Sunday, 12 June 2016

OLED: Flattering flat panels

Article published in ProSystems Africa News magazine May/June 2016 edition.
Access on ProSystems Africa News Site

From the late twentieth century onwards we have all witnessed the revolution in TV set technology. Display screens have undergone a noteworthy evolution, in which square box television sets changed to wide rectangular ones, then to flat plasma displays although they weren’t actually flat but only labeled as such in reference to what they used to be. Plasma display panels (PDP) were succeeded by LCD technology which wasn’t much thinner than their predecessor. Only when the compact fluorescent light source got upgraded to LED, did the thickness reduce tremendously. For many years, these LED-lit, LCD panels were the flavour of the month and they increased in either brightness or resolution as new and improved models were released. With each of these technological breakthroughs our minds were blown away and the screens became more appealing every time. Even upgrades within existing technologies were impressive. The next level of display innovation has arrived and recently came to light through many well-known manufacturers at ISE2016. This new technology is known as Organic LED (Light Emitting Diode), more commonly abbreviated to OLED.

Organic LED as a display technology is nothing new. Many film and video production institutions have been experimenting with it for many years. However, it has only recently become available as residential and commercial displays. The OLED display screen is a light emitting technology and therefore doesn’t need a separate light source behind the screen as is required in LCD panels. They can thus be manufactured much thinner than ever before. LCD screens are classed as a transmissive technology, which essentially means that the LCD display merely transmits the light from a separate light source behind the LCD screen. Each pixel in the LCD panel then individually disperses the white light into the three primary RGB (Red, Green and Blue) colours at various intensities in order to display the correct mixture of light required to reproduce the image visible to the viewer. The architecture of these LCD panels requires a screen in front, as well as a light source behind it which adds to the thickness.

In contrast to conventional light sources which emit light by heating a filament until it glows while hot, LEDs are a semi-conducting, solid state light source that require far less energy to produce light. LEDs emit light when electrons are energised through specially treated solid materials that the LEDs are made of. Through this sub-atomic process, low voltage pulses initiate electron movement further away from its proton core and when the energy dissipates, the electron jolts to its original position. During this twitch, alternative energy is released in the form of light. Depending on the length of electron movement, different colours can be created based on the colour spectrum. Organic LEDs are similar to traditional LEDs but the light is produced by organic molecules. In this environment the term ‘organic’ refers to the molecules around the rings of atoms in carbon elements such as wood, plants, petroleum and diamonds. As mentioned above, OLED technology emits its own light and therefore does not require a separate light source. This enables the OLED display products to be extremely thin.

Plasma displays have finally reached the golden years and it has become increasingly difficult to purchase one. PDP is also an emissive technology as the ionized gasses inside the screen emit light. The plasma imaging technology has extremely high thermal emissions albeit very bright and therefore sufficient cooling components are required behind the plasma panel which adds to their thickness. Another downside for PDP is that they consume high levels of energy and the panels are physically very heavy to handle and install. PDP technology has each pixel subdivided into three segments. Each of these sub-pixels is filled with different colour (RGB) phosphor-coated cells which illuminate when energized. The three colours combined at 100% intensity, or variations thereof create the full colour spectrum that forms the image which the viewer can then experience. Plasma display panels have their benefits as well. Because of the panel emitting the light, the black areas were darker, delivering higher contrast between lit and unlit areas. LCD panels have a challenge in this regard as the light source at the back is present even when a pixel is blacked out. This results in black areas appearing dark grey instead of true black. Plasma displays are also capable of delivering very high brightness levels and can be produced in large sizes. However none of these benefits could save its obsolescence.

The imaging technology in OLED displays works by means of a layer of organic semiconductor between two electrodes which emits light in response to electric current. The OLED pixel composition works in a similar pattern to that of a plasma display with each pixel subdivided into three sub-pixels. These are known as RGB OLED displays and each segment contains an organic diode which produces one of the primary RGB colours. Certain manufacturers use WRGB (white, red, green and blue) technology where each pixel is divided into four sub-pixels instead of three. The fourth segment produces white light only, but in order to create white light, one requires a 100% mixture of each of the RGB colours. The architecture to achieve this white segment works somewhat differently to RGB OLED. 

