there are still plenty of applications for projection, especially on curved surfaces.

Absen is an up-and-coming LED brand, and they’re hiring veterans of the U.S. AV market to push sales along.

At the other end, large and inexpensive LCD displays with Full HD resolution have killed off much of the “hang and bang” projector business, and large panels with Ultra HD resolution are now popping up in sizes as large as 98 inches. The way things are going in Asia, Full HD panel production may disappear completely by the end of the decade as everyone shifts to Ultra HD panel production.

Even the newest HDR imaging technology – quantum dots – made an appearance in Orlando in a line of commercial monitors with UHD resolution. Considering that QD-equipped televisions have only been around for a couple of years, that’s an amazingly accelerated timeline. But compressed timelines between introduction and implementation are the norm nowadays.

This was my 24th consecutive InfoComm and the 21st show (so far as I can remember) where I taught at least one class. When I went to my first show in Anaheim, CRT projectors were still in use, a ‘bright’ light valve projector could generate maybe 2000 lumens, LCD projectors cost ten grand and weighed 30 pounds, and composite video and VGA resolution ruled the day. RS232 was used to control everything and stereo was about as ‘multichannel’ as audio got.

All of that has passed into oblivion (except for RS232 and VGA connectors) as we continue to blow by resolution, size, speed, and storage benchmarks. The transition to networked AV will result in even more gear being hauled off to recycling yards, as will advances in wireless high-bandwidth technology, flexible displays, cloud media storage and delivery, and object-based control systems.

Can’t wait for #25…

InfoComm 2016 In The Rearview Mirror

Another InfoComm show has come and gone. This is my 23rd InfoComm and it’s hard to imagine when I first set foot in Anaheim way back in 1994 – ostensibly to cover the now-defunct Projection Shoot-Out – that I’d still be making the treks to Orlando and Las Vegas, let alone teaching classes and joining the InfoComm faculty.

For this recap, I’ll focus on trends I saw at the show that will continue to impact our industry for some time to come. And there were plenty of them, everywhere you looked.

First off; I’ve been saying for several years now that software is becoming increasingly more important than hardware in our industry (and across all market segments  – look at how inexpensive Ultra HDTVs have become already), and that we’d start to see less of a focus on expensive hardware and more of an emphasis on software and managed services.

And that’s exactly what I spotted in Las Vegas. Astute observers noticed that the once humongous booths set up by the likes of Sony, Panasonic, Crestron, LG, Samsung, Hitachi, and other companies have gotten a bit smaller. (NEC, Da-Lite, and Christie were exceptions to the rule.)

AMX, when it was a stand-alone company, used to have an enormous booth at the show (not to mention a huge party every year). Now, AMX is limited to a few small stands within the Harman booth.  Walk the show floor these days and you’ll recognize other once-mighty brands that have been acquired by holding companies and now occupy much smaller footprints.

And this trend shouldn’t be any surprise. When hardware used to sell for four and five figures (and in some cases, six figures), you could justify those million-dollar booths that looked like mini-malls. (Remember the huge tented Sanyo projector booths?) But that’s not the case anymore.

Kramer's huge booth at InfoComm, touting a shift away from

Kramer’s huge booth at InfoComm, touting a shift away from “big boxes” to software and the cloud, was one of the exceptions to the trend to go smaller.

 

LG is doing some very cool things with curved displays, thanks to advancements in OLED and LCD manufacturing.

LG is doing some very cool things with curved displays, thanks to advancements in OLED and LCD manufacturing.

Practically speaking, how much real estate do you need to talk about software programs and managed services? The same thing is happening at NAB, where once humongous companies like Harris (now Imagine) are largely touting services and not hardware.

Even Digital Projection has scaled back its enormous multi-tier InfoComm booth. And projectiondesign has shed some square footage since being acquired by Barco, which has itself gone on a square footage diet. Ditto Sharp, which had one of the smallest booths ever at this show, perhaps related to the company’s ongoing financial challenges.

Surprisingly, Toshiba showed there is indeed a second act by showing up with a nice-size booth full of LCD monitors for tiled display walls. That’s not exactly an easy market to compete in, what with LG, Samsung, and NEC having a big footprint. But they’re giving it a shot.

Toshiba has re-entered the super-competitive world of display walls...a market they once dominated 20 year ago.

Toshiba has re-entered the super-competitive world of display walls…a market they once dominated 20 year ago.

 

The

The “surfer dude engineers” from Santa Barbara have a very nice 4K-over-IP encoder/decoder line-up!

Another trend that’s really picking up speed is the move away from projection lamps to solid-state illumination systems, most often lasers with color phosphor wheels. The availability of large, inexpensive LCD displays has cut deeply into sales of projectors – particularly in small classrooms and meeting rooms, where we used to put in “hang and bang” projection systems.

