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PPDS und Avara installieren Philips-MediaSuite-TVs im Kinder- und Jugendhospiz „Sternenbrücke“
31/03/2026
Alfalite installs Slovenia’s largest indoor LED wall at Ljubljana Exhibition & Convention Centre
25/02/2026
MVP upgrades OB truck with Calrec Argo M
28/01/2026
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)
“Le Roi Soleil” musical returns with Smode media server technology
Twenty years after its original debut, “Le Roi Soleil” has returned to the stage with a refreshed production, bringing the story of Louis XIV back to audiences in Paris and across France during a new tour spanning 2025 and 2026. With video now playing a central role in the stage design, the technical team behind the musical turned to Smode’s real-time compositing and media server platform to manage the majority of the show’s visual environment.
Originally premiering in September 2005 at the Palais des Sports in Paris, “Le Roi Soleil” tells the story of the young Louis XIV as he navigates political turmoil during the Fronde civil wars before ultimately claiming absolute power as the Sun King. The revived production expands on the original staging with a large-scale visual system combining LED screens, projection mapping and mobile video elements, creating a dynamic digital backdrop that evolves throughout the performance.
At the heart of this system are four Smode media servers responsible for managing live playback and compositing across the entire video infrastructure. According to Smode operator Tom Valadoux Midol, video now represents a substantial portion of the production’s stage design. “Smode manages all the live media playback, which makes up eighty percent of the show’s scenery”, he says. “It also played a major role during pre-production, allowing us to encode modifications and the artistic team’s various requests in real time, and we were able to do so on two machines simultaneously.”
Valadoux Midol was originally brought into the production by technical director Antony Fra to support video encoding for the project alongside Romain Fior and Romain Labat. As the show transitioned into its touring phase, Valadoux Midol assumed responsibility for operating the video system throughout the run.
The video environment for the production is built around a combination of large LED displays and projection surfaces. At the centre of the stage is an 18 x 8 metre Absen LS3.9 Pro LED wall that can split in two to allow scenic elements to pass through, flanked by two additional transparent LST3.9 LED screens measuring 8 x 7 metres a piece.
One of the most distinctive elements of the design is a set of six wireless LED towers, each measuring six and a half metres high by two metres wide. Mounted on battery-powered bases, these towers move around the stage throughout the performance, enabling rapid transformations of the visual environment from scene to scene. Six 20,000 lumen projectors complete the video setup to map visuals onto a stage frame measuring 28 metres wide by nearly ten metres high.
To coordinate this complex visual environment, the production relies on four Smode media servers. Two primary machines run in Smode-Net for synchronised playback, while two additional servers provide redundancy. The servers are controlled via a GrandMA console using sACN, allowing the video system to remain closely synchronised with the lighting and broader stage automation elements. The visual content for the production was developed by Studio A+E, a creative studio founded by Étienne Guiol and Arnaud Pottier that specialises in video design for opera, theatre and live performance.
During rehearsals and pre-production, Smode’s real-time compositing engine played a crucial role in enabling rapid experimentation and refinement of the stage visuals. “The compositing engine was extremely useful on this project, as most of the media was composited directly in Smode using assets provided under the artistic director’s guidance”, says Valadoux Midol.
The ability to adjust visuals instantly proved particularly valuable during creative development, as the artistic team requested variations to scenic animations and transitions. “During the pre-production period, there was a significant amount of real-time creation”, adds Valadoux Midol. “Smode allowed us to present different scenic and animation options to the artistic team and to respond to their requests almost instantly.” Throughout the show, portions of the visual system run on timecode while others are triggered manually to follow the rhythm of the performance.
The technical team also includes Laurie Holzer (production) and Romain Tertrais (LED/video technical manager), as well as LED/video technicians Lucas Lopez, Mathéo Baumgard and Alexis Jacquand. Alabama Média (Groupe Novelty) is the technical service provider (video).
(Photos: Flora Métayer)
Mailänder Scala optimiert Backstage-Kommunikation mit Riedel Bolero
Gemeinsam mit der Fondazione Teatro alla Scala hat Riedel eine Intercom-Lösung realisiert, die auf den Systemen Bolero, NSA, RiFace und PunQtum basiert und die Backstage-Kommunikation in einem der renommiertesten Opernhäuser der Welt modernisiert und vereinheitlicht.
Mit Bolero als zentraler drahtloser Intercom-Plattform ermöglicht diese Integration der Mailänder Scala eine nahtlose Echtzeit-Koordination in komplexer Produktionsumgebung. „Bolero hat unsere Arbeitsweise im Teatro alla Scala auf ein neues Niveau gebracht“, sagt Marco Schretter, Leiter Audio-Video-Streaming. „Die Zuverlässigkeit, Reichweite und intuitive Benutzeroberfläche haben unsere Arbeitsabläufe optimiert, Ausfallzeiten reduziert und Notfallreparaturen überflüssig gemacht. Jetzt können wir kleinere Teams an verschiedenen Orten einsetzen und bleiben dennoch vollständig miteinander verbunden.“
Vor der Implementierung von Bolero verließ sich das Teatro alla Scala auf eine fragmentierte Mischung aus Kommunikationsgeräten, die erhebliche Integrationsprobleme mit sich brachte. Die architektonische Komplexität des Opernhauses - mit Treppen, Aufzügen und akustisch sensiblen Bereichen wie dem Orchestergraben und der Regiekabine - erschwerte eine verlässliche Kommunikation.
Die Riedel-Lösung bietet ein skalierbares System, das sich nahtlos in alle Abteilungen integrieren lässt. Bolero verbindet nun Bühnenmanager, Lichttechniker, Tontechniker, Videotechniker, Mitarbeiter im Bühnenturm, Streaming-Crews und den Regisseur und ermöglicht drahtlose Kommunikation auch in den herausforderndsten RF-Bereichen des Theaters.
Die RiFace-Integration unterstützt 45 UHF-Kanäle für die Rigging-Crews, während NSA die Interoperabilität mit den vom Streaming-Team verwendeten Systemen von Drittanbietern gewährleistet. PunQtum-Geräte ergänzen Bolero in Bereichen, in denen zusätzliche Flexibilität erforderlich ist.
