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Kramer supports Colombian university’s initiative centralising AV across multi-campus environments
10/07/2026
La Télé erweitert Eishockey-Programm der National League mit Unterstützung von Blackmagic Design
08/07/2026
Christie laser projectors illuminate new immersive water show honouring Song Dynasty poet Lu You
23/06/2026
Orlando Science Center reimagines dome theatre with Christie RGB pure laser projection
Orlando Science Center has unveiled its newly renovated 8-story dome theatre, The Dome by Dr. Phillips Charities, featuring a Christie RGB pure laser projection system that transforms the former IMAX venue into an immersive theatre with 8K content for educational programming, presentations, live planetarium experiences, and special events. Christie partner SSIA Technologies consulted and installed the systems.
At the heart of the installation are eight Christie Griffyn® 4K35-RGB projectors configured in a fulldome projection system that delivers high-resolution imagery across the theatre’s newly resurfaced dome. The Dome also includes an inset Christie CP4435-RGB pure laser cinema projector for 3D science, nature and space movies.
“One of our primary goals was to replace our aging film projection system”, says Stephen Holt, Vice President of Facilities & Exhibits, Orlando Science Center. “Working with our consultant and project partners, we identified a projection and audio solution that would allow us to create immersive experiences for years to come. The result is a venue that can support everything from live planetarium shows and giant-screen films to educational programming and special events.”
Installing the projection system presented some challenges. Four Griffyn projectors and the CP4435-RGB cinema projector were housed within the theater’s existing projection gallery, while four additional Griffyn units required custom placement at the front of the dome to ensure complete image coverage. The installation team also worked within tight physical spaces while coordinating with ongoing construction activities throughout the renovation. The project was completed in time for the theatre’s public opening.
The renovated theatre seats more than 300 guests and serves as a multipurpose immersive venue rather than a traditional planetarium. While astronomy programming remains an important part of the theatre’s mission, the upgraded projection system enables a broader range of educational and entertainment experiences. The Science Center also invested heavily in content creation as part of the project to ensure visitors would immediately experience the full capabilities of the new venue.
“Technology is only as good as the content it presents”, says Annette Sotheran-Barnett, Co-CEO/Founder at SSIA Technologies. “Orlando Science Center recognised that from the beginning. They made content development a priority, creating experiences that showcase both the technology and the stories being told. When audiences see real-time astronomy visualisations and immersive fulldome content running on this system, they immediately understand what’s possible.”
(Photos: Definition Studios/Giant Screen Films/Roberto Gonzalez/K2 Studios)
Kramer supports Colombian university’s initiative centralising AV across multi-campus environments
Fundación Universitaria del Área Andina’s “Rauda” initiative is transforming AV management across multiple campuses, using centralised AVoIP and cloud-based control to deliver more consistent, scalable learning environments and illustrating powerful global trends in education and proAV.
Universities are under increasing pressure to deliver consistent, technology-enabled learning experiences across multiple campuses, often while managing growing AV estates with limited IT resources. Recent data indicates that 25 percent of faculty in North America and Europe have considered leaving an institution over poor technology; for students, that number rises to 33 percent.
For Fundación Universitaria del Área Andina in Colombia, an institution founded in 1893, addressing these challenges became a priority. It responded by launching Rauda, an ambitious initiative designed to centralise and standardise audiovisual infrastructure across its campus network. With locations in Bogotá, Pereira and Valledupar, the university had developed a diverse AV landscape over time, designed to support both in-person and hybrid learning for undergraduate and graduate students across a wide array of disciplines.
The institution relied on a mix of technologies, including classroom touchscreens and commercial displays in halls and reception areas, with systems managed independently. This fragmented approach made it difficult to maintain consistency across learning environments and shared spaces, along with limited visibility into system performance and slowed response times when issues arose.
To address this, the university launched Rauda, an AV network initiative designed to centralise and standardise AV infrastructure across its campuses while creating a more efficient foundation for future growth. The goal was not only to improve day-to-day operations, but also to enable more consistent experiences for both faculty and students.
Working with system integrator Merge, Fundación Universitaria del Área Andina implemented the first phase of the Rauda project by deploying a centralised AVoIP architecture across its sites. Classrooms, auditoriums, meeting spaces and digital signage endpoints were connected into a unified network, allowing content to be distributed and managed more flexibly across locations.
A key focus of the project was the ability to monitor and control systems in real time from a single platform. By introducing centralised management tools alongside its AVoIP infrastructure, the university gained improved visibility into performance across its AV estate, enabling faster diagnostics and reducing the need for on-site interventions.
Centralised control has helped streamline support workflows and reduce incident response times, while delivering more consistent and reliable AV performance across campuses. According to the university, this has translated into improved availability of learning spaces and a smoother experience for both staff and students.
The new infrastructure has also unlocked additional capabilities, particularly in the area of digital signage. The university can now manage and update content in real time across high-traffic areas, supporting more agile and targeted communication with students and visitors.
The completed project leveraged a range of solutions from Kramer, including: KDS-EN7 encoders and KDS-DEC7 decoders for content distribution; Via Go 3 devices for wireless presentation and collaboration; KC Virtual Brain 5 and Panta Rhei for system management, monitoring, and control; VSM on Cloud for centralized, cloud-based management; dedicated network infrastructure built around Netgear M4250 switches; and TP-583TXR units for transmission support.
(Photo: Kramer)
La Télé erweitert Eishockey-Programm der National League mit Unterstützung von Blackmagic Design
Der Schweizer Sender La Télé hat für Routing- und Produktionsaufgaben einen gemeinsamen Backbone auf Basis von Blackmagic-Design-Technik implementiert. Mit diesem Setup strahlt der Sender das Eishockey-Programm der National League aus.
Durch die Verbindung seiner Standorte in Lausanne und Villars-sur-Glâne ist La Télé in der Lage, unter Fortführung des täglichen Sendebetriebs zwei Regieräume wie einen einzelnen Workflow zu betreiben. Das Herzstück der Anlage bildet eine Blackmagic-Videohub-120x120-12G-Kreuzschiene, über die beide Standorte zu einem Backbone verbunden werden. Auf diese Weise kann die Signalverteilung von beiden Regieräumen gesteuert werden. Für die Studioproduktion nutzt La Télé zudem einen Atem-4-M/E-Constellation-HD-Live-Produktionsmischer mit einem Atem-2-M/E-Advanced-Panel-20.
La Télé versorgt die Kantone Waadt und Freiburg mit Nachrichten, Unterhaltungsprogrammen und Live-Sportübertragungen. Der Sender sicherte sich gemeinsam mit den Fernsehsendern Léman Bleu und Télé Bilingue die Free-to-Air-Rechte für die National League. Der Inhaber der Übertragungsrechte, MySports, beauftragte daraufhin La Prod, den Produktionszweig von La Télé, mit der Produktion französischsprachiger Studioprogramme an den Spielabenden.
Für das Projekt mussten die Übertragungen aller sieben Spiele verarbeitet werden, die wöchentlich an drei Abenden stattfanden. Ein achtköpfiges Team war für die Liveproduktion, die Zusammenstellung von Highlights und die Studioproduktion zuständig. Zum Einrichten eines zweiten Regieraums und eines Studios standen drei Monate Zeit Verfügung, ohne den täglichen Betrieb wesentlich zu beeinträchtigen. Die technische Umsetzung wurde von Francois Vittoz (Technischer Leiter), Maxime Humbert (Technischer Manager), Ouriel Barbezat (Tonmanager) und David Klaus (AV-Techniker) geleitet.
An Spielabenden verarbeitet die Pipeline allein für MySports circa 45 Quellen und sechzig Ziele. Zur gleichen Zeit unterstützen zusätzliche Kapazitäten den laufenden Tagesbetrieb. „So wurden wir davor bewahrt, zwei parallele Systeme aufzubauen“, sagt Klaus. Audio wird zwischen dem 12G-SDI-Kern und La Télés Audio-over-IP-Netzwerk über Konverter übertragen, die das Audiosignal einbetten und extrahieren, bevor es zur Verteilung an den gemeinsamen Backbone weitergeleitet wird. „Wir können sogar Bedienerpositionen zwischen La Prod und La Télé gemeinsam nutzen, was für kleine Teams wie das unsere von erheblichem Vorteil ist“, so Klaus.
Die Feeds aller sieben pro Woche stattfindenden Spiele der National League gehen über Glasfaser als IP-Video-Signale gleichzeitig ein. La Télé empfängt zehn Signale von den Ü-Wagen vor Ort sowie zwei Exchange-Feeds für den Austausch mit der deutschsprachigen Hauptregie in Erlenbach.
Drei Editoren sitzen an Replay-Stationen, die mit DeckLink-Quad-2- und UltraStudio-Monitor-3G-Aufzeichnungs- und Wiedergabegeräten ausgestattet sind und überwachen von dort die Spielübertragungen, markieren wichtige Momente und erstellen Highlight-Zusammenfassungen. Als Abschluss wird eine Sendung mit Highlights übergreifend auf La Télé, Léman Bleu, MySports und Télé Bilingue ausgestrahlt.
