Objects and stories

Museums are places were objects and stories converge to introduce visitors to different ways of life, history, art and culture. In the last half century, AV technology has started to play an important role in this environment, providing new ways of engaging with the audience. Geny Caloisi reports.

InAVate, environments - Objects and stories

InAVate, environments – Objects and stories

Museums collect, document, preserve and display objects. But this is not all they are about. A museum also tells a story. The layout and type of technology used, depends on the objective of the museum – is it a local museum; is it for tourists; is it object-heavy or is its narrative built just using audiovisual resources?

It’s also important to distinguish between traditional museums (scientific, historical and cultural), which are usually owned by the government or public organisations, and the private corporate and brand marketing-driven museums. Looking at the trends and technologies in this market, it’s clear that one size doesn’t fit all.

Follow this link to see the PDF: Objects and stories Sep12

Making marketing more engaging: In-Store Show

If I had to define in a sentence what the In-Store Show pavilion at the Marketing Week Live event was about, I would say it mostly presented solutions to make marketing more engaging.

CDS 46" trasnparent display box and 4.3" TFT shelf edge displays

In terms of technology, it was very similar to what we already saw this year at Screenmedia Expo. Large thin-vessel HD displays, some LED, picture frame-type screens, a few holograms, 3D and transparent displays.

For instance, Crystal Display Systems (CDS) had already introduced its 22″ (0.6m) transparent showcase box at Screenmedia Expo. The ClearVue 220 allows the combination of a real product displayed in a presentation box and graphics or video content played in front on it, on a transparent display. However, what was new at this show was CDS’s 46″ (1.2m) box, also plug-and-play, but more impressive. Other companies showing transparent displays were Media Zest and Stratacache, with a large drinks dispenser fridge with a transparent screen.

Pixel Project QR code