Das System wird aktiv in allen wichtigen Bereichen eingesetzt, darunter Bühne, Bühnenturm, Backstage, mehrere Foyers, Museum, Licht- und Tonkabinen sowie der Orchestergraben. Dies ermöglicht ein verteiltes Aufgabenmanagement und schnellere Reaktionszeiten.
Die Implementierung habe bereits zu messbaren Kosteneinsparungen geführt. Die Zuverlässigkeit von Bolero reduziere Wartungsaufwand und Ausfallzeiten, die einheitliche Architektur senke die Allgemeinkosten für die Ausrüstung. Die intuitive Benutzeroberfläche minimiere die Schulungskosten, und die Langlebigkeit des Systems - unterstützt durch das Riedel Care Service Level Agreement - gewährleiste eine langfristige Leistung ohne häufige Austauschmaßnahmen oder Notfallreparaturen.
(Fotos: Riedel Communications)
Alfalite installs Slovenia’s largest indoor LED wall at Ljubljana Exhibition & Convention Centre
Ljubljana Exhibition & Convention Centre, Slovenia’s leading trade fair and congress venue, has upgraded its main hall with the country’s largest fixed indoor LED screen. The installation, located in the Marmorna Hall, features 40 sqm of Alfalite LED technology.
The new LED wall measures 8.40 x 4.72 metres and replaces a previous projection-based system. It is powered by Alfalite’s UHD Finepix Matix 1.8 AlfaCOB solution, comprising 196 cabinets with a 1.8 mm pixel pitch.
Alfalite, headquartered in Spain, is currently the only European manufacturer of LED screens, designing and producing its panels entirely in Europe. This European origin was a key requirement for the client, who prioritised local manufacturing standards, operational security and long-term technical support for a venue hosting hundreds of international events each year.
“We organise large congresses with 1,300 to 2,000 participants”, says Iztok Bricl, CEO of the Ljubljana Exhibition & Convention Centre. “The quality of the LED screen and its straightforward maintenance were decisive factors for us. We needed a solution that guarantees performance and immediate technical support if required. With a European partner, we have that assurance.”
The project was delivered in collaboration with the Austrian integrator Wallerie, part of Lanner Media, with installation carried out jointly with Alfalite’s technical team under the direction of Sebastián Cabrera, CTO of Alfalite. The complete mounting process was finalised in two days.
The installation incorporates redundant signal control to ensure uninterrupted operation during live events. Its 1.8 mm pixel pitch enables detailed content display, particularly relevant for medical congresses and data-driven presentations where precision is essential.
“This project shows how European collaboration can deliver technical excellence”, Cabrera states. “It is not only about installing a large screen. It is about providing a future-proof visual infrastructure for one of the region’s most important congress venues.”
(Photos: Alfalite)
TeleTicino modernizes remote contribution workflows with QuickLink StudioEdge
As the only private television broadcaster serving Italian-speaking Switzerland, TeleTicino reaches an average of 60,000-70,000 viewers daily. The broadcaster produces a wide range of content, from its flagship “Ticinonews” newscast to prime-time current affairs programs and live debates covering politics, sports, the economy and social issues.
To support these productions and ensure remote guest contributions, TeleTicino has deployed QuickLink StudioEdge, a multi-platform remote contribution solution designed for broadcast environments. According to Riccardo Bazzero, ICT Manager at TeleTicino SA & Radio3i SA and Systems Manager for Corriere del Ticino Group, the need for a broadcast-grade remote guest solution became increasingly urgent as production requirements evolved. “We needed a stable, professional solution that would allow us to manage one or more remote guests during both our newscast and long-form productions”, he says. “The system had to be easy for guests to use while meeting our technical and editorial standards.”
Prior to adopting StudioEdge, TeleTicino relied on a combination of platforms, including Skype TX (later discontinued by Microsoft), as well as Zoom and Microsoft Teams. While functional, these tools were not purpose-built for broadcast workflows, prompting the team to search for a more robust alternative following Skype TX’s end-of-life announcement.
QuickLink supports up to four simultaneous remote guests and offers native SDI or NDI integration, allowing TeleTicino to connect callers from StudioEdge directly into its broadcast workflow. Built-in AI-powered features such as video noise removal, automatic framing and eye contact correction further enhance production quality. StudioEdge also provides flexible platform support for Zoom, Microsoft Teams and StudioCall.
StudioCall, QuickLink’s inbuilt remote guest solution, enables seamless introduction of contributions from all devices, with invitation options via email, SMS, WhatsApp, or a simple link, helping to remove barriers for contributors. “Guests don’t need to install any software”, says Bazzero. “They simply connect through a standard web browser.”
Today, StudioEdge is embedded into TeleTicino’s daily workflow. Production engineers receive guest lists ahead of each program, conduct pre-show test calls to verify audio and video quality and provide operational guidance before bringing guests on air at the scheduled time. The system is used across live broadcasts and pre-recorded segments. “We use StudioEdge every day”, Bazzero notes. “In a region where traffic congestion can make travel difficult, especially during rush hour, it allows us to bring guests on air live without requiring them to come to the studio. That has been a major advantage both technically and editorially.”
TeleTicino has decided to purchase a second StudioEdge unit for an additional control room, reinforcing plans to expand and consolidate its use across future productions.
(Photos: QuickLink/TeleTicino)
Electrosonic stattet National World War I Museum and Memorial mit AV Stumpfl Pixera aus
Die Echtzeit-Medienserverplattform Pixera von AV Stumpfl bildet das Herzstück der kürzlich erfolgten technologischen Erneuerung des National World War I Museum and Memorial in Kansas City, Missouri. Entworfen und integriert wurde diese von Electrosonic.
Pixera unterstützt das Ziel des Museums und der Gedenkstätte, Besucher mit unterschiedlichen Lernstilen anzusprechen. Dazu werden Medien in den modernisierten Räumlichkeiten des Museums verteilt und synchronisiert. Diese umfassen das Theater, mehrere Galerien und vor allem Encounters, ein neues, persönliches Format, das den Besuchern sechzehn Kriegsgeschichten näherbringt.