In the case of WRGB OLED, each segment of the pixel is created by compressing different layers of red, green and blue diodes. This sandwich of materials then creates a pixel with four segments delivering white light. A colour filter is applied to the surface area of three of the white segments creating the required RGB light and the fourth segment is left clear for the white light to be visible.

This fourth sub-pixel makes the technology even more energy efficient as it requires only one LED to produce white instead of a combination of the RGB LEDs to deliver the same objective. This results in an energy saving of roughly 60%. Another benefit of having a fourth pure white sub-pixel is the increased brightness when used in conjunction with the remaining RGB LEDs to produce whiter images. OLED displays also offer a much higher contrast as black areas can be completely switched off - as in the case of plasma technology - compared to the light leakage experienced in LCD screens. Additional benefits of OLED are lower thermal emissions and because of the properties of the organic diodes, they can be applied to all kinds of surfaces that make it possible for OLED screens to be lighter, thinner, flexible (bendable and foldable) and generally more durable. OLEDs can also operate in a wider temperature field than older technologies.

OLED products are currently still very expensive but based on the statistics around the costs of developing and producing electronics, pricing can only go one way from here and hopefully, OLED displays will be part of every video project sooner than we can imagine.

Video over IP - the next wave.

Article published in ProSystems Africa News magazine Jan/Feb 2016 edition.

Access article on ProSystems Africa News Site


Traditional video distribution has come a long way since the days of analogue radio frequencies and higher resolution RGBHV signals.

The digital world brought us HD (High Definition) television, but with brand new technical challenges. HDMI (High Definition MultiMedia Interface) was introduced as a HD signal standard with a higher bandwidth requirement for more information transfer between source and sync (display) devices. Because of this, multi-media signals over copper cables are limited by distance. In addition, the HDMI equipment did not accommodate multiple source/multiple display architecture. Another challenge brought about by HDMI is HDCP (High-bandwidth Digital Content Protection). The latter is a control protocol embedded within the HDMI signal. Word on the street has it that Hollywood orchestrated this in an attempt to reduce the criminality around counterfeit copies sold on the black market, which costs content producers in dishonoured royalty obligations. HDCP ensures that both source and sync devices are conforming to a protocol – a digital handshake between licensed devices prohibiting the user from duplicating material.

HDMI soon became the norm in residential set-ups and later on in the professional audio-visual industry where many new technologies facilitated the distribution challenges. In professional video systems, one is more often than not faced with system architecture that requires video signals to reach greater distances than intended for HDMI’s design.Certain systems require video switching between multiple sources and others require multiple displays showing the same content. More advanced systems need a combination of both multiple source and multiple display devices with full routing flexibility. Many different technologies introduced solutions to some of these challenges. 

Balun (Balanced/Unbalanced) systems with transmit and receiver hardware on either side of a STP (shielded twisted pair) cable increased distribution distances but at an expense. More recently, HDMI optical fibre cables function in a similar style with transmit/receiver components integrated at both ends of optical fibre cables with power supplied by the HDMI ports. Fibre cables thus eliminate various components and instead provide a single point of failure with a neater installation appearance. The latest breakthrough in distribution technology is video distribution over IP (Internet Protocol). As more and more audio-visual systems integrate with IT systems, it was only a matter of time before IP networks were introduced to distribute HD multi-media signals. Technologies continue to develop with higher resolutions and current recording, distribution and display devices are capable of 4K UHD (Ultra-High Definition) signals with a resolution of 3840x2160 – four times that of Full HD(1920x1080). Video over IP has changed the architecture limitations of conventional video routing systems. 

Based on customer requirements, conventional systems select a frame to accommodate the configuration required before being populated with components. The negative side to this solution is that the frame size is established by either the number of inputs or outputs to be accommodated. This then results in the other side of the solution having to use the exact same frame even if only a fraction of the real estate is used. IP distribution systems utilise one multi-port switch with transmitters and receivers at both ends of the solution. Each transmitter will convert the HD signal to IP and send it to the IP switch. The receiving end will dictate an IP address where the required source is transmitted from and thus switched to the desired display. This design only requires an IP switch to accommodate the total number of connections (sources and displays) needed in a system. 