(Fotos: Blackmagic Design)
Brompton Technology powers Scotland’s Nightsky Studios
Nightsky Studios is a virtual production (VP) facility located in Coatbridge, just east of Glasgow. Opened in April last year and with close to 3,000 sqm of indoor space, the studio has become a hub for high-profile productions, including shoots for HGTV American pay television channel and Scottish crime dramas. Spearheaded by founder and director Lewis Simister, Nightsky Studios employs Brompton Technology LED processing, managed by the studio’s dedicated team.
Ben Bentley, Studio Executive at Nightsky Studios, says that Simister conceived the idea of establishing a VP facility at the onset of the global pandemic. “Lewis, Avais (Safdar, Studio Executive), and I were each involved in different sectors of the live events market”, he reports. “When COVID-19 led to the cancellation of live events, Lewis saw an opportunity to use his skill with large format video walls in virtual production, which was emerging as an exciting new frontier. That was the first step; the next was securing a space to accommodate it.”
As they awaited the arrival of their LED screen, the studio’s space requirements were already growing. “We started with 604 sqm and quickly expanded to 1,600 sqm, then 3,000 sqm”, Bentley details. “Concurrently, we upgraded our ROE Visual Ruby 2.3 panels from 50 sqm to 100 sqm, and eventually to 150 sqm, all powered by Brompton’s Tessera processors.”
Nightsky Studios features two sound-treated stages - one 1,022 sqm and the other 604 sqm - along with a workshop space, green rooms, offices, and storage areas. The studio’s LED infrastructure includes 600 ROE Visual Ruby 2.3 panels running on Brompton 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units. Tracking is facilitated by a Mo-Sys StarTracker system, paired with VP Pro-XR.
Nightsky’s LED volume can be configured to any specification, either on- or off-site, from smaller setups to as big as a 30 m by 5 m “in vision” curved volume with full tracking capabilities and infrastructure. “One of our latest productions, ‘Outlander: Blood of My Blood’, went from a 2 m by 2 m to a 12 m by 3 m and, most recently, we did a 20 m by 4 m with the screens fully in camera”, says Bentley.
The team’s background in live events means building large-format video walls is second nature to them. They say they understand the cost implications of giant volumes, working closely with productions to minimise the amount of screen needed to achieve their client’s goals. This involves pre-visualisation to ensure the director’s and DP’s camera angles and stylistic choices are captured. Whether that is 2D, 2.5D, or fully virtual, they build the wall to match the production’s needs rather than forcing the client to adapt to a pre-existing setup.
Highlighting Nightsky’s continued commitment to delivering live events, the company has acquired 250 sqm of ROE Vanish Air Outdoor, driven by the Tessera platform, further expanding their product portfolio.
(Photos: Brompton Technology/Nightsky Studios/PaulM/Sony)
Marshall cameras used for equestrian competition broadcasts on CBS Sports Network
Tyrell Corporation, specialists in live sports and entertainment broadcasts, was tasked with delivering broadcast coverage of premier equestrian events, including the FEI World Cup Finals, which were held in Fort Worth, Texas, and were broadcast to over ninety countries, including in the U.S. for CBS Sports Network. To capture the horse jumping and horse dressage competitions, the company selected Marshall Electronics CV504 Micro POV and CV730 PTZ camera systems.
“We’re working in fast-paced, unpredictable environments where cameras are often placed in challenging or even precarious positions”, notes Marc Genin, Head of Production for Tyrell Corporation. His team deploys the waterproof, all-weather variant of the Marshall CV504 Micro POV camera directly within the course, embedding the solution near jumps to capture low-angle shots of horses clearing obstacles. In some cases, cameras are positioned just inches from impact zones or placed in water jumps, where splashes and debris are part of the shot.
“We can point cameras upward to see a horse soar overhead or place them at landing points to capture the power and impact”, explains Genin. “With the waterproof capabilities, we are able to put cameras directly in water obstacles, something that adds a new dimension to the broadcast.”
In addition to the POV cameras, Tyrell Corporation utilizes the Marshall CV730 PTZ camera for dynamic coverage of interview and reaction areas, commonly referred to as the “kiss and cry” zone. These areas require flexible framing as athletes and coaches move unpredictably during competition. Connected via fiber for long-distance signal transmission, the PTZ camera allows operators to pan, tilt and zoom remotely, ensuring consistent framing without the need for repositioning fixed cameras.
Unlike traditional sports broadcasts, equestrian events present unique logistical challenges. Courses are redesigned frequently, leaving little time for setup. “We don’t get to see the course until we arrive, and it changes constantly”, says Genin. “We can’t run cables across the ground, so we rely heavily on RF and compact camera systems. Marshall Electronics integrates seamlessly into our workflow.”
The production reaches a global audience, with distribution spanning dozens of international broadcasters. Coverage of the FEI World Cup Finals alone is delivered to nearly half the world’s countries.
(Photos: Marshall Electronics)
Christie projection helps transport guests in narrative-driven experience Atlas9
Christie’s projection technology is part of Atlas9, a new upscale immersive art experience in Kansas City, Kansas. Conceived, designed, and integrated by experience design firm Dimensional Innovations (DI), Atlas9 elevates the idea of an experiential environment by leveraging DI’s decades of experience working with some of the biggest names in entertainment.
Atlas9 is set inside a fictitious 1990s cinema, with interactive rooms and advanced gamification. Guests enter the 46,000-square-foot “theatre” to discover that, as a result of a projection experiment gone awry, stories from within film reels have come alive. Guests investigate the events and anomalies in the theatre, exploring the rooms and corridors as the narrative unfolds.
The catalyst for this experience came from DI’s CEO, Tucker Trotter, and brought DI and its sister company, DI Build, together with partners including Infinity Sign System, Swell Spark, Perspective Architecture + Design, and Homefield to showcase the company’s capabilities. The inspiration for the project stems from DI’s roots in movie theatre design and fabrication.
DI engaged Christie early in the project timeline for Atlas9, working closely with Paul Dumpel, Christie senior sales manager, and the Christie team to bring the project’s design intent to life. DI selected Christie projection technology in two rooms at Atlas9, including Auditorium #9, a 240-seat immersive theatre with audience-triggered on-screen moments controlled by four “best seats in the house”.
“Guests interact in real time with the content that is on screen”, explains John Coovert, solutions engineer manager, DI. “Some of the seats allow you to play Pong, and another seat allows you to do some fun rendering on the screen via a joystick in the top of a cup that’s in the cup holder.” Five 4K22-HS Series laser projectors are used in Auditorium #9, paired with Christie Mystique for automated alignment on a highly bespoke screen, creating a system dubbed “Holomax” within the Atlas9 storyline.
The second room, the Headshot Remixer, stylizes visitors into frame black-and-white Hollywood-style headshots. “We capture your photo when you come into Atlas9, and when you go into the headshot remixer, it’s a kind of ‘cinematic anomaly’ that occurs in there. It shows your face projected onto the wall, and then it starts to remix your face with the previous three, four, or five people who have gone through the space previously”, says Coovert. Two Christie 4K1600-JS projectors with ultra short throw lenses power the experience.
(Photos: Christie Digital Systems)
Datapath technology delivers mission-critical visualisation at ONGC
The Oil and Natural Gas Corporation Limited (ONGC) is India’s premier producer of crude oil and natural gas. Headquartered in New Delhi and operating as a Maharatna enterprise, the organisation manages a vast network of onshore and offshore assets that are vital to the country’s domestic energy output. To maintain this critical infrastructure, ONGC took the strategic decision to establish a centralised, 24/7 Production Operations Control Centre (POCC) at IPEOT, Panvel.
The primary challenge was to create an environment that enabled faster, more accurate decision-making by bringing together complex production dashboards, live operational video, and multi-departmental collaboration into a single, cohesive view. The solution needed to deliver high-impact visualisation for complete situational awareness, while remaining intuitive for day-to-day use and scalable to meet future operational requirements.
To support the creation of the new Production Operations Control Centre, ONGC selected Datapath as its video wall and operator KVM technology partner. At the core of the POCC is a Datapath-powered interactive LED video wall that combines visualisation with secure KVM workflows. This enables operators to access and control multiple workstations and live sources directly from the wall through an intuitive user interface.
Using Datapath’s multi-source visualisation capabilities, teams can view Scada and production dashboards, operator PCs, IP camera feeds, and web-based applications side-by-side without disrupting the primary operational view. Integrated KVM control allows operators to switch seamlessly between sources for troubleshooting and decision support, while multi-touch and multi-user interaction enables collaborative working during shift briefings, incident response, and executive reviews.