Im Mittelpunkt des Projekts Encounters stehen vier Nischen. Betreten Besucher diese, werden durch die beleuchteten Markierungen diskret lebensgroße Figuren ausgelöst, die auf realen Persönlichkeiten aus dem Ersten Weltkrieg basieren. Jede Geschichte entfaltet sich durch ein genau choreografiertes Zusammenspiel von Bild und Ton.
Dies wird durch 1,25-mm-Nanolumens-LED-Displays ermöglicht, die die Figuren auf dem Bildschirm darstellen, durch räumliches Audio von Holoplot, das jeden Gast mit Klang umhüllt, ohne in benachbarte Nischen überzugreifen, sowie durch versteckte Projektoren der Christie-Inspire-Serie. Diese werfen einen nach vorn gerichteten „Portal“-Schatten, der das 2D-Bild in eine 3D-Illusion auf dem Boden verwandelt.
Das Rückgrat der Installation bilden drei Pixera-Medienserver (2 x Pixera Two, 1 x Pixera Zero Dual). Sie sequenzieren die Sensorereignisse und Medien so, dass, wenn eine Figur den Raum verlässt, eine andere eintritt. Dadurch sollen Rhythmus und Intimität zwischen den einzelnen Begegnungen erhalten bleiben.
Die Choreografie - vom Erscheinen eines Schattens über dem Kopf über subtile Bewegungen auf dem Fliesenboden bis hin zum Erscheinen der Figur im Bildausschnitt - wird von der Pixera-Engine orchestriert. Diese gewährleistet ein wiederholbares Timing über alle vier Portale hinweg und soll gleichzeitig die Spontaneität und Menschlichkeit der Ausstellung bewahren.
Pixera unterstützt nicht nur Encounters, sondern auch die Wiedergabe und Synchronisation von Inhalten im gesamten Museum und in der Gedenkstätte. Im Kemper-Horizons-Theater vermitteln Projektionen und ein Diorama die brutalen Bedingungen des Grabenkriegs. Die Battlescapes-Experience umgibt Besucher hingegen mit mehreren randlos ineinander übergehenden Projektionen und versetzt sie in einen „Krater“ inmitten eines Artillerie-Bombardements. Für diese Nicht-Encounters-Experiences werden vier Pixera-Two-Server und ein Pixera-Control-Core verwendet.
Durch die Integration in die AV-Workflow-Plattform von Isaac verbindet Pixera die Multi-Space-Experiences miteinander und optimiert die Abläufe für das AV-Team des Museums. „Pixera-Prozessoren werden verwendet, um die Christie-Projektoren zu verbinden - eine nahtlose Integration, die wir an mehreren Standorten eingesetzt haben“, erläutert Chris Johnson, Vice President of Sales bei Electrosonic. „Da im Museum so viel los ist, müssen sie all diese Komplexität bewältigen.“
Die während der Öffnungszeiten des Museums durchgeführte Erneuerung markiert die jüngste Phase einer langjährigen Partnerschaft zwischen dem National World War I Museum and Memorial und Electrosonic. Sie spiegelt den Wunsch des Museums wider, die Technologie in den Hintergrund zu rücken, damit die menschlichen Geschichten im Mittelpunkt stehen können. Weitere Mitwirkende an dem Projekt waren Dot Crew (Mediendesign und -produktion), Technical Artistry (Beleuchtung) und JE Dunn (Fertigung).
(Fotos: ATHNTK/Ricardo Santiago/Electrosonic)
Hippotizer at core of next-gen immersive design in London
Motion Mapping has launched its London Design Centre Experience - a purpose-built immersive environment showcasing advanced media server technology, with Hippotizer Boreal+ MK2 Media Servers at its core.
Designed as a living laboratory rather than a traditional showroom, the Centre invites visitors to step inside fully realized experiential environments where projection mapping and interactive systems transform physical spaces into responsive, data-driven experiences. Running until the end of April 2026, it functions as a working prototype of contemporary spatial design, where projection, LED, sensors, “magic” glass, physical materials, and interactive systems are orchestrated through a unified media server workflow.
For Motion Mapping, the London Design Centre installation was conceived in response to a recurring challenge faced by brands, agencies, and AV professionals: the difficulty of communicating immersive concepts through conventional formats such as videos, renders, presentations, and flat surfaces. “As good as videos are, you don’t get the experience when you’re watching it on a screen”, says Stuart Harris, founder and director of Motion Mapping. “We wanted a place where people could come in, experience immersive environments directly, and understand what’s technically and creatively possible.”
Rather than presenting isolated demos, the Centre integrates multiple technologies into cohesive spatial narratives. Visitors encounter projection-mapped surfaces, mixed-media environments, interactive installations, and responsive architectural elements, each designed to show how immersive technology can operate at scale across commercial, retail, cultural, and entertainment contexts. “We don’t sell what we do, we let people experience it”, notes Harris. “Once people experience immersive technology in a physical space, their understanding changes immediately.”
While LED remains a dominant format in many AV installations, Motion Mapping has positioned projection as a central design tool within the Centre. The installation demonstrates how projection can extend beyond flat surfaces to interact with architectural features, glass, objects, and layered materials. “There’s still a perception that projection has to be flat and in a dark environment”, says Harris. “We’re showing that projection can be used dynamically, in bright spaces, on complex surfaces, and in combination with other media.”
Hybrid environments throughout the Centre combine projection, LED, vinyl graphics, switchable glass, and physical props, illustrating how mixed-media workflows can create depth, theatricality, and spatial continuity. “LED and projection don’t have to be separate”, adds Harris. “When you integrate them, you move from displaying content to designing environments.”
The immersive room’s video infrastructure at the Centre is driven by the Hippotizer Boreal+ MK2. “For us, Hippotizer is a natural platform”, says Harris. “We’ve been using it for a long time, so it’s intuitive. Using Hippotizer’s Shape feature, we can map a room in twenty to thirty minutes, which fundamentally changes how quickly immersive environments can be designed and deployed.”