The greatest benefit of a video over IP system is that it utilises IT network infrastructure but in order to distribute uncompressed HD or UHD video, network infrastructure must be capable of 10Gb/s bandwidth. This might increase cost but will prepare networks for future IT requirements, assuming that the pace of development around the ‘internet of things’ remains the same. Certain video over IP systems will use video compression and thus require much lower bandwidth capabilities. This makes these systems more appealing because of an attractive bottom line. The question to ask is whether the objective of distributing true HD or UHD video is achieved. Another important factor to keep in mind is the HDCP protocol explained earlier. It might not be required when a local presentation is sent over a network as the content belongs to the presenter. However, the moment one decides to send a HD news broadcast or the latest release blockbuster over a network that is not HDCP enabled, the signal will be rejected by the display device, resulting in a ‘no show’. It is also of high importance to have the initial IT functionality still available on the IT network.


On a 10Gb/s system, each video endpoint is capable of delivering 1Gb/s allocation for internet only. Systems should also be capable of sending USB protocols over the same network and to make it more attractive to the AV professional. Control integration at each endpoint must be capable of delivering Infrared and RS232 protocols. Video over IP technologies are also readily available for the entertainment and staging industry where signal distribution has always been a challenge. System architecture is slightly different with a FOH (Front of House) sender unit – where source components connect – and a back stage distributor switch sending various commands and signals to relevant systems. Both components are linked by a single, two cable connection for redundancy. Some of the supported signals include audio and video as well as control protocols such as Dante and Artnet for lighting control – an important aspect of the live entertainment industry. Equipment is built for rugged on-the-road conditions and the architecture has revolutionised the requirements around live event set-up. In short: the future of video distribution lies with IP networking, with high enough bandwidth to accommodate all the components and technologies in today’s digital world. 

Laser Projectors in the spotlight

Article published in ProSystems Africa News magazine Sep/Oct 2015 edition.
Access article on ProSystems Africa News Site

There is a saucy new item on the projector menu called lamp-less laser projection. Not only is it dripping with solid state lighting goodness but it is also served with a large side order of benefits.

Laser projection, albeit topical, is not just the flavour of the day. With light-source life expectancy of up to 20 000 hours and almost no maintenance, the low cost of ownership is the main appeal. This makes for nearly 10 years of operation on an 8 hour daily, 5-day week basis. The advantages pile up, with higher brightness levels, higher contrast ratios and better colour and brightness uniformity. Also, low thermal emissions result in low noise due to the reduced cooling requirements. Along with a near-instant on/off feature, these projectors really tickle the taste buds and also if that is not enough, lamp-less technology results in an absence of mercury, which makes for a fully recyclable, environmentally friendly product.

Traditionally, projector selection has been based on resolution and brightness, irrespective of the light source. The imaging-technology did play a role but unless it was specified in a system design, it didn’t influence the decision process. Conventional projectors use UHP (Ultra High Performance) and HID (High-Intensity Discharge) lamps. These high-cost lamps operate at extremely high temperatures and offer on average only 2000 to 4000 lamp hours depending on the projection conditions. Such limitations just accentuate the giant leap forward achieved by laser technology. With projector imaging engines being light-source agnostic, laser is an added advantage to current DLP (Digital Light Processing), 3-LCD (Liquid Crystal Display) and LCoS (Liquid Crystal on Silicon) technologies. Laser – along with LED and OLED – is classified as Solid State Lighting (SSL) and utilises a collection of semi-conductors to convert electrical energy into artificial light as opposed to traditional bulbs with energised filaments and gasses (fluorescent and incandescent lamps). The benefits of SSL technology include life longevity and high-quality light intensity sustained over time. It’s also durable, compact and energy efficient. Laser light systems use low intensity beam-expanded laser and can be divided into three sub-technologies namely, RGB laser, laser phosphor and hybrid laser. RGB laser systems have three primary colour laser sources: Red, Green and Blue laser light in distinctive frequencies is delivered directly onto a DMD (Digital Micro-mirror Device) or LCD imaging chip. RGB laser systems produce a very bright image with extra wide colour gamut and brightness uniformity. Unfortunately, they are bulky and expensive, but are ideal for the digital cinema market. 