Designed for enterprise control room environments, the Datapath-T1V platform supports on-premises deployment, secure workflows, and integration with unified communications systems. This ensures operational visibility can be extended beyond the main control room to adjacent spaces and remote participants, while maintaining control-room-grade performance.
“The POCC is designed to support demanding, round-the-clock operations, where teams need instant access to complex information and the ability to collaborate without friction”, says Andy Lee, Senior Business Development Manager at Datapath. “Our role was to provide a secure, high-performance visualisation and KVM platform that enables ONGC’s teams to work with confidence, both today and as operational requirements evolve.”
Ranbir Singh, Director at Pan Intellecom Ltd., adds: “Our focus was reliability, simplicity and a platform that the end user can operate with ease and without much technical knowledge. Datapath helped us achieve this through their Aetria touch panel which provides a quick, responsive and seamless KVM control.”
(Photos: Datapath Ltd)
Christie laser projectors illuminate new immersive water show honouring Song Dynasty poet Lu You
Christie laser projectors are illuminating a new immersive water show celebrating the 900th birth anniversary of Southern Song Dynasty poet Lu You. Staged at the Lu You Hometown Scenic Area in Shaoxing, Zhejiang, China, the spectacle features close to twenty Christie Griffyn Series, M 4K RGB Series, and HS Series laser projectors.
Titled “The Wonders of Lu You”, the show officially opened to the public on February 17, 2026, coinciding with the first day of the Lunar New Year. The Lu You Hometown Scenic Area designed a guided route that leads visitors from Lu You Museum, through the water stage, and finally to Lu You’s former residence. After dark, the historic site transforms into a dreamlike canvas of light, water, and live performances centred on storytelling.
Christie’s authorized distributor, Shanghai Qingying Digital Technology (SQDT), provided end-to-end project support, from early-stage spatial surveys and equipment selection to complex multi-projector installations across performance venues and building facades. These initiatives ensured a continuous visual narrative as audiences moved between the memorial hall, water stage, and former residence of the poet.
“Christie’s product portfolio, spanning RGB pure laser and laser phosphor illumination technologies, has met the creative team’s requirements for realizing this large-scale spectacle”, comments Yueyi Wu, general manager, SQDT. “Together, these visual solutions deliver a seamless, emotionally engaging experience that resonates with visitors of all ages.”
SQDT provided a customized projection solution featuring a range of illumination options designed for the site’s outdoor environment. Multiple Christie Griffyn 4K50-RGB pure laser projectors, each delivering 50,000 lumens, were deployed at the main water stage to recreate battle scenes and capture the details of Song Dynasty architecture.
Complementing the main stage, more than a dozen DWU23-HS and DWU15-HS laser projectors were installed across distributed performance areas to enable flexible installations for corridor-based interactive projections and for reconstructing scenes from Lu You’s former residence.
SQDT also deployed Christie Conductor, an advanced monitoring and control software, for the Griffyn 4K50-RGB and M 4K+25 RGB projectors to enable stable 24/7 operation, supporting the high visitor traffic and operational demands of the scenic area.
(Photos: Shanghai Qingying Digital Technology)
VuWall und MVP Tech statten Sicherheitskontrollraum des Burj Khalifa aus
Der 828 Meter über Downtown Dubai aufragende Burj Khalifa ist mehr als eine architektonische Ikone - er ist eine vertikale Stadt. Der von Emaar Properties entwickelte und betriebene Turm benötigt eine Sicherheitsinfrastruktur, die in der Lage ist, in Echtzeit zu überwachen, zu koordinieren und zu reagieren - 24 Stunden am Tag, 365 Tage im Jahr.
Mit etwa 47.000 Besuchern täglich operiert der Burj Khalifa in einem Maßstab, bei dem Sicherheit, betriebliche Kontinuität und schnelle Reaktion auf Vorfälle oberste Priorität haben. Als vertikale Stadt mit gemischter Nutzung, Aussichtsplattformen, Firmenbüros, Gastgewerbebieten und Wohnräumen erfordert der Turm eine zentrale Übersicht über mehrere Systeme und Datenquellen.
Die Eigentümer des Gebäudes wünschten eine skalierbare Sicherheitsleitstellenlösung, die Videoüberwachung, operative Intelligenz und die Überwachung kritischer Infrastrukturen auf einer einzigen Plattform vereint. VuWall stellte in Kooperation mit MVP Tech/Convergint eine fortschrittliche Videowall-Managementlösung für den Sicherheitskontrollraum des Burj Khalifa bereit.
Im Mittelpunkt des Systems steht VuWalls TRx-Videowand-Verwaltungssoftware, die es den Betreibern ermöglicht, Informationen zu visualisieren, zu steuern und im Kontrollraum zu verteilen. Die eingesetzte Lösung umfasst auch VuWall-Anwendungsserver zur sicheren Freigabe und Steuerung von Webseiten, Dashboards, RDP-Sitzungen und Dateien, Pak-40-Videowand und KVM-Knoten sowie VuStream-150-AV-over-IP-Encoder für die IP-basierte Signalverteilung.
Da Emaar Milestone Systems’ XProtect verwendet, profitieren sie vom VuWall-Milestone-Plugin in TRx. So wird die nahtlose Integration mit dem VMS für die Videowall-Steuerung über eine einzige Benutzeroberfläche ermöglicht. Diese Architektur bietet den Bedienern schnellen Zugriff auf Live- und aufgezeichnete Videos, operative Dashboards und kritische Daten, alles verwaltet von einer einzigen Plattform.
Das Ergebnis ist eine zentralisierte, interoperable Plattform, die den Betrieb vereinfacht und gleichzeitig die Sichtbarkeit und Kontrolle erhöht. Ergänzend zu VuWalls Technologie ist der Raum mit LED-Videowalls von Absen und ergonomischen technischen Möbeln von CTF Consoles ausgestattet. Die skalierbare Architektur soll sicherstellen, dass das System mit den zukünftigen Anforderungen des Gebäudes wachsen kann.
(Fotos: MVP Tech/VuWall)
Smode enables video control and live management on recent Theodora tour
When French-Congolese singer Theodora took her “Free Kitty” tour to twelve arenas across France and Belgium in spring 2026, it marked her first large-scale production. The tour sold out multiple dates and drew on a highly theatrical visual concept built around a pink house set in which video screens formed the walls, surfaces and centrepiece of every scene.
Managing the video system for the entire run was Célestin Soum, founder of Saturn Studio, who operated Smode in a dual capacity that had him running media server output and live directing the show simultaneously. Soum was brought into the project by Jordan Magnée, the Belgian stage, video and light designer responsible for the overall visual concept of the tour; the two had worked together on a production for French rapper Ninho.
Content for the “Free Kitty” show was created by Mathematic Studio, with Laetitia Le Gall coordinating between Soum and the graphic artists producing the visual assets. The rig centred on a cohesive suite of LED panels (courtesy of Alabama Média), designed to ensure visual uniformity across the set. “Since all the elements were placed directly adjacent to one another, it was essential to minimise any variation between surfaces”, states Soum.
At the centre of the stage, the LED tower comprised a single back LED screen measuring 6.5 m high x 3.5 m wide, which was motorised to allow set dressing to pass through. The tower was flanked by four curved LED screens, each measuring 2.5 m x 2.5 m. The assembly was topped by a 10 m long by 1 m high half-ring LED screen. To either side of the central tower stood two further LED structures recreating shops, each made of a 5 m x 2.5 m front screen with two further side LED screens topped by 5 m long x 1 m high LED strips.
Completing the visual setup was an IMAG LED screen (5.5 x 3.5 m), positioned to the rear left of the stage, visually echoing the look of an urban advertising billboard. All LED panels, together with two X-Real media server bays running Smode, were supplied by Alabama Média (Groupe Novelty). Smode handled the primary output to all LED screens and simultaneously served as a show viewer for Soum’s live direction role. Two confidence feeds, which were distributed across approximately ten screens positioned around the stage and in backstage areas, gave Soum real-time information on the state of the show as it unfolded.
“This proved invaluable for keeping track of real-time information during shows that ran over two hours, including the next track, the positions of the various performers, the timecode, and the return feeds from the nine cameras available in the video mixer”, notes Soum. A source switch built into Smode managed what information appeared on each screen. An NDI feed was also distributed across the network to the lighting department, allowing them to pixel-map the media content into their lighting rig in real time.
Rather than importing pre-finished content, Soum assembled and edited all media within Smode itself. “This approach offers complete flexibility, as it’s common for the music, structure and musical sequences to evolve throughout the residency and tour”, he says. “As a result, I value being able to rework the media build at any point.” When one song was performed a cappella, Soum was able to simplify the corresponding video edit on the fly without requesting new content from Mathematic Studio.