The Boreal+ MK2 Media Server acts as the backbone of the immersive area’s content pipeline, managing multi-surface projection mapping, real-time playback across multiple outputs, integration with interactive systems and sensors, synchronization of mixed media formats, and rapid reconfiguration for different experiential scenarios. “What used to feel like a science project is now something we can deploy reliably”, continues Harris. “Hippotizer allows us to connect triggers, cues, and interactions seamlessly, so environments respond instantly to user behavior.”
The Centre showcases a range of interactive technologies integrated into the media server workflow. These include QR-based web interactions, RFID triggers, electromagnetic sensors, and responsive surfaces, with real-world brands and products to play with. Rather than treating interaction as an add-on, Motion Mapping uses Hippotizer as a central layer, connecting physical inputs to visual outputs in real time. “Interactive states across the space feed data into a central dashboard”, explains Harris. “That data can be viewed remotely and integrated with other systems, such as POS or analytics platforms.”
This approach demonstrates how immersive environments can function not only as creative experiences but also as measurable, data-driven platforms. Motion Mapping’s installation also highlights applications of immersive technology across retail, brand experience, and entertainment. One example is Motion Mapping’s immersive retail installation for Ikea; another is an automatically triggered video for Doritos to make its products palpable. These live demonstrations bridge the gap between conceptual design and practical implementation.
“When the whole room becomes a canvas, anything is possible”, concludes Harris. “People don’t just imagine immersive environments, they experience them. And once they’ve experienced them, their expectations of space, media, and storytelling change. With the right media server architecture, interaction systems, and creative strategy, they are scalable, measurable, and commercially viable.”
Hong Kong investment bank modernises meeting-room AV systems with Lightware technology
A global investment bank, with offices at Two International Finance Centre in Hong Kong, has partnered with systems integrators Global Vision Engineering (GVE) to modernise its meeting-room AV systems to support the organisation’s hybrid workflows.
After reviewing several technology vendors, the bank selected Lightware as its preferred signal management solution, citing reliable USB-C performance and interoperability with the bank’s global Cisco conferencing standard. “The bank appointed us to design and implement the system architecture, using their preferred Lightware products”, says Chris, Project Manager at GVE. “The bank needed USB-C signal transmission and Cisco integration, and Lightware delivered both.”
The main focus of the project was to create a unified experience built around bring-your-own-meeting (BYOM) usage while adhering to the bank’s corporate security standards. Users needed to walk into a room, plug in a single USB-C cable, and be able to instantly share content whilst also powering their device. In addition to BYOM, the bank required native Cisco Webex functionality. Employees needed to switch between a laptop-driven meeting and a Webex call, without navigating complex controls. Lightware’s integration partnership with Cisco ensured this interoperability worked smoothly.
Finally, the system also needed to be intuitive for everyday users whilst offering enough customisation to meet sophisticated corporate standards. For example, Lightware’s Advanced Room Automation (Lara) platform allowed GVE to create a tailored user interface for the in-room Cisco Navigator touch panels, enabling manual source selection to meet a specific internal requirement. “The ability to customise the control UI directly through Lara was a game-changer for the client”, comments Chris.
In total, the project encompassed fourteen rooms, ranging from small and large meeting rooms to a multifunctional room, which acts as a subdivisible meeting space. Lightware’s partnership with Cisco enhances the use of the bank’s Cisco room devices by expanding connectivity and control. Source switching, AV transmission and room control are all managed through the Cisco Room Navigator panel in each room.
The six small meeting rooms use the Taurus UCX (UCX-4x2-HC40), selected for its compact footprint and ability to support the bank’s Type-C BYOM standard. Here, USB-C and HDMI inputs from BYOM users connect them instantly to the room peripherals, including the Cisco Room Bar Pro, a 55’’ display and other devices such as wireless keyboards and mice.
The on-table Cisco Navigator panels include a custom user interface, programmed by GVE to provide a one-touch option for source selection (USB-C, HDMI or President PC). The Navigator panel, connected to the other devices via the Client LAN (PoE), acts as the single point of interaction in the room, providing plug-and-play efficiency.
Seven large meeting rooms are equipped with Taurus TPX bundles (UCX-4x3-TPX-TX20 and UCX3x3-TPX-RX20), enabling USB-C signal transmission up to 100 meters. These rooms have an additional USB-C input option and the addition of a professional audio system, comprised of a Shure ceiling array microphone, four ceiling loudspeakers and a 75’’ screen.
The UCX-4x3-TPX-TX20 and UCX-3X3-TPX-RX20 transmitter and receiver pair allows multiple HDMI and USB host connections directly at the display’s side - such as a room PC, wireless presentation system, webcam, or speakerphone - while still supporting long-distance signal transmission over a single CAT6 cable.
The multi-functional space is a divisible zone that can be configured as a combined room or two separate rooms combining smaller rooms. This required a more robust switching architecture capable of supporting a wide range of use cases while maintaining full USB-C BYOM compatibility.
GVE deployed a 24x24 MX2M-FR24R-RFP modular matrix. The system uses TPX input cards connected to Taurus UCX-2x1-TPX-TX20 transmitters, while TPX output cards connect to HDMI-TPX-RX107A-SR receivers at each room’s display. This architecture creates a large, flexible matrix where Taurus transmitters act as inputs and TPX receivers as outputs, enabling USB-C signal extension of up to 100 metres across the space.
Using UCX transmitters with MX2M TPX cards and HDMI TPX receivers reduces the number of extenders required, whilst MX2M’s built-in redundancy features ensure reliability for the bank’s most important meetings and events.
(Photos: Lightware Visual Engineering)
Polar supplies Avonic camera systems for AV2000 installation in Northumbria University’s lecture rooms
Northumbria University in Newcastle, UK, hosts around 38,000 students, who study a wide range of subjects including engineering, computing, business, law, design and the arts. The University recently sought to invest in PTZ camera systems for two large lecture theatres at its £100 million City Campus East.
The theatres, in the CCE1 building, host up to 400 attendees and are designed for both teaching and commercial hire, supporting conferences, talks, and large-scale events. The camera solution was to provide automated presenter tracking and high quality capture for live-streaming and recording.