Laser phosphor systems optimise one blue laser beam onto a coated phosphor surface which excites a variety of primary colours that are processed to create a full colour spectrum image through a 3-LCD or colour-wheel DLP engine. Great colours, with a fairly compact design and high brightness are all positives. Hybrid laser projectors use a combination of laser and LED light to enhance certain primary colours. Contrary to this enhanced colour technology, it results in a narrower colour gamut and struggles to reproduce some colours in the spectrum accurately. Lower brightness is another limitation. Laser projection is a game changer with an extensive list of benefits which cannot be ignored. It brings a new dimension to the projector market and will remain in the limelight for quite some time.

Review: WOW! WHAT A SHOW! MEDIATECH AFRICA 2013

Review published in Promag AV magazine Aug 2013 edition.

Access review on Promag magazine's site

Access review on Electrosonic's Pro AV blog


WOW! WHAT A SHOW! MEDIATECH AFRICA 2013

by Abrie du Plooy - NEC & GALAXY Product Manager
es stand
One thing that cannot be taken away from the audiovisual industry is our flashy side. When we show off, we really show off. And at Mediatech 2013 we remained true to our reputation.
It was as if all the exhibitors secretly decided to go extra 'Wow' this year. A friend of mine paid a visit to see 'what it is we really do'. As she stared in awe at the smoke-filled Coca Cola Dome, ablaze with light beams, laser lights and LED displays, she gasped: "Wow, this is not the type of expo I am used to". That's exactly how it was - it was WOW! The general sense of this year's expo was a markedly bigger presence by the staging & events industry, as well as by the display industry. It was not overpowered by broadcasting folk who seemed to monopolize the attention in previous years. It felt more balanced and all round, every participant played an important role in the overall extravaganza.
z group
The team at Electrosonic SA didn't stand back either and put on its boxing gloves for this bout. The Entertainment Lighting and AV Systems divisions teamed up and the planning started as early as February. Everything was done properly with 3D stand designs and many custom ideas for the big 3 show days in July. The joint effort won Electrosonic SA a Silver Mediatech Stand Award.
Across our stand we accentuated a collection of technologies pertaining to various sectors of the audio-visual industry. Our Lighting division, headed by Bruce Schwartz, filled their section of the stand – as well as every single empty spot other than their own – with the latest lighting innovations, and showed why they are so respected in the industry.
"At Mediatech 2013 we decided to showcase Electrosonic SA as a whole: not as separate lighting and systems divisions. Our stand combined all these aspects as there is a cross-pollination of our products with our clients. So from that point alone we regard Mediatech 2013 as a particularly successful event. We decided to set up a separate area to showcase Martin Professional's Viper range of fixtures in a dedicated space designed to bring out the best in the fixtures optics. We were also privileged to have both Tom Etra from Green Hippo (UK) and Andre Bragard-De Naeyer from ADB (Belgium) on the stand. Because we represent them, Green Hippo also allowed us to set up a captivating 3D Mapping demonstration in the Green Hippo breakaway room. This was definitely a stand-out feature of Mediatech 2013. The quality of Mediatech 2013 was world class and completely on par with European shows like PLASA and Prolight + Sound in Frankfurt. I am sure visitors to the Expo left with lots of valuable information", said Bruce.
bruces
green hippo demo
renier and tom
Opposite the Lighting desks, our AV Systems division, made their mark with Kramer Electronics and Sierra Video products filling an entire 6 metre demonstration area. Jason Johnstone, the Kramer Product Manager had this to say about the show: "Mediatech is always a great way to network with dealers and showcase some of the latest Kramer products. I think one of the biggest benefits is making cross-border contact into Southern Africa. This year we were able to showcase Kramer Electronics' wireless HDMI products which have been in demand lately. We also had our popular SID family on show; a product which won and award for Kramer at InfoComm. In addition to that, Kramer Electronics increased their HDBaseT range of products, as many screen / projector manufacturers are now adding HDBaseT as a standard on their equipment. Sierra Video, a sister company of Kramer Electronics also had space on our shelves; their products included Multiviewers and routers which are aimed at the broadcast market".