BPM synchronisation across the show was handled using Smode’s tempo tool, which locked the video loops to the tempo of each track. “I make frequent use of that tool to sync the various media elements, typically video loops, to the BPM of each track”, says Soum. Working to a shared methodology with Mathematic Studio, all video content was produced in durations of four, eight or sixteen seconds. At the correct BPM, each second aligned with one musical beat, allowing the visual structure to follow the arrangement of every track precisely. Soum spent significant time during the tour refining the colour treatment applied to the live camera feeds, working with a set of cinematic LUTs developed in collaboration with a cinema colourist.
One of the most technically involved elements of the production was the creation of the house scenography visuals. To ensure the set appeared as realistically lit and spatially coherent as possible in the video content, Soum built a full 3D model of the scenography from the manufacturer’s technical drawings. After, Mathematic Studio’s graphic artists rendered the content from each of the camera positions placed in the scene, producing four separate render files per pass. Then, a dedicated Smode project was developed to recompose those renders as 2D video via a content map and 3D mapper. The process, coordinated by Le Gall, allowed the house to take on a distinct visual identity for each song in the show.
“Given that the set is built around video screens, video was essential to making this whole production pop”, says Soum. “Although the shape of the scenography and screens takes the form of a house, a great deal of work went into the media to translate that house into a distinct visual for each song. It was hugely important, so much so that there isn’t a single track on the show where the screens are off.” The entire rig was driven by a single Smode instance running on a machine fitted with an Nvidia RTX A6000 ADA graphics card with 48 GB of VRAM, backed by a spare instance, handling the full show from LED output to confidence feeds to NDI distribution.
With the tour dates complete, Theodora and Smode continue to bring the production’s energy elsewhere. Theodora opened the 2026 Cannes Film Festival alongside Oklou, performing a Beatles cover with Smode used as the media server for the ceremony. Now, with the festival circuit just around the corner, Soum concludes: “I’m looking forward to hitting festivals with this project. It’ll be a great adventure to face those new challenges with the new setup.”
The “Free Kitty” tour was produced by AEG Presents, with Thibaut Jamin being the Technical Director. Alongside Célestin Soum, the Video & LED team comprised Gaspard Jacquin (Media Server Operator in rehearsal), Simon Tanner (LED Chief Technician), Sofiane Mezine (Camera Chief Equipment), Loris Cudey (LED Technician), Antonin Briand and Isabel Cortes (Video Technicians).
(Photos: Carmen Cartier/Liesel/Célestin Soum)
MSC Cruises optimiert Kontrollraum mit VuWall TRx
MSC Cruise Management UK, Teil der Kreuzfahrtgesellschaft MSC Cruises, betreibt in Uxbridge ein Kontrollzentrum, das rund um die Uhr die Sicherheit und Koordination der weltweiten Flotte gewährleisten soll. Mit der Ausweitung des Betriebs wurde der bestehende Kontrollraum den wachsenden Anforderungen von MSC an Effizienz und Entscheidungsfindung in Echtzeit nicht mehr gerecht.
Das Kontrollraumteam war durch eine fragmentierte Einrichtung eingeschränkt, die mehrere Computer für den Zugriff auf verschiedene Systeme erforderte, was die Effizienz und Reaktionsfähigkeit einschränkte. Die Mitarbeiter waren nicht in der Lage, mehrere Dashboards gleichzeitig einzusehen oder schnell zwischen den Inhaltsquellen zu wechseln. Auch die Zusammenarbeit mit anderen Abteilungen und Außenstellen wurde durch die fehlende standortübergreifende Integration beeinträchtigt.
Um die betriebliche Effizienz zu steigern, benötigte MSC Cruise Management eine flexiblere und skalierbare Lösung, die die Verwaltung von Inhalten rationalisiert, die Kommunikation in Echtzeit verbessert und die Flotte von 25 Schiffen, die weltweit im Einsatz sind, durch den Einsatz fortschrittlicher Technologien weiter unterstützt.
Um die Verwaltung der Inhalte zu vereinfachen und die Sichtbarkeit zu verbessern, schloss MSC Cruise Management eine Partnerschaft mit dem AV-Integrator Cinos, um eine Lösung zu implementieren, die auf der zentralen Verwaltungsplattform TRx von VuWall basiert. Das System ermöglicht die zentrale Steuerung aller Videowandinhalte und umfasst VuStream-Encoder für das Streaming von Desktop-Inhalten direkt auf die Videowand.
Über das ControlVu-Touchpanel können per Tastendruck benutzerdefinierte Anzeigelayouts und Voreinstellungen ausgewählt sowie Video, Audio und Beleuchtung verwaltet werden. Der VuWall Application Server ermöglicht den zentralen Zugriff auf Webbrowser, so dass nicht mehr mehrere PCs erforderlich sind.
Die Lösung lässt sich nahtlos in die bestehenden Samsung-LED-Displays von MSC Cruise Management integrieren und ermöglicht die gemeinsame Nutzung von Inhalten in mehreren Räumen, einschließlich des Büros des Präsidenten und des Kommunikationsbüros, was eine direkte Interaktion mit dem Kontrollraum ermöglicht. Das gesamte Projekt wurde binnen vier Monaten bei laufendem Betrieb abgeschlossen.
MSC Cruises plant, das System auf die Niederlassung in Genf auszuweiten, um die gemeinsame Nutzung von Inhalten und die Zusammenarbeit zwischen den Standorten zu ermöglichen und die betriebliche Effizienz auf globaler Ebene zu optimieren.
(Fotos: MSC Cruises/VuWall)
Broadcast Solutions liefert neue UHD-Ü-Wagenflotte an türkischen Broadcaster TRT
Broadcast Solutions liefert derzeit einen Auftrag aus, der die Produktion von acht Übertragungsfahrzeugen (Ü-Wagen) für die türkische öffentlich-rechtliche Rundfunkanstalt TRT beinhaltet. Das Projekt umfasst zwei große Ü-Wagen-Trailer sowie sechs Ü-Wagen-LKW und ist der bislang größte Einzelauftrag für Übertragungswagen in der Unternehmensgeschichte von Broadcast Solutions.
TRT ist sowohl Content-Produzent als auch Sender und verfügt traditionell über eine umfangreiche Flotte an Übertragungswagen. Im Hinblick auf anstehende Großereignisse - darunter europäische Fußballwettbewerbe sowie ein NATO-Gipfel in Ankara im Juli 2026 - entschied sich TRT für eine umfassende Modernisierung seiner Produktionsfahrzeuge.
Die beiden Trailer-Einheiten sind für den Einsatz von bis zu 23 UHD-Kameras ausgelegt, einschließlich Slow-Motion- und Ultra-Slow-Motion-Systemen. Die sechs LKW-basierten Fahrzeuge unterstützen jeweils bis zu zwölf UHD-Kameras. TRT vollzieht derzeit eine strategische Transformation von SDI- zu IP-basierter Signalverarbeitung in allen technischen Bereichen. Deshalb wurden die neuen Fahrzeuge von Grund auf als hybride Systeme konzipiert, die sowohl mit 12G-SDI als auch IP arbeiten.
Der Vertrag wurde im September 2024 unterzeichnet, die Auslieferung aller acht Fahrzeuge erfolgt innerhalb von zwei Jahren. Die erste und technisch anspruchsvollste Trailer-Einheit wurde nach acht Monaten in Betrieb genommen. Inzwischen ist der erste Teil der Flotte täglich im Einsatz und produziert Programm-Inhalte in den Bereichen Sport, Unterhaltung und Events.
(Foto: Broadcast Solutions)
Indoor golf experiences at Pitch Dublin powered by Panasonic projection
Panasonic 6,000-lumen laser LCD projectors power a flexible visual platform at Pitch Dublin, supporting immersive golf simulation, live sports, and corporate events in a dynamic hospitality environment.
With ten TrackMan-powered golf bays, a full-service bar, and a steady flow of corporate and social bookings, Pitch Dublin, located on Dublin’s Dawson Street, has established itself as a destination for both seasoned golfers and complete beginners. At the heart of this experience is an integrated technology ecosystem, in which projection plays a central role.
“This business is a tech business”, says Christopher Best, CEO of Pitch Ireland. “It’s a hospitality business, but it’s driven by good tech. If you come here, you’re expecting a ten-out-of-ten experience on the technology.” The venue, located in a basement space beneath one of the city’s busiest streets, presented a series of structural and technical challenges. “When we first came in, it was essentially a blank space”, says Martin Kelly, Director at MKS Tec. “We had to work from architectural plans to design the layout of each bay, the positioning of the equipment, and the overall system.”
One of the most significant challenges was the lack of traditional ceiling structures. Instead of solid mounting surfaces, the installation team had to work around acoustic panels and open infrastructure, requiring creative solutions for both projector placement and TrackMan mounting. “We couldn’t form ceilings in the bays, so it was really about figuring out where to put everything and how to mount it securely”, says Kelly. “At the same time, we were dealing with a lot of cabling and integration, because this isn’t just a golf venue - it’s also showing live sports and hosting events.”