If you talk to people who’ve made the switch away from projection to direct-view, the reason they most frequently cite is that they don’t have to change out lamps anymore, and the LCD displays can be used under normal room lighting and turn on instantly.

Well, projector manufacturers have gotten the message and are moving en masse to solid state light sources. Early adopters like Casio have reaped the benefits, but now everyone from Sony and Panasonic to Vivitek and Optoma is on board.

Even so, the corner wasn’t really turned until this year when Epson – one of the big manufacturers of projection lamps – showed a 25,000-lumen 3LCD projector powered by a laser light engine. And I saw more than one UHD-resolution projector using the laser-phosphor combination, even in ultra-short throw configurations.

Epson finally got religion and showed its first laser/phosphor 3LCD projector this year - a 25,000 lumens model.

Epson finally got religion and showed its first laser/phosphor 3LCD projector this year – a 25,000 lumens model.

 

And Panasonic harnessed laser/phosphor technology to a new high-brightness 4K projector.

And Panasonic harnessed laser/phosphor technology to a new high-brightness 4K projector.

How much longer will we be changing out lamps? I don’t think it will be more than a few years before the majority of projectors offered for sale will use laser or LED light engines (or both). There will be exceptions for certain models, but for all intents and purposes, short-arc lamps are toast.

Here’s another trend – LED walls. I tried to count all of the exhibitors at InfoComm and lost track after wandering through the North Hall. And just about every single exhibitor was based in China, with names you would not recognize. Were they looking for U.S. dealer/distributor partners? It’s not likely many would pick up customers here, and that may be why Leyard (another Chinese manufacturer) bought Planar last year – everyone knows who Planar is.

I also saw LED walls with pitches as small as .9mm. That’s smaller than the pixel pitch of a 50-inch 1366×768 plasma monitor from 1995! And if anyone continues to go big with their booths, it’s the LED wall manufacturers. (Not like they have any choice!) Leyard’s 100’+ 8K LED wall was a perfect example of why bigger is still better when it comes to a booth.

And Sony’s Cledis 8Kx2K LED wall shows just how much farther we’ve come with this technology, creating what appeared to be a perfectly seamless, pixel-free panoramic LED wall that dazzled with bright, super-saturated color images.

Sony's CLEDIS 8K x 2K LED wall did an excellent job of hiding its seams - and pixels.

Sony’s CLEDIS 8K x 2K LED wall did an excellent job of hiding its seams – and pixels.

 

Planar (Leyard) is building some amazingly big and bright display walls. And they've got 8K resolution, too, thanks to using 16 2K panels.

Planar (Leyard) is building some amazingly big and bright display walls. And they’ve got 8K resolution, too, thanks to using 16 2K panels.

The Chinese dominance in LED displays shouldn’t be surprising. They’re moving to a similar level in the manufacturing of LCD panels, monitors, and televisions, undermining the Korean manufacturers (who undermined the Japanese, who took our U.S.-based television business away in the 1980s).

In fact, so much of our hardware is fabricated, soldered, and assembled in China and Southeast Asia these days that it should be no surprise prices have dropped as much as they have. Back in the day, a quality line doubler (remember those?) would set you back as much as $5,000 to $8,000. Today, you can buy a compact scaler that works to 1080p and Wide UXGA for a few hundred bucks.

My last trend has to do with the slow migration of video and audio signal distribution and switching away from hardware-intensive platforms based on display interface standards to software-based platforms that use IT switches, encoders, and decoders. Wow, did I spot a lot of those products at the show, even from some previously-vigorous defenders of HDMI-based architectures.

The interest in learning how to move to an “open” IP-type AV distribution architecture must be considerable: I taught a class on AV-over-IP this year at InfoComm and was astounded to see that 185 people had signed up to attend. And there were very few no-shows, as I found out when I had attendees sitting on the floor and standing along the back wall for almost the entire 90-minute class.

You know there's considerable interest in AV-over-IP when these guys show up.

You know there’s considerable interest in AV-over-IP when these guys show up.

 

RGB Spectrum's new Zio AV-over-IP system has one of the most user-friendly interfaces I've seen to date - touch and swipe to connect video streams.

RGB Spectrum’s new Zio AV-over-IP system has one of the most user-friendly interfaces I’ve seen to date – touch and swipe to connect video streams.

What’s more, a substantial portion of those attendees came from the higher education market segment, and an informal poll revealed that most of them were still upgrading from older analog systems to all-digital infrastructure. In essence, they were telling me that they preferred to skip by HDMI-based solutions and move directly to an IP-type solution.

Hand-in-hand with this discovery came more responses about transitioning to app-based AV control systems and away from proprietary, code-based control that requires specialized programming. Well, there were a few companies showing app-based AV control products in Vegas that had super-simple GUIs; software that just about anyone could learn to use in a few hours.

Throw in the accelerating transition to UHD resolution displays (they’ll largely replace Full HD within a year), and you have some very interesting times in store for the AV industry as this decade winds on…