IMG 3081
On the display side of things, we demonstrated both our Galaxy Video Wall processors and numerous NEC displays. The baby Galaxy - the X4 - created a very attractive image, spread over a 'smarty box' of displays. The X4 allows users to scale, move and rotate separate quadrants of an image across four individual displays to create a sexy video wall. We utilized 2 x NEC X461S', a 29" dual desktop monitor and a 23" NEC display, in concert to form a very eye-catching display feature, aimed at retail environments. The Galaxy Pro lived up to its name and delivered leading functionality with input and signal management as well as scaling to present a multi-window configuration across four narrow bezel NEC X463UN 46" video wall displays, which in turn had many mouths watering with the crisp Full HD images and high contrast delivered by a full array backlit LED light source. Both products offer 24/7 warranties and built-in redundancy to create an ideal solution for mission critical control rooms and public display requirements. An added Crestron touch panel and processor created a graphic dashboard for the user to orchestrate the required demands.
As far as projectors are concerned, we demonstrated NEC's Full HD PA500U with 5000 ANSI lumens, the PX750U, with its beastlike 7500 ANSI lumens and a smaller UM280Wi ultra-short throw projector with the eBeam add-on to turn any surface into an interactive display, which sparked much interest from representatives from schools and universities.
IMG 3071
andre bruce
As we all know, no projector can fully deliver a quality image without a projection screen at the other end, and Elite Screens, one of the quality products in our arsenal, does just that. Elite Screens accommodate various screen requirements, with a pricing structure to cater for all. The Elite Product Manager, Joel Davies and Linda Swart (Sales & Support) handled the division's area on the stand. "The Elite Screens portion of the Electrosonic SA stand was well attended from far and wide by all sectors of the Mediatech visitor spectrum: Broadcasters, Entertainment & Events companies, and Educational facilities. With our new clients on board, Elite Screens will soon be conquering the wider African markets though visibility and availability. Of the items on display were the line of staging screens, which enjoyed the most attention as well as the various material options across the range of fixed frame and motorised screens," said Linda.
IMG 3155
The rest of the expo floor was covered with demos from many old friends, as well as the odd foe, as competitive industries must have. Mediatech 2013 had much to offer the thousands of industry focused visitors, many of who had travelled across the globe to participate. One of the highlights was 'The Museum', where one could view audiovisual equipment from many moons ago, without which we would not have been where we are today.
IMG 3136
Mediatech 2013 was an overall success and the Electrosonic SA team is very happy with its efforts, and the orders which started rolling in very soon afterwards. Eugene Coetzee, one of the captains of our ship, gave his opinion, "Electrosonic SA's booth at Mediatech 2013 was more than double the size of our booth in 2011. This gave us the opportunity to show off more products and solutions than before. One of the very important design goals of our booth was that it should be easy for visitors to flow through our booth, and we achieved this. Our booth was divided into 3 parts, with an aisle in the middle so we had visitor access from three aisles! I think this really worked well. Our booth was well attended by both existing and prospective clients. It was also a great opportunity to see so many of our clients and integrators in the space of three days. Something that stood out for me in particular when looking at the show as a whole was that exhibitors put in a great effort with the design of their booths. It was on international standard!"
Electrosonic SA would like to use this opportunity to thank each and every one of our stakeholders who contributed and visited our stand. We thank you for your input that resulted in our success, as well as to congratulate the organisers for an event that was well put together. We cannot wait for 2015.

Tutorial: HD BaseT - What you need to know

Tutorial published in Promag AV magazine Sep 2014 edition.