The University consulted with Yorkshire-based integrator AV2000, AV specialists in the education, healthcare, and corporate sectors, who recommended an Avonic solution supplied by Polar, its UK distributor. Over the course of its three-year contract as Northumbria University’s exclusive AV integrator, AV2000 has transformed and enhanced numerous teaching spaces across the campus.
AV2000’s Andrew Cripwell oversaw the project. “We recommended the Avonic product based on a hands-on evaluation of its qualities at ISE 2024 in Barcelona and its endorsement by Polar”, he says. “The University had expressed an initial preference for a different brand, but a further proof of concept demo by Polar persuaded us that the Avonic solution was best. The quality of its optics and strong reputation in the field convinced us that Avonic’s CamDirector Teacher Tracker software used with its PTZ cameras was a perfect fit for the Northumbria University project.”
Avonic’s CamDirector Teacher Tracker is AI software which tracks a lecturer with PTZ cameras, resulting in an automatic multi-camera registration of lectures. The software is trained to detect a single presenter in a lecture room environment, and autonomously switches between overview and close-up shots depending on their movement.
Northumbria University purchased the CD-Trac1 CamDirector Teacher Tracker Software Licence, and AV2000 equipped each lecture room with a CD500 CamDirector Teacher Tracker Software AI processing unit to process, analyse, and transmit video generated by two Avonic CM-70 20x zoom PTZ cameras it controls.
Each system includes a plug-and-play CAP100 HDMI to USB 3.0 converter, which converts any HDMI input into an H.264 encoded USB 3.0 stream. Any source connected to the CAP100 can be used in multiple applications such as video conferencing such as Skype for Business, Zoom.us, WebEx, and more.
“The hardware installation was straightforward, with Avonic providing guidance on optimal camera positioning”, continues Cripwell. “Their remote support sessions ensured that the project progressed with minimal disruption. Similarly, working with Polar has been a consistently positive experience. From early-stage recommendations through to deployment, they’ve been collaborative and proactive.”
(Photos: AV2000/Avonic/Polar)
Christie Jazz Series projectors power L-shaped screen at Building Centre
Three Christie Jazz Series 1DLP laser projectors power a 15-metre-long (49-foot) by 2.8-meter-tall (9.2-foot) display at the Building Centre in London. Jazz Series 4K1600-JS projectors illuminate the L-shaped screen, which offers a backdrop for presentations, product launches, film screenings, and brand storytelling at the hub’s main gallery area.
The project is a collaboration between ARC Audio Visual & IT Solutions Limited, distributor Audio Visual Material (AVM), and Christie. The Building Centre’s main event space, a hub for exhibitions and industry gatherings of up to 350 guests, presented a unique set of requirements due to its size, architectural features, and the diverse nature of events it hosts. The installation posed several challenges, including strong natural light from large windows and the logistical complexities of installing advanced AV technology in a busy, historic venue.
The Building Centre required a solution to replace a single projector set-up, and it had to offer flexibility for a wide range of uses. It needed to support everything from technical CAD walkthroughs and architectural presentations to dynamic video content and live event streaming. Ease of use and remote administration were also priorities, enabling the Building Centre’s in-house team to manage content and AV operations confidently, regardless of the event’s complexity.
The system was designed, supplied, and installed by ARC, with its consultancy, project management, engineering teams, and trainers overseeing the post-installation works. Christie assisted with both the pre-sales meetings, explaining the technical nuances to the client, and was on-site to oversee the final commissioning of the projectors. Since launch, the new display, which spans two walls of the exhibition space with a 90-degree corner, has been used for a series of presentations, showcases, and design-led events.
“We have worked with Christie, via AVM, for twenty years and they are our go-to partner on projects requiring high-end projection”, says Ralph Ellingham, Managing Director at ARC. Danielle Williams, commercial director at AVM, adds: “I’m incredibly proud of how the team came together to deliver this project. Completing such a complex upgrade within just eight weeks was no small feat, but the collaboration between AVM, Christie, and ARC ensured everything was delivered on time.” The Building Centre is now the UK’s only venue with dedicated 4K ultra-high-resolution screens for the built environment sector.
(Photos: Christie Digital Systems)
MVP upgrades OB truck with Calrec Argo M
To keep pace with a rapidly evolving live sports market, Balkan broadcast facility provider Most Valuable Production (MVP) has upgraded its flagship HD1 outside broadcast truck with a Calrec 36-fader Argo M console with internal DSP. As part of the company’s strategic shift towards IP-ready workflows, the upgrade gives MVP’s 17-camera expandable truck the capacity to handle increasingly complex production demands.
MVP, founded in 2015, operates four outside broadcast units, producing live sports content for clients throughout Europe. Ivan Nikolic, MVP’s Owner and Managing Director, is responsible for overseeing the company’s strategy and technical development. “We produce a high volume of live sports content every year and Calrec helps us deliver consistent quality while handling more complex productions with the same crew resources”, he says. “The whole industry is moving towards more flexible, distributed, and IP-based workflows, and Argo M fits perfectly into this strategy.”
With system integration support from Calrec’s Croatian distributor Kapetanovic Systems, the upgrade had an immediate impact at a match during one of Europe’s most prestigious football tournaments within days of installation. Nikolic says the console is now part of MVP’s core setup for upcoming sports productions.
“Our long-term audio strategy is focused on scalability, IP readiness, and consistency across all our OB units”, he says. “Calrec’s equipment makes it easier for us to adapt to these requirements. Kapetanovic Systems played a key role in the integration ensuring a smooth and efficient process, and the support from Calrec before, during and after installation was excellent.”
(Photos: Calrec)
TNDV captures “Kidz Bop” concert movie with Aspiration 35 and Arri Alexa 35 Live cameras
TNDV, an entertainment-based mobile and REMI production company, was on site at the Honda Center in Anaheim, California, to capture live concert footage for “Kidz Bop Live: The Concert Movie”, released to theaters through North America on January 2, 2026.