Each bay needed to support not only golf simulation but also broadcast content, requiring seamless integration between projection, computing, and AV systems. The result is a multi-functional environment capable of switching between use cases throughout the day. At the core of each bay is TrackMan’s IO system, which captures detailed ball and club data and feeds it into computers. The visual output - whether a virtual golf course, interactive game, or live sports broadcast - is delivered via Panasonic laser projectors.
(Photos: Panasonic)
Drift drone show supports opening of David Geffen Galleries at LACMA
Drift presented their “Franchise Freedom” drone performance to celebrate the opening of the new David Geffen Galleries at the Los Angeles County Museum of Art (LACMA).
For the opening gala, Drift flew 1,000 illuminated drones as a single evolving system, inspired by more than two decades of research into starling murmurations. In the sky above Los Angeles, the swarm formed shifting constellations that never repeated, creating a continuously changing composition.
The work reflects a shared idea between Drift’s practice and the architecture of the David Geffen Galleries: a rejection of hierarchy. In Zumthor’s design, art is experienced across a continuous horizontal space where no work is placed above another. In the sky, “Franchise Freedom” follows a similar principle - no single drone leads, and meaning emerges from the collective.
First developed in collaboration with Intel in 2017, “Franchise Freedom” reimagines drone technology as a medium for connection rather than control. At LACMA, the performance extended this idea into the city itself, activating the sky as a shared, responsive field. Together, the building and the performance proposed a space shaped through relation rather than hierarchy.
(Photos: Drift/Pablo Garcia)
Hippotizer-driven projection at Nobel Prize Banquet
Green Hippo’s Hippotizer Media Servers were once again at the core of the annual Nobel Prize banquet at Stockholm’s City Hall, delivering 4K projections across the venue’s walls and ceiling for an audience that included Swedish royalty.
Hosted in the Blue Hall and attended by Nobel Laureates, King Carl XVI Gustaf and Queen Silvia, and broadcast live on Swedish television, the event is one of the world’s most carefully choreographed ceremonial productions. For more than a decade, projection and video elements at the banquet have been driven by Hippotizer Media Servers, with Swedish visual specialist Peppe Tannemyr of DigiGobos leading video design and programming.
For the latest banquet, Tannemyr deployed a projection system built around Hippotizer Boreal+ MK2 and Hippotizer Montane+ MK2 Media Servers, configured as primary and backup systems. Two double-stacked 4K projectors delivered 4K content at fifty frames per second directly onto the building’s textured brick surfaces, while the hall’s bright ceiling effectively served as a giant projection canvas.
Given the scale and prestige of the Nobel banquet, reliability is critical. The production runs live for a global television audience and must operate flawlessly. “One server runs as the main system and the other as backup”, Tannemyr explains. “We can switch between them instantly if something happens.”
Control was intentionally streamlined, using Stream Deck interfaces and MIDI controllers including Akai units, with timecode triggers from the music used when required. Among the key features used during programming were Hippotizer’s LiveMask tools, allowing content to be shaped dynamically to the venue’s architecture. Effects such as color adjustments and blur processing were also used to refine the visual tone.
Additional lighting and video elements complemented the projections. Pixel-mapped LED bars were hidden within the banquet tables beneath floral arrangements, creating subtle twinkling effects across the dining space, while smaller projectors positioned in windows extended the visual atmosphere throughout the hall.
Tannemyr’s involvement with the Nobel festivities stems from a long-running collaboration with lighting designer Per Sundin, who has shaped the lighting design for the banquet for many years. “For several years I’ve been working with Per on a variety of productions - from Eurovision projects to dramatic theater productions”, says Tannemyr. “When it comes to the Nobel events, he has always relied on us for the video side.”
That collaboration first introduced Hippotizer Media Servers to the event in 2007, and the platform has been a mainstay of the production ever since. The visual concept for the Nobel Banquet evolves each year. Recently, the production has incorporated a rotating guest designer responsible for the creative direction of the evening’s performance sequences.
For the latest event, Swedish visual artist Alexander Wessely developed the artistic concept for the performances. “In the past, Per and I designed the entire visual package together”, says Tannemyr. “Now we help realize the guest designer’s ideas - planning what’s needed from a video perspective, selecting the equipment, and making sure those creative concepts work within the space.”
Tannemyr recalls one particularly memorable moment from previous productions when projection-mapped “fireworks” exploded across the hall’s ceiling: “Obviously you can’t use real fireworks at a formal dinner with the King, Queen, and Nobel Laureates. But using Hippotizer, we were able to create the illusion with projection.”
(Photos: Nanaka Adachi/Green Hippo/Clément Morin/Anna Svanberg)
Infiled realisiert neues Studio für Live-Lotterieziehungen von BBC Studioworks
BBC Studioworks, der kommerzielle Studio- und Postproduktionsbereich der BBC, hat seinen Standort Television Centre in London mit zwei LED-Wänden der Infiled-DBmk2-Serie ausgestattet. Die neuen Displays bilden die zentrale Kulisse für das eigens eingerichtete Studio der Live-Ziehungen der National Lottery, die an sechs Abenden pro Woche im Vereinigten Königreich ausgestrahlt werden.
Als Allwyn, Betreiber der National Lottery, auf der Suche nach einem neuen Produktionsstandort für die Live-Ziehungen war, schlug BBC Studioworks ein neu konzipiertes Studio im Television Centre vor. Im Mittelpunkt der Installation stehen zwei DBmk2-LED-Wände mit einer Größe von jeweils 5 x 3 Metern und einem Pixelabstand von 1,95 mm, die in einem 90-Grad-Winkel zueinander angeordnet sind. Diese Konfiguration ermöglicht es, das Studio-Setup in Echtzeit anzupassen und unterschiedliche visuelle Konzepte für verschiedene Lotteriespiele innerhalb eines einzigen Raums umzusetzen.
Die Anforderungen von Allwyn sahen eine dynamische, einfach aktualisierbare Studiokulisse vor, die mehrere Spielformate mit jeweils eigenständiger visueller Identität unterstützt. Gleichzeitig musste das System bei sechs Live-Ausstrahlungen pro Woche zuverlässig arbeiten. Darüber hinaus sollte das Studiodesign den Fokus auf das zentrale Element der Produktion richten: die Ziehungsmaschine. Als visuelles Herzstück der Sendung musste diese optimal in Szene gesetzt werden, ohne durch die umgebenden Inhalte überlagert zu werden.
Ein wesentlicher Aspekt der Umsetzung war die Vermeidung von Moiré-Effekten und visuellen Interferenzen. Durch den Einsatz eines Pixelpitch von 1,95 mm in Kombination mit einer abgestimmten Kameratiefenschärfe sowie optischen Filtern konnte sichergestellt werden, dass keine Störungen zwischen LED-Struktur und Kamerasensoren auftreten. Die integrierte CBSF-Technologie (Color and Brightness Shift Free) der DBmk2-Serie sorgt für eine stabile Farb- und Helligkeitswiedergabe über einen Betrachtungswinkel von 160°.
Vor der finalen Entscheidung für Infiled DBmk2 führte BBC Studioworks Tests durch, um die Performance der Displays unter realen Produktionsbedingungen zu evaluieren. „Wir waren sehr zufrieden mit dem Demo-Panel, das uns von Infiled zur Verfügung gestellt wurde“, sagt Tim Wood, Head of Television Centre bei BBC Studioworks. „So konnten wir die Screens mit unseren eigenen Kameras testen und sicherstellen, dass wir die gewünschte Bildwirkung erzielen.“
(Fotos: BBC Studioworks)
Kramer AV ecosystem powers hybrid governance at Mid Ulster District Council
Mid Ulster District Council in Magherafelt, Northern Ireland, has modernised its council chamber and five associated meeting rooms with a fully integrated Kramer AV ecosystem designed to support modern governance, hybrid participation and streamlined system management via Kramer’s next-gen Panta Rhei platform.
The council’s previous chamber conference system had become outdated and unreliable, even prone to failures during critical meetings. It also lacked the ability to support modern hybrid or remote participation formats that have become increasingly important across public sector organisations.
To add to previous issues, the legacy infrastructure required manual reconfiguration for each meeting type significantly increasing staff workload. Following guidance from the Northern Ireland government encouraging digital accessibility and improved remote capabilities across the public sector, the council recognized the need for a comprehensive technology upgrade.
The challenge was to modernise the council’s meeting infrastructure while preserving the integrity of traditional in-chamber proceedings. The system also needed to accommodate architectural and heritage constraints within the chamber while supporting professional-quality streaming, recording and secure remote participation. To deliver the project, Mid Ulster District Council partnered with system integrator Rea Sound, with a requirement to complete the entire installation within a 90-day timeline driven by council scheduling commitments.
Central among the Council’s needs was the ability to support traditional, hybrid and fully remote meetings with a single-touch setup process that eliminated manual system configuration. Ensuring inclusive participation was equally important. Councillors attending remotely needed to retain the same speaking and voting rights as those physically present in the chamber, enabling the council to preserve full democratic function regardless of meeting format.