Access tutorial on Promag Magazine's site
Access tutorial on Electrosonic SA Pro AV blog

HDBASET – WHAT YOU NEED TO KNOW

HDBaseT – WHAT YOU NEED TO KNOW
By Abrie du Plooy (Electrosonic SA’s NEC and GALAXY Product Manager)
Recently Kramer Electronics joined forces with Valens, the brains behind HDBaseT. The HDBaseT technology was originally developed by Valens, who formed an HDBaseT alliance (with Samsung Electronics, Sony Pictures Entertainment, and LG Electronics) to contribute to the development of the technology.
Valens is situated just around the corner from Kramer Electronics, and Kramer was hugely involved in the development of the technology, as were some big AV brands. Many AV brands have adapted their product specifications to be HDBaseT compliant.
Electrosonic SA invited Nick Mawer (from Kramer Electronics, UK) and Eli Ofek (from Valens) to tell us more about this amazing technology. What follows is a summary of their expert explanations.
What is HDBaseT?
HDBaseT is the new standard for uncompressed Digital Connectivity. It utilises a 5Play system: a signal that combines 5 elements onto a single Cat5 cable over 100 meters.
The 5 Play Components are:
Video
  • Full HD/3D 7 2K/4K uncompressed video
  • Supports all HDMI 1.4 standards
  • Multi-streaming Capability
  • CEC, EDID, HDCP and more supported
  • Highest video quality with Zero Latency
Audio
  • Digital Audio directly from HDMI chipset
  • All standards are supported, e.g. Dolby Digital, DTS, TrueHD, Dolby Pro Logic, Liz 7.1 & 9.1 and more.
Ethernet
  • Standard 100BaseT Ethernet supported
  • Fall back to standard Ethernet mode
Control
  • Dedicated Control Channel
  • Consumer Electronic Controls (CEC), RS-232, USB and Infrared supported
Power
  • Transmission of up to 100W of DC power
  • Can Power devices such as 60" displays
  • In line with Energy-Star standard
  • No power outlet required
These are the different specification versions:
Spec 1.0
Point to point
  • Integrated support for a single HDMI stream and 100Mb
Ethernet
  • CIR/UART support via continuous oversampling
  • Active/stand-by modes of operation (LPPF1/LPPF2)
Spec 1.1
  • Supports power over HDBaseT (PoH)
Spec 2.0
  • Switch/Network/Control-Point definitions
  • Multi-Stream support
  • USB 2.0, SP-Dif, IR/UART integrated support
  • Flexible A-Symmetric/Partial Link configurations
In short HDBaseT allows you to install a display device 100m from a source device and connect a single cable to send HD signals and power.
Why HDBaseT?
HDBaseT is an approved standard that has been adopted by many players in the industry. It's an elegant, single-cable connection with zero cable clutter. HDBaseT eliminates many multiple cable and cable distance challenges. HDBaseT can be distributed in any AV solution, whether residential, corporate, or hospitality, with a simple HDBaseT network switch - and one does not need separate power. It's especially popular for video distribution in various modes of transport applications. HDBaseT can be used as a single wire system point-to-point, or a multi-connection system. HDBaseT can be daisy chained between devices, with up to 100M between displays.

What is the next step?Firstly, Look for the HDBaseT Logo. Many of the industry's leading brands have already adopted the technology, including Kramer Electronics, Crestron and NEC. Research the supplier's range of technologies and select a product that provides the solution. Read the vendor's collaterals for any disclaimers regarding required functionality. And lastly, test the products in a real-life working situation.
So what are you waiting for?
Electrosonic SA has many products in our arsenal that are already prepared for HDBaseT transmission and decoding. Should you need more information call our office and speak to one of our product managers.

Tutorial: Stay Away from XGA

Tutorial published in Promag AV magazine Sep 2014 edition.

Access tutorial on Promag Magazine's site
Access tutorial on Electrosonic SA Pro AV Blog


STAY AWAY FROM XGA!