TNDV, one of three divisions of Live Media Group (along with Live Media and Gametime Productions), marked its first motion picture shoot using its flagship Aspiration 35 digital cinema truck and an integrated Arri Alexa 35 Live multicamera workflow, bringing the “Kidz Bop” tour experience to the big screen.
The concert film was captured during a single tour stop on August 30, 2025, where the “Kidz Bop” team recorded the show as they normally would for the road, but with TNDV’s broadcast-grade infrastructure functioning as a full cinematic control room. Inside Aspiration 35, producers and creatives were able to view every camera live, communicate instantly with operators, and direct coverage in real time while recording the performance in-camera for post-production editing.
“This was truly cinema meets broadcast”, says Dakota Russ, TNDV’s engineer-in-charge for the production. “The tour kept its normal pace, but the truck gave the director and DP the ability to see everything, hear everything, and talk to everybody as fast as possible.”
The concert was captured using a large-scale camera complement - including twelve Arri Alexa 35 Live cameras - plus additional specialty and remote positions to cover every moment onstage and throughout the venue. The setup, with support from TNDV partner dbV Rentals, included multiple front-of-house positions, a Technocrane, Steadicam, a Movi rig, two Agito systems, and additional robotic cameras.
Russ and JJ Hacker, who co-led TNDV’s truck operations for the project, oversaw the signal flow, multiviewers, intercom routing, monitoring distribution, and overall production infrastructure. At the same time, the crew maintained full cinema-style practices, including dedicated focus pullers, assistants, and utilities.
While the primary recordings were captured in-camera in a traditional film workflow, TNDV provided critical synchronization and reference support throughout the show. The truck supplied continuous timecode to all camera heads, ensuring full-system sync without the need to manually jam every camera. TNDV also produced a reference recording of the multiviewer with burn-in timecode, giving post teams an immediate way to locate moments and compare camera angles quickly during edit.
(Photos: Arri/TNDV)
Tateside delivers AV and IT integration at IPC Systems’ new Devonshire Square offices
IPC Systems, a provider of secure, compliant communications and multi-cloud connectivity solutions for the global financial markets, recently expanded its operations in London, moving from offices in Canary Wharf to a new headquarters in Devonshire Square. London-based IT and AV integrator and solutions provider Tateside became involved in the new office fit-out through a recommendation from US-based AV consultant Samuel Conklin of Complex IT Solutions.
As part of the project, Tateside collaborated with multiple stakeholders, including IPC Systems’ own in-house IT team, the workspace design consultants and furniture specialists to ensure a smooth integration of both AV and IT systems across the new site.
IPC Systems required a complete IT infrastructure and AV integration across several key spaces - including four standard meeting rooms and one large boardroom, a communal “Tea Point” area and an area known as the “Innovation Space” - and full Cisco-based meeting room systems. “The client wanted professional AV meeting room systems with BYOD flexibility”, says Alejandro Roura Labiaga, Project Manager at Tateside. “Our goal was to create an intuitive experience for all employees, based on the clients’ preferred Cisco technology standard.”
To accelerate deployment and reduce complexity, Tateside selected a consistent technology standard that could be scaled across all five of the regular-sized meeting rooms. This was centred around Cisco Room Bar Pro kits. Comprised of an on-table or wall-mounted Cisco Room Navigator touch controller and a dual-camera video bar, mounted beneath the 55’’ main screen, each room offers a familiar conferencing set-up, with the flexibility to connect up to three displays or other meeting room peripherals as required.
Each room is equipped with a Sound Control Technologies Table Kit, which handles signal extension, allowing for complete connectivity between the meeting room table and the peripherals. “We specified a standard system across these rooms to ensure consistency and futureproofing, whilst leaving room for potential automation and upgrades”, notes Roura Labiaga. “For example, the Future Automation brackets help to streamline any maintenance in the future.”
The boardroom, which accommodates up to fourteen people, required a more complex solution. Here, Tateside focused on integrating advanced video conferencing, camera tracking and immersive audio integration. This room is built around two 65’’ Samsung 4K commercial displays fed by long-reach Blustream HDBaseT extenders, allowing for a centralised approach. A quad-camera Cisco Room Kit Pro serves as the brains of the system, paired with a dedicated 4K PTZ camera for video conferencing with camera tracking. Again, Sound Control Technologies extenders were used to transport signals between the table, AV rack, screens and cameras. A table-mounted Cisco Room Navigator provides one-touch controls for calls, source selection and room functions.
On the audio side, six QSC ceiling loudspeakers provide coverage along the length and breadth of the room, along with Cisco ceiling microphone units, facilitating voice pickup. “The boardrooms were a real technical challenge”, shares Roura Labiaga. “During the project, we actually relocated much of the AV tech from the room into a dedicated comms room, which added an extra challenge in terms of signal management and extension.”
An all-hands area, nicknamed the “Tea Point”, accommodates up to thirty employees for company-wide events, announcements and socials. Here, an 85’’ Samsung 4K display serves as the primary focal point and is mounted on a heavy-duty Future Automation bracket so it can be positioned for optimal visibility during events. An HDMI wall-plate input and Blustream extenders let presenters plug in laptops and share presentations. For audio connectivity, there’s an Audac Dante wallplate, suitable for guest presenters, panel mics or playing background music.
A Cisco Webex Room Kit EQ system, complete with a built-in quad camera, a separate 4K PTZ camera and a wall-mounted Navigator touchscreen, grants the space with streaming and conferencing capabilities for hybrid all-hands sessions.
On the audio side, eight QSC pendant loudspeakers deliver coverage for the crowd, powered by an 800 W QSC amplifier. For presentations, Tateside also supplied a Shure Microflex wireless microphone setup, including handheld mics, lavaliers, bodypacks and a charging station. Two Cisco ceiling mics handle audience participation, such as Q&A sessions, whilst Sound Control Technologies manages signal extension across the space.
On the IT side, Tateside implemented a resilient backend infrastructure to support the new AV and IT systems. The project included the installation of Cisco switches, structured patching of all devices throughout the office, and the deployment of wireless access points to ensure reliable connectivity across the workspace. They also supplied, installed and fully tested UPS systems to both communications racks to provide power protection and business continuity.