At the core of the installation is a Kramer control system, centered around a custom-programmed Kramer KT-2010 touch panel that acts as the operational command centre for the entire AV environment. Working closely with the council, Rea Sound developed bespoke control programming that unifies multiple technologies into an intuitive interface. The system integrates a Bosch wireless conference system, Allen & Heath digital matrix audio, Panasonic and Samsung displays, LED lighting and Kramer’s AVoIP distribution platform into one cohesive environment.
With a single touch on the control panel, staff can now select the desired meeting format - traditional, hybrid or fully online. The system automatically configures all required technologies, activating cameras, routing audio, adjusting display settings and controlling lighting without the need for specialist technical knowledge.
Video distribution throughout the facility is handled by Kramer AVoIP encoders and decoders, including the KDS-17 and KDS-100, which provide network-based signal routing. The IP-based architecture ensures video delivery to displays within the chamber while simultaneously supporting streaming and recording for remote participants.
To provide enterprise-level management, the installation also incorporates Kramer’s Panta Rhei AV ecosystem platform. Working alongside Kramer control, Panta Rhei’s Session Manager enables unified meeting initiation, content management, third-party application launching and wireless presentation. The platform provides secure access to collaboration tools and conferencing environments, ensuring meeting spaces can support video conferencing and hybrid workflows.
Panta Rhei provides advanced infrastructure oversight and remote system management. IT teams can monitor device status, system health and performance in real time through a centralised interface, allowing potential issues to be identified and resolved before they affect meetings.
Beyond the main chamber, five additional meeting rooms were upgraded with hybrid meeting capabilities and integrated into the same Panta Rhei ecosystem. Staff training was simplified through the deployment of a consistent user interface across all spaces, enabling users to operate any room without learning different systems.
In recognition of their innovative approach at streamlining a complex AV support brief with Mid Ulster Council, Rea Sound was awarded “Public Sector Project of the Year” at the UK AV Awards.
(Photo: Kramer)
Infiled powers Finland’s Eurovision national selection
Uuden Musiikin Kilpailu (UMK) is Finland’s national selection competition for the Eurovision Song Contest. It returned for its fifteenth edition in 2026, broadcast live from the Nokia Arena in Tampere by YLE, the Finnish Broadcasting Company. The 2026 show drew an average of 1.8 million viewers, making it the most-watched edition of UMK since the competition launched in 2012. Linda Lampenius and Pete Parkkonen ultimately claimed Finland’s Eurovision spot with their song “Liekinheitin”.
At the centre of the visual production were two Infiled LED screen systems, together forming one of the most technically ambitious setups in the competition’s history. Technical delivery was handled by Akun Tehdas Oy, a Finnish AV production company and one of the country’s most experienced providers of large-scale events and television productions. Selected through a competitive process, the company was responsible for the full video infrastructure of the broadcast. Pasi Ristolainen served as head of video on the project, overseeing a team of on-site technicians.
The Infiled installation consisted of two distinct systems. A 21 x 7 metre ARmk2 Series LED screen formed the main back wall of the stage, providing a high-resolution backdrop for all seven competing acts. Alongside it, an AMT Series transparent LED cube with a 12 x 6-metre front face and 9 x 6-metre side panels served as the show’s defining structural element. Together, the two LED displays created a flexible visual architecture capable of supporting the distinct look and feel each act required.
“Installing the back screens was pretty straightforward, but the cube was more complicated”, reports Pasi Ristolainen, head of video at Akun Tehdas Oy. “Moving decorative elements and lights hung inside the cube made things a little trickier. Things were moving up and down during the show, and there were only a few centimetres of space between moving items. Everything had to be precise. There wasn’t any room for errors.”
The AMT Series’ 70-percent transparency was central to the production’s most striking creative choices. During the show, the cube was lowered onto the stage surface while cameras shot from inside the structure outwards, turning the screen itself into a framing device for the performance. Visual content was created by Ari Levelä of Mobb Helsinki Oy. “His team created a simple, yet stylish look”, says Ristolainen. “The Infiled screens gave us great image quality and colour reproduction. The black panels made images really pop.”
(Photos: Akun Tehdas)
Infiled-LED-Wände in Stadion von Le Mans installiert
Im Stade Marie-Marvingt, einem Stadion mit 25.000 Plätzen im Zentrum von Le Mans, Frankreich, finden jährlich mehr als 100 Veranstaltungen statt, von Fußball- und Rugbyspielen bis hin zu Konzerten. Als die bestehenden LED-Anzeigen des Stadions den gestiegenen Anforderungen nicht mehr gerecht wurden, beauftragte das Management den französischen Integrator Auvisys mit der Planung und Umsetzung einer modernen Ersatzlösung. Installiert wurden zwei LED-Wände der MV-Serie von Infiled.
Die Anforderungen waren klar definiert: Die vorhandenen Screens sollten durch eine hellere, dynamischere LED-Technologie ersetzt werden. Die neuen Displays sollten die Aufmerksamkeit der Zuschauer steigern und das Erlebnis bei unterschiedlichsten Veranstaltungen unterstützen - von Live-Sportübertragungen über Wiederholungen bis hin zu Konzertvisuals. Zudem war eine konstante Performance unter sämtlichen Lichtbedingungen gefordert, etwa bei direkter Sonneneinstrahlung am Tag oder unter Flutlicht am Abend.
Bereits vor der Auswahl der neuen Technik stand Auvisys vor einer grundlegenden Herausforderung: Die Halterungskonstruktionen der bestehenden Screens waren im Laufe der Zeit korrodiert und mussten instandgesetzt werden. Die vorhandenen Strukturen wurden sandgestrahlt, neu lackiert und angepasst.
Dass die Panels der Infiled-MV-Serie deutlich leichter sind als die zuvor installierten Systeme, vereinfachte diesen Prozess: „Wir konnten die vorhandenen Halterungen weiter nutzen, anstatt sie vollständig zu ersetzen“, erklärt Christophe Vallée, Geschäftsführer von Auvisys. „Das war eine pragmatische Lösung, die uns geholfen hat, den Projektzeitplan einzuhalten.“
Jede der beiden Infiled-LED-Wände misst 9 x 5 Meter und erreicht eine Helligkeit von 8.000 Nits. Das System basiert auf einer Aluminium-Profilrahmenkonstruktion, die schlanker und leichter ist als klassische Druckguss- oder Blechgehäuse. Gleichzeitig erfüllt sie die Schutzklasse IP65 auf Vorder- und Rückseite und bietet damit zuverlässigen Schutz gegen Staub, Feuchtigkeit, UV-Strahlung sowie Temperaturschwankungen.
Die Module der MV-Serie sind austauschbar, was Servicearbeiten vereinfachen und sowohl Ausfallzeiten als auch Betriebskosten reduzieren soll. Zudem bietet die Aluminiumrahmenkonstruktion eine höhere Robustheit im Vergleich zu herkömmlichen Magnesiumlösungen und ist besser gegen Vibrationen geschützt.
(Foto: Auvisys)
AV Stumpfl Pixera treibt mehr als 94 Millionen Pixel in neuer VP-Stage in Südkorea an
Im Dezember 2025 eröffnete die Korea Creative Content Agency (Kocca) „Studio V“, eine neue Virtual-Production-Stage innerhalb von StudioCube, Südkoreas größtem öffentlichen Broadcast-Produktionsstudio. Die Entwicklung der Anlage diente dazu, das Broadcast- und Content-Ökosystem des Landes zu stärken.
StudioCube wurde 2017 vom südkoreanischen Ministerium für Kultur, Sport und Tourismus gemeinsam mit der Kocca gegründet und unterstützt die Entwicklung sowie die internationale Wettbewerbsfähigkeit der koreanischen Kreativwirtschaft. Mit Studio V kommt nun ein großformatiges LED-Volume hinzu, das sowohl für Produktionen als auch für Ausbildungszwecke konzipiert wurde.
Die VP-Stage verfügt über eine sechzig Meter breite und acht Meter hohe Haupt-LED-Wand, eine 21 x 15 Meter große LED-Decke und zwei bewegliche 5-x-5-Meter-LED-Seitenscreens mit insgesamt mehr als 94 Millionen Pixeln. Angesteuert wird das Setup von einem AV-Stumpfl-Pixera-Four-RS-System mit zwanzig Servern, spezifiziert und integriert vom in Seoul ansässigen Unternehmen Live-Lab Co., Ltd. Die Architektur umfasst siebzehn Render-Knoten, einen Director-Knoten und zwei Inner-Frustum-Knoten und bildet damit eine synchronisierte Infrastruktur, die speziell für virtuelle Produktionen im Enterprise-Bereich entwickelt wurde.