By Abrie du Plooy (Electrosonic SA’s NEC and GALAXY Product Manager)
Why you should think twice before investing in XGA projector technology.
Today’s marketplace offers various viable audio-visual solutions catering specific and general requirements. Different technologies, features, warrantees and many more attributes make it all the more difficult to purchase the correct product. It offers a Smartie box full of colours to produce a canvas that sometimes only requires black and white. Options are great to have, as long as one is well informed as to which are key and which aren’t when designing a solution. When it comes to projectors, and especially high-brightness installation projectors, decisions are often mistakenly based on ANSI Lumens and the depth of one’s pocket. As a result, an important feature such as resolution is easily overlooked. 
Resolution is very important in current projection and video technology. Not only does it define image quality in line with current High Definition (HD) standards, but also determines screen shapes.
Screen ratios pertain to old or new technologies. In earlier days, the standard ratio of screens was 4:3 - almost square in shape. Lately with HD standards, images are ‘Wide Screen’, with a 16:9 or 16:10 screen ratio. These images appear as a more rectangular shape.
Aspect Ratio:
The ‘Aspect Ratio’ of a display refers to the width and height of said display. The first digit indicates the width in unspecified units and the second digit then resembles the height in a number of equal units. Standard Definition was broadcast in a 4:3 screen ratio – an image that is 4 units wide and 3 units high. Previously Standard Definition was all that was available. PAL TV (768x576) was the broadcast video standard and computer displays had VGA (640x480), SVGA (800x600) and XGA (1024x768) resolutions. Even though there are many more resolution standards, these were all 4:3 aspect ratios and thus selecting a correct aspect ratio wasn’t a challenge. More recently, television manufacturers produced ‘Wide Screen’ displays with many different resolutions – some quite strange. Most were experimental and not relevant in the long run, but nonetheless, ‘Wide Screen’ television was introduced … and it was sexy!
When consumer video quality elevated to HD, the entire picture changed – literally. Displays were produced in 1366x768 formats as 16:9 aspect ratio was the HD standard. The ‘HD Ready’ resolution offered 1280x720 (also known as 720p). This was soon followed by ‘Full HD’ displays which offered 1920x1080 (known as 1080p or 1080i). The big difference with HD however, was the shape of the display. The ‘Wide Screen’ standard was liked and accepted everywhere as it is a truer approximation of human vision. With two eyes next to each other, our natural view is wider than it is high. Certain directors shoot their movies in a 21:9 screen ratio to emphasize this. However, HD standards stuck to 16:9. Computer manufacturers took the commercial side to this a tad further and developed a 16:10 display which is mostly available in 1280x800 and 1920x1200 – both of these are HD.


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Which Technology to choose?
The answer to this is easy. By maintaining current technology levels you will automatically future-proof the installation and also avoid disappointment. Acquire a projector that can support HD and all presentations should be problem-free. In some cases you might need to stick to XGA, just make sure that it meets your particular requirements. Among the HD options there are a further 2 choices, ie. 16:9 or 16:10? The 16:9 Aspect Ratio is more often focussed on video images where 16:10 is more common for data projections such as documents or spreadsheets.

Pricing, Resolution and Brightness
HD projectors can be expensive. Projector cost is inflated more by the resolution than by the brightness. High brightness units with low resolution could seem very attractively priced, but you could be fooling yourself. Make sure that a more affordable unit doesn’t claim its price with a lower quality image.

The projector offering from NEC only offers 4 different resolutions:
  • XGA 1024x768 (4:3)
  • WXGA 1280x800 (16:10)
  • ‘FULL HD’ 1920x1080 (16:9)
  • WUXGA 1920x1200 (16:10)
With these resolutions available, different brightness levels are offered from 2500 ANSI Lumens all the way up to 13 500 ANSI Lumens. In industries where high brightness projectors are required, the cost of these could easily spiral out of control. Certain manufacturers promote high brightness projectors at a relatively good price without mentioning that its native resolution is only XGA. They would assure you that it is capable of accepting ‘Full HD’ signals. Everything will seem A–OK until you send a ‘Full HD’ image to the projector and only then realize that the image quality is reduced by about 45%.
So Why Not XGA?
Scan Converting (Down-Scaling)
If a ‘Full HD’ camera sends an image (with a width of 1920 pixels) to an XGA projector, then the image needs to be compressed to fit into the 1024 available pixels. The XGA projector simply cannot display an image wider than that. In order to retain the right shape, the same then applies to the height which is also compressed to stay in relation to the width. As a result of this, the initial ‘Full HD’ image is reduced to a mere 1024x576. It is even below ‘HD Ready’ standard (1280x720). Thus, the very expensive ‘Full HD’ camera with 2 Mega Pixel capture (1920x1080) only displays 54% of its original image. The big investment into HD source equipment is being flushed down the drain by using the wrong projector.