(Photos: IPC Systems/Tateside)
RTVE selects Alfalite Neopix for its first broadcast deployment
Spain’s national public broadcaster RTVE has upgraded one of its main television production facilities in Madrid with the installation of two Alfalite Neopix 1.5 Matix AlfaCOB LED screens, marking the first-ever deployment of Neopix technology in a broadcast environment.
The installation comprises two custom LED displays: a 7 x 2-metre curved screen and a 9 x 1-metre secondary display, both designed to meet the requirements of daily television production. The screens will serve as the primary visual background for news, current affairs and interview-based programming. The project was delivered in collaboration with Datos Media Technologies, Alfalite’s technology partner.
This latest installation builds on a collaboration that began in 2021, when Alfalite first supplied LED technology to RTVE as part of a wider studio modernisation programme. In 2023, that programme included the deployment of 964 Alfalite ModularPix Pro 1.9 Orim LED modules across multiple RTVE production facilities in Madrid and regional centres, in a project also integrated by Datos Media Technologies.
(Photos: Alfalite)
Infiled delivers dynamic DOOH design on Dubai’s central transportation corridor
Infiled has supplied its MVmk2 Series outdoor LED technology for a prominent digital-out-of-home (DOOH) advertising location on Dubai’s main thoroughfare, delivering a large-format display engineered for high brightness and long-term stability in the demanding outdoor conditions.
The first digital screen at A Tower, Pixels World’s new location on Sheikh Zayed Road, the site is positioned for maximum visibility, with more than half a million people passing by every day and within walking distance of major landmarks. The installation features an Infiled MVmk2 LED display in 10.4 configuration (10.4 mm pixel pitch) and delivering up to 10,000 nits of brightness to ensure clear visuals - even in broad daylight - across a 30 x 10 m (300 sq m) canvas.
According to Pixels World, the decision to upgrade to the Infiled display was driven by reliability and performance concerns: the previous screen at the site was overheating frequently, causing power and resolution problems. With its fanless approach that removes the need for additional fans or AC, the MVmk2 Series addresses these concerns while supporting energy-efficient operation and lower maintenance costs over the long term.
From initial concept to full installation, the A Tower project took approximately twelve weeks. Infiled’s LED experts offered support from the outset to ensure the chosen spec matched the realities of the location.
(Photos: Infiled)
Christie Captiva 1DLP projectors selected for Planet Ice Bristol
Christie projectors are helping to power an immersive, interactive holiday experience at Planet Ice Bristol, England. At “Enchanted Christmas”, Christie partner Attraktion! installed ten Captiva DWU500S 1DLP ultra short throw projectors to power interactive content across the exhibit, mapping onto floors, ceilings, and scenic elements to immerse visitors in the spirit of the season.
The hour-long family attraction begins with guests checking in and receiving an elf alter ego, where they are briefed on their mission to save Christmas at the North Pole. The journey features interactive stations and games, opportunities to explore global festive traditions, songs from around the world, and encounters with a host of seasonal characters.
In the “Gift Express” room, Christie Captiva projectors transform three walls into a canvas where children can help catch flying gifts and wrap them, immersing participants in the festive mission. Meanwhile, in the “Twinkle Studio”, the projectors bring children’s creativity to life by displaying their decorated presents and ornaments as interactive projections around the cosy living room that respond to touch. The experience also features a snowball fight with Jack Frost, a sleigh ride with Santa, and concludes with a brief VR segment.
Attraktion! completed the technical build on the first floor above the venue's main ice pad, re-using the footprint from its prior “Jurassic Immersive Experience” and redesigning and recalibrating content for the Christmas storyline. The projectors are mounted unobtrusively above exhibits, projecting onto floors, scenic surfaces, and set pieces. Media servers handle playback, with Unity and Unreal Engine powering interactive elements alongside motion-tracking sensors.
(Photos: Christie Digital Systems/Immersium Experiences)
Hippotizer drives projection design at Helsinki’s Finnish National Theatre
The new Finnish National Theatre production “Muistopäivä” (Day of Remembrance) features a projection design driven by Hippotizer media servers. The play shines a light on Finnish citizens who defected to the Soviet Union in the 1930s, and vanished during the Stalinist purges. It blends documentary material, poetic theatricality, a stark installation-like stage design and a haunting visual world.
Working in collaboration with the National Archives of Finland and private collections, Finnish National Theatre’s head of lighting and video, Ville Virtanen, had access to more than 147 GB of historical material - letters, diaries, interrogation records, photographs, police files, and personal documents. “Only a fraction ended up on stage, but the material shaped everything”, he explains. “We wanted the audience to feel that these were real people - not abstract history. Using a Hippotizer Boreal+ MK2 enabled us to integrate archival textures, handwriting, and documents into a unified, layered visual world.”
The set, designed by Janne Vasama, is intentionally minimal yet visually striking: a glossy, blood-red plexiglass floor; a full-width descending black wall composed of sliding doors; a medium-grey upstage projection screen; and a black tulle between stage and audience for layered projection effects. “I was given free hands with the lighting and video design”, says Virtanen. “The set is essentially an empty stage, but the reflections from the ultra-glossy floor became so visually strong and expressive that they shaped the entire aesthetic. In fact, some rehearsal videos were removed and replaced simply with reflections - they were that powerful.”
The performance space presented significant challenges for projection mapping. A recently added projection “nook” in the back wall positioned the main projector too high, with auditorium lights casting shadows across the image. “To solve this, we hung a second projector above the stage, closer to the screen”, says Virtanen. On projection duties are an Epson EB-PU2216B with ELPM15 lens and a Panasonic DLP PT-DW6300K with ET-DLE080 lens. Virtanen is using multiple Hippotizer viewports per projector, and blended and keystone-aligned outputs for a seamless full-wall image.
“The Boreal+ MK2 made it possible to unify two very different projectors into one large, consistent canvas”, he says. Through MA3 integration, projector lamp and shutter control is routed via the Hippotizer in PJLink, with additional safety controls enabling operators to switch camera inputs instantly if wireless transmission were ever to fail.