Studio V wurde um ein vollständig IP-basiertes Produktionsökosystem mit SMPTE-ST-2110-Workflows herum entwickelt und zählt damit zu den ersten großen öffentlichen Virtual-Production-Studios weltweit, die diese Architektur im Vollbetrieb einsetzen. Da IP-basiertes Routing, Multi-Kamera-Tracking-Synchronisierung und stabiles Echtzeit-Rendering unter anspruchsvollen Produktionsbedingungen erforderlich waren, benötigte Live-Lab-Produktionssupervisor und Technical Director Alvin Chu eine geeignete Media-Server-Plattform.
„Studio V brauchte eine Plattform, die sowohl Produktion als auch Ausbildung unterstützt - mit intuitiver Bedienung, langfristiger Stabilität und Flexibilität sowie nahtloser Interaktion zwischen Unreal Engine, Kameratracking und weiteren Produktionssystemen“, sagt Chu. „Pixera wurde nicht nur aufgrund seiner Leistungsfähigkeit und Flexibilität ausgewählt, sondern auch wegen seiner Skalierbarkeit und Eignung für einen gemeinsam genutzten öffentlichen Arbeitsplatz.“
Als feste Einrichtung des öffentlich-rechtlichen Rundfunks, die mehrere Produktionsteams und Nutzer aus dem Bildungsbereich bedient, benötigte Studio V ein System, das eine deterministische Synchronisation und langfristige Skalierbarkeit ermöglicht. Die 64-Bit-Plattform von Pixera unterstützt Echtzeit-Media-Processing, Compositing und Playback mit hoher Bandbreite über verteilte Nodes hinweg. Durch die Director-geführte Architektur werden Wiedergabe und Steuerung zentral orchestriert, während das Rendering über synchronisierte Server verteilt wird, für framegenaue Abstimmung zwischen Kameratracking, Rendering und LED-Output.
Um SMPTE ST 2110 in dieser Größenordnung umzusetzen, etablierten Live-Lab und AV Stumpfls Pixera-HQ frühzeitig ein gemeinsames Forschungs- und Entwicklungsprogramm. Diese Zusammenarbeit ging über herkömmliche Integrationsarbeit hinaus und umfasste Early-Access-Software-Builds für ST 2110, GPU-Direct-Validierung, PTP-Synchronisierungstests, Workflow-Simulation und -Replikation sowie geschlossene Validierungszyklen zwischen dem On-Site- und dem HQ-Team. Die Partner arbeiteten in täglichen Reporting-Zyklen und testeten die replizierten Umgebungen, um das Systemverhalten unter realen Produktionsbedingungen vor der Inbetriebnahme zu validieren.
„Pixera HQ stellte direkten Zugang zu Core-Engineers bereit und nahm während der Pilotphase an strukturierten F&E-Sessions teil“, berichtet Chu. „Das war weit mehr als reine Konfigurationsunterstützung, es war eine gemeinsame Entwicklung, die auf Koccas Vision eines zukunftssicheren öffentlichen Virtual-Production-Studios ausgerichtet war.“ Dieser Prozess ermöglichte optimierte Engine-Konfigurationen speziell für Studio V, die Validierung der verteilten Inner-Frustum-Workflows sowie umfassende Multi-Kamera-Tracking-Synchronisierungstests vor dem Start. Sämtliche Inhalte werden über Pixeras verteilte Infrastruktur mit zwanzig synchronisierten Servern verwaltet und orchestriert.
(Fotos: Kocca, StudioCube Studio V)
Infiled MV Series LED wall transforms Mégarex bowling experience
In Haguenau, north of Strasbourg in France’s Alsace region, the Mégarex leisure complex has long been a popular destination for family entertainment. The venue combines a cinema, billiards tables, bar, arcade games and a 16-lane bowling alley under one roof, drawing visitors from across the region.
Seeking to refresh the bowling experience, Mégarex set out to create a more dynamic and visually immersive environment. To achieve this, the venue installed a 28-metre-wide Infiled MV Series LED display spanning the entire length of the bowling area.
To deliver the project, Mégarex partnered with Lyon-based cinema equipment integrator Adde. Led by president Marion Rosset, who has been with the company for more than two decades, Adde brought extensive structural and integration experience to the project. The company also designed and manufactured the custom support structure for the LED wall in-house, drawing on one of its core capabilities, an in-house fabrication workshop that produces bespoke mounting and integration solutions.
“The client wanted to achieve several goals with the renovations”, says Adde sales director Eric Le Cadre. “Firstly, they wanted to enhance the excitement, pace and memorability of the customer experience. The client also wanted to ensure that they had a flexible space where the atmosphere could switch depending on the time of day or type of event. And since they wanted this space to be a long-term marketing and branding tool, they needed the bowling alley to look visually striking every day for at least the next decade.”
Installing a 28-metre LED display in a public entertainment venue presented both technical and logistical challenges. Structural planning was essential, particularly in an environment where vibration and potential impact are constant considerations. At the same time, the installation timeline had to remain short to minimise disruption to customers.
“To make the installation quick and foolproof, we ensured everything was planned and coordinated precisely”, says Le Cadre. “We needed to keep downtime to a minimum and ensure the LED panels were ready for use as soon as possible. And obviously, we didn’t want to compromise safety.” Working alongside the local Infiled team and the Mégarex staff, Adde completed the installation in three days.
The display uses Infiled’s MV Series LED panels, which feature a durable aluminium frame to offer greater structural stability than traditional magnesium designs and helping the system withstand the vibrations typical of high-traffic leisure spaces.
High brightness, high refresh rates and strong contrast ensure clear visuals regardless of lighting conditions within the bowling area. Combined with a high pixel density delivering nearly 8K resolution across the 28-metre canvas, the display provides graphics and text visible from the far end of each lane. “Installing a massive screen in a busy public space required a lot of teamwork between Adde and the client”, says Rosset. “We’re really proud of how this project came together in the end.”
Since the installation was completed, the LED wall has become a defining visual feature of the bowling area, creating an immersive environment. The display allows the venue to adjust visuals throughout the day, from family-friendly graphics to more energetic content for evening events and promotions.
(Photos: Mégarex)
Christie RGB pure laser projectors illuminate UNESCO World Heritage Site Rani-ki-Vav
Christie RGB pure laser projectors are at the heart of a new light and sound show at Rani-ki-Vav, the 11th-century stepwell and UNESCO World Heritage Site in Patan, Gujarat, India.
Commissioned by the Government of Gujarat and inaugurated by Indian Prime Minister Narendra Modi on March 31, 2026, the large-scale projection mapping spectacle transforms the 500-foot-long subterranean monument into an immersive canvas of history and art, marking one of the most technically sophisticated heritage shows ever executed in India.
The facade of Rani-ki-Vav is illuminated using ten Christie RGB pure laser projectors, including the Griffyn 4K35-RGB and M 4K25 RGB models, delivering up to 36,500 lumens per projector. The projectors’ 4K resolution and wide colour gamut were essential in faithfully reproducing the stepwell’s intricate carvings, stone textures, and subtle colour variations from warm sandstone hues to deep indigo night skies.
The project was supported by Design Factory India as consultant, with Aura Bright Light supplying and installing the projectors, while Knownsense Studios led content creation. The monument was digitally captured and mapped to a 22,000-pixel-wide content canvas. A multidisciplinary team of artists, animators, and heritage researchers collaborated to develop visuals and narratives that celebrate the story, philosophy, and cultural roots of Rani-ki-Vav.
Working under strict guidelines set by the Archaeological Survey of India (ASI), no permanent or visible structures were permitted on site. To meet these requirements, a unique solution using hydraulic lift-based projector mounts concealed below ground was engineered. Each lift rises six metres (19.6 feet) to its precisely pre-aligned position during showtime and retracts afterward, ensuring zero visual intrusion during the day while delivering accurate alignment for night performances.
“Executing a project of this scale within the constraints of a UNESCO World Heritage Site is a rare challenge”, says Shailesh Patel, managing director, Aura Bright Light. “The innovative deployment of the Christie Griffyn 4K35-RGB and M 4K25 RGB projectors on hydraulic lifts enabled us to achieve spectacular results with precise alignment, while adhering to every conservation guideline set by ASI.”
“We treated Rani-ki-Vav not as a backdrop, but as the protagonist of the story”, adds Mandeep Sharma, head of Production and Animation, Knownsense Studios. “Christie’s 4K RGB projectors allowed our ultra-high-resolution content and 3D animations to blend seamlessly with the stone architecture.”
Blending motifs inspired by Patan Patola textiles, ancient water architecture, and spiritual symbolism, the projection is paired with a soundtrack and narration. Traditional Indian instruments merge with cinematic orchestration, echoing the rhythm of chisels and flowing water.