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FAQs

But XGA is much cheaper and sometimes equally bright?Yes it is, and it will be. Because the resolution is lower than HD and because it’s old technology, it will be substantially less expensive than current technologies.


But it’s ‘Full HD’ compatible?Yes it is. In fact, it has to be in order to survive amongst current competitive technologies. It is able to accept HD, but it cannot display HD resolution.

But the horizontal 768 lines can accommodate ‘HD Ready’ (720p)?
Yes it can, but the 1024 width is narrower than the 1280 width of a 720p signal. So the picture will be compressed in width and in height until it fits.
All in all, one needs to keep the entire display chain the same. If one starts off with HD video, it is important to ensure that all cables and equipment in the distribution and display thereof, are HD-rated. This is necessary to deliver and display the HD image at the end.
For advice on projector and screen selection, please feel free to contact Abrie@electrosonic.co.za.

Review: IFSEC Security Expo 2012

Review published in Promag AV magazine Oct 2012 edition.

Access review on Electrosonic SA Promag site

ABRIE DU PLOOY CHECKS OUT THE IFSEC SECURITY SHOW

ifsec
As soon as I learnt that Electrosonic SA would be exhibiting at the IFSEC security expo I made no secret about my lack of enthusiasm. The only thing I looked forward to was the skimpily clad models who roam the expo floor marketing products.

I openly admit that I was wrong. The expo was extremely well organised, and the crowd that attended was industry-focused. One tends to forget the size of the security industry in Southern Africa and the enormous number of exhibitors and audience members at the expo was a timely reminder. The show featured 204 local and international exhibitors offering a wide array of security products and services: everything from access control to sniffer dog training. Exhibitors from far and wide demonstrated their products and solutions and more than 6000 visitors arrived to see what was available.
Electrosonic SA's contribution to IFSEC was focused on control room environments and large display requirements. We displayed and demonstrated 3 different high end products. For the front end or display side of our video wall we used the NEC X463UN 46" video wall monitors. These monitors are capable of displaying Full HD (1920x1080) images and offer a full-array, back-lit LED light source to display a crisp, high-contrast picture.
For the back-bone of the video wall solution we demonstrated our Galaxy Video Wall Processor. The processor takes care of all source and content management and can route any source in any format to any one or more of the displays. The processor is also capable of creating multiple new windows of any size, and offers unlimited choice in the arrangement of the total display area of the video wall.
The third product that we demonstrated was the Crestron control system, which consists of a Crestron MC3 processor and a Crestron TPMC-9 touch panel. The Crestron system controlled the Video-Wall and, although it's not required in the solution, it offers a dashboard to the user whereby different window and display pre-sets can be programmed and stored for ease of use.
In general the show was very successful and Electrosonic SA gained great exposure for its quality products; leads were collected and will be validated. Electrosonic SA does not deal with end-users and does not offer any installation services, however we do pass validated leads on to relevant companies in our dealer base.
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Saturday, 11 June 2016

About Me

I am a Product Manager for Electrosonic SA in our Northcliff office in Johannesburg. My portfolio includes NEC large format display and projection products, Galaxy video wall processing and ZeeVee UHD video distribution over high bandwidth IP networks.

I have a passion for the audiovisual industry. In this blog I will share my views on AV technologies, best practice solutions as well as my experiences at industry events. From time to time I contribute to industry publications such as Electrosonic's Promag and ProSystems Africa News, which I will republish here.

Disclaimer: All content published on this blog are based on my personal views, research and experiences and do not represent the views of my employer and/or any of the above mentioned publications.