A live wireless Sony PXW-Z90 camera, transmitted through a Teradek Bolt 500 Pro, feeds directly into the Hippotizer with almost no latency. “We delay the audio by only about 14.6 ms, which keeps picture and sound perfectly synchronized”, Virtanen says. “That low latency is essential, because almost all the live footage is shot somewhere other than the stage itself.”
After each performance, audiences exit through a foyer installation - currently designed using three projectors - where the names of 5,000 identified victims in 1938 are projected across the walls. “Muistopäivä” was written by Elli Salo and directed by Riikka Oksanen and premiered on November 19, 2025.
(Photos: Green Hippo)
Ryder Cup nutzt BIG-Digital-Kioske mit BrightSign-Playern
Der Ryder Cup ist das größte Mannschaftsevent im professionellen Herrengolf. Teams aus den USA und Europa treten vor über 200.000 Fans an drei Tagen gegeneinander an. Die Ausgabe 2025 fand im September auf dem Bethpage Black Course in Long Island, New York, statt.
Bisher wurden große LED-Videowände verwendet, um alle Ergebnisse, Faninformationen und Live-Übertragungen anzuzeigen. Es gab jedoch nur begrenzte interaktive Lösungen für Fans, die eine angemessene Höhe und Augenhöhe boten, um wichtige Informationen klar und zugänglich im Freien darzustellen.
Das Netzwerk tragbarer, doppelseitiger BIG-Digital-Kioske - ausgestattet mit Digital-Signage-Media-Playern von BrightSign - nutzte nun API-Integrationen mit der PGA of America, um Live-Ergebnisse, Abschlagszeiten/Paarungen und Spielerstandorte bereitzustellen. Jeder Kiosk verfügte über interaktive Elemente und QR-Codes zum Herunterladen von Inhalten, einschließlich der offiziellen Ryder Cup Mobile App.
Die Kioske boten den Zuschauern zudem praktische Informationen, etwa die Verbindung zu WLAN-Netzwerken und die Lage von Erste-Hilfe-Stationen, Ausgängen, Hospitality-Bereichen sowie Essens- und Getränkestationen. Zum Einsatz kamen Rolo-Outdoor-Werbetafeln sowie - in der PGA of America Members Lounge - freistehende Ruby-Indoor-4K-Touch-Kioske.
(Fotos: BIG Digital/BrightSign)
Philips MediaSuite TVs with integrated Google Cast installed at The Europe Hotel and Resort in Ireland
The Europe Hotel and Resort, a 5-star retreat in Killarney, Ireland, has selected PPDS’ Philips MediaSuite TVs with Google Cast to deliver tailored entertainment and seamless one touch access to favourite streaming platforms inside its 180 newly upgraded guest rooms and suites.
With a diverse customer base, each accustomed to their own preferences around how and when they choose to access their favourite media content - whether linear (terrestrial), catch up or streaming via an account - the hotel owners sought a future ready TV solution that could be tailored around the unique needs of every guest.
To achieve this, the team at The Europe Hotel and Resort turned to international hospitality technology integration specialist VDA Telkonet who specified 65’’ Philips MediaSuite TVs for the upgrade program. Primed for integration with the hotel’s existing technology architecture, the TVs fit the The Europe Hotel and Resort’s IPTV network and PMS, delivering on the personalised welcome and experience the team desired for its guests.
The Philips MediaSuite TVs also answered the brief on both size and functionality, bringing integrated Google Cast with no external hardware required, allowing guests to control their viewing experiences by accessing content via their preferred streaming accounts - such as Amazon Prime, Apple TV+, YouTube and more - on their phone.
In addition, MediaSuite TVs provide guests with access to the Google Play store and its apps, catering to every guest’s needs using the TV to access local area information, weather, news, games, music, and more. Philips MediaSuite TVs can receive regular software updates, allowing the hotel to benefit from latest features and functionality.
“One of the things we were looking for, first and foremost, was a larger TV with enhanced features, particularly the built-in casting facility”, says Michael Brennan, Managing Director at The Europe Hotel and Resort. “The MediaSuite TVs delivered on everything we needed for our guests: quality of picture, a new guest information system, built-in casting, and links to our property management system, as well.”
(Photos: PPDS)
Infiled enhances match-day experience with new LED displays at Stade Michel d’Ornano
French National league football club Stade Malherbe Caen recently upgraded its home venue, Stade Michel d’Ornano, with an LED display solution from Infiled, working in close collaboration with AV integration specialist Auvisys.
The upgrade marks a new chapter for the 20,000-capacity stadium, with digital signage replacing outdated static boards and transforming the experience for fans, sponsors and stadium operators alike. After more than fifteen years of service, the stadium’s previous LED screens had reached the end of their lifespan.
Rather than simply replacing like for like, the club’s management team used the opportunity to rethink their approach to digital signage. Their goals were clear: to provide an engaging visual platform for sponsors, enrich the fan experience, ensure long-term reliability in all weather conditions, and simplify day-to-day technical operations.
To achieve this, they turned to Auvisys, a French AV integrator known for its expertise in delivering large-scale installations. Together with Infiled, Auvisys designed and delivered a new solution built around Infiled’s MV Series, and specifically the ORMV P7.8 Max, an LED panel engineered for demanding outdoor environments.
A total of 72 square metres of LED was installed, with two large-format screens each measuring 8 by 4.5 metres. Offering a resolution of 1024 x 576 pixels and a brightness level of 8,000 nits, the new displays ensure visibility even in full daylight. The system’s modular design allowed for seamless integration into the stadium’s existing architecture, with bespoke mounting systems developed to secure the displays at optimal viewing heights.
The ORMV P7.8 Max’s IP65-rated enclosures offer protection against rain, dust and humidity, while front and rear access, along with redundant power and signal inputs, enable fast maintenance and minimise downtime during busy match schedules.
Installation was completed on schedule. Infiled’s French team remained closely involved throughout the process, supporting Auvisys from initial site assessment through to colour and brightness calibration, and final handover.
(Photos: Infiled)