(Photos: Aura Bright Light/Knownsense Studios)
PPDS und Avara installieren Philips-MediaSuite-TVs im Kinder- und Jugendhospiz „Sternenbrücke“
Dreißig Philips-MediaSuite-TVs wurden ausgewählt, um Patienten und deren Familien im Kinder- und Jugendhospiz „Sternenbrücke“ in Hamburg eine barrierefreie Nutzung von Unterhaltungsangeboten und den digitalen Zugang zu Informationen zu ermöglichen.
Unter dem Motto „Wir können dem Leben nicht mehr Tage geben, aber den Tagen mehr Leben“ öffnete die „Sternenbrücke“ im Jahr 2003 ihre Türen. Im Mittelpunkt stehen die spezialisierte Pflege und ein geschütztes Umfeld für Kinder, Jugendliche und junge Erwachsene mit lebensverkürzenden Erkrankungen.
Aufgrund eines veralteten TV-Systems mit eingeschränkten Funktionen und häufig gestörten Kanälen hatte sich das Team der „Sternenbrücke“ an den AV-Integrationsspezialisten Avara und den globalen Anbieter von Philips-Professional-Displays, PPDS, gewandt, um eine moderne, digitale Lösung zu realisieren. Zu den wichtigsten Anforderungen gehörten die barrierefreie Nutzung verschiedener Unterhaltungsangebote. Darüber hinaus sollte es möglich sein, wichtige Informationen direkt und digital über den Fernsehbildschirm an die Patienten sowie in Gemeinschaftsbereichen zu teilen.
Dreißig Philips-MediaSuite-TVs (32 bis 55 Zoll) sowie ein Philips-Business-TV wurden in verschiedenen Bereichen des Hospizes installiert, darunter private Zimmer und Gemeinschaftsräume - jeweils angepasst an die Bedürfnisse der dort betreuten Personen. Avara vernetzte die Philips-Professional-Displays über den CMND-Server von PPDS und implementierte ein System, das den Arbeitsaufwand für das Team der „Sternenbrücke“ reduziert, da alle Geräte zentral gesteuert und aktualisiert werden können, ohne jedes Zimmer einzeln verwalten zu müssen.
Jedes Zimmer verfügt nun über Zugang zu einer Vielzahl von Apps und Streaming-Diensten, sodass Familien ihre Lieblingsfilme und -serien ansehen, Mediatheken durchsuchen, Radio hören oder über angeschlossene „PlayStations“ spielen können. Darüber hinaus integrierte Avara ein spezielles Informationsportal für Eltern mit allgemeinen Informationen über die „Sternenbrücke“ sowie aktuellen Nachrichten und Hinweisen.
„Dank der engagierten Zusammenarbeit aller Beteiligten konnten wir ein barrierefreies und benutzerfreundliches TV-System realisieren, das weit über technische Verbesserungen hinausgeht“, sagt Peer Gent aus der Geschäftsführung der Stiftung Kinder-Hospiz „Sternenbrücke“. „Wir sind begeistert und danken Avara und PPDS herzlich für ihre großzügige Unterstützung bei der Umsetzung dieses Projekts.“
(Fotos: PPDS)
CS live nutzt Riedel MediorNet und Human Interface in neuem Ü-Wagen
Riedel Communications und die tschechische Produktionsfirma CS live haben im Rahmen ihrer Zusammenarbeit den neuesten Ü-Wagen der Firma mit einer integrierten Riedel-Infrastruktur ausgestattet.
Die Lösung kombiniert das MediorNet-Mediennetzwerk, das Kontrollsystem Human Interface (HI) sowie ein Artist-Ökosystem mit SmartPanels und Bolero Wireless Intercom. In Zusammenarbeit mit dem Systemintegrator Smart Informatics realisiert, soll diese Kombination CS live eine flexible und zukunftssichere Produktionsumgebung bieten.
Der Ü-Wagen wurde für Sportproduktionen konzipiert und unterstützt die Übertragung nationaler Fußball- und Eishockeyligen, internationaler Fußballwettbewerbe sowie großangelegter MMA-Events. Im Zentrum der Systemarchitektur steht die Integration des distribuierten MediorNet-Netzwerks mit der HI-Kontrollplattform. Dadurch können Operatoren Infrastruktur und Produktions-Workflows über eine einheitliche Benutzeroberfläche steuern.
„Die Einführung von HI in diesem Ü-Wagen ist ein großer Schritt nach vorn für unsere Produktionsabläufe“, sagt Pavel Braun, CEO von CS live. „Wir können Routing, Produktionsmischer, Audiokonsolen und weitere Systeme über eine zentrale Oberfläche verwalten und bei Bedarf per Tablet bedienen. Diese zentrale Steuerung gibt uns die Flexibilität und Geschwindigkeit, die wir für anspruchsvolle Sportproduktionen benötigen.“
Das Signal-Backbone des Ü-Wagens basiert auf zwölf MediorNet-MicroN-UHD-Nodes, von denen sieben für das Routing und fünf als Multiviewer konfiguriert sind. Ergänzend setzt CS live zwei MicroN-Standard-Nodes als externe Stageboxen ein, um Signale aus Stadien, Studios oder anderen Ü-Wagen anzubinden. Dadurch lassen sich SDI-, MADI- und Ethernet-Signale über eine einzige Glasfaserverbindung übertragen.
Gleichzeitig schafft MediorNet eine praxisnahe Migrationsbasis für zukünftige Technologien. Während die aktuellen Workflows von CS live noch größtenteils auf Baseband-Infrastruktur beruhen, ist das System bereits für einen schrittweisen Übergang zu IP-basierten Produktionsumgebungen ausgelegt.
Das HI-System im Ü-Wagen von CS live integriert und steuert das Equipment verschiedener Hersteller, darunter Audiokonsolen, Bildmischer, Replay-Systeme, Monitoring-Lösungen, GPI-Trigger und On-Air-Lichtsysteme. Die Installation umfasst fünf HIPush18-Panels, ein HIPush32-Shading-Panel, ein HIPush36-Panel sowie drei HIContact-Panels. Zusätzlich sorgt eine Tablet-basierte Steuerung für weitere Flexibilität im Betrieb.
„Dieses Projekt ist die erste Implementierung von Riedels Human Interface in der Tschechischen Republik“, sagt Tomas Vesely, Managing Director von Smart Informatics. „Gemeinsam mit CS live konnten wir eine hochintegrierte, herstellerunabhängige Steuerungsplattform realisieren.“
Die Kommunikation im Ü-Wagen basiert auf Riedels Artist-Intercom-Plattform, aufgebaut um ein Artist-1024-System mit siebzehn RSP-1216HL-SmartPanels, drei RSP-1232HL-SmartPanels und zwei DSP-2312-Desktop-SmartPanels. Für die drahtlose Kommunikation kommt Bolero zum Einsatz, das mit vier Antennen und zwölf Beltpacks die Abdeckung aller Produktionsbereiche ermöglicht.
(Fotos: Ondrej Adam/Riedel Communications)
Caudalie’s Paris headquarters features Infiled LED wall powered by Brompton processing
French cosmetics brand Caudalie has unveiled a 200-seat auditorium at its new headquarters in the historic Marais district of central Paris. At the heart of the installation is an 8 by 2.5 metre Infiled DBmk2 LED screen from the brand’s Studio Series, delivering 5,120 by 1,600 pixel resolution, powered by Brompton Technology’s Tessera SX40 LED video processors. The project was designed by Acte 1 and integrated by Videosonic.
The auditorium was born from a complete renovation of a historic building, presenting significant structural challenges. Large load-bearing beams severely restricted ceiling height, ruling out a conventional projection system and prompting the design team at Acte 1 to recommend an LED wall solution instead. This shift raised immediate questions around colour accuracy, an area where projection has traditionally been considered superior, making the choice of processing technology critical.
Acte 1 and Videosonic consulted Infiled, who proposed Brompton Technology processors as the solution to guarantee the colour accuracy the client demanded. The Tessera SX40 LED processor’s 14-way Colour Correct feature was a key decision factor, enabling precise adjustment of individual colours without affecting the rest of the image. This feature also makes it straightforward to harmonise different sources such as video and computer-generated presentations, and maintain visual consistency across all event types.
The 32:10 aspect ratio display supports multi-window PIP configurations and full-screen presentation, giving Caudalie flexibility for internal seminars, live broadcasts, simultaneous translation, and external corporate event hire. For its inaugural event, the brand’s 30th anniversary celebration in January 2026, attended by around 1,000 people, all content was produced natively in 32:10 format, delivering an immersive visual experience.
Beyond colour performance, Brompton’s UK manufacturing, European-standard image processing, and availability of local technical support in France all contributed to the decision. The entire system is operated via Crestron automation, and from installation onwards all teams, including those handling automation through APIs, were able to operate the system.
“The LED wall fully enhances the space and allows any type of content to be displayed at a professional quality level”, says Eric Cartier, Company Manager at Videosonic. “Caudalie can now host any type of event - camera shoots, conferences, fashion shows, and more - with no technical limitations.” The space was completed in December 2025.
(Photo: rodolphecellier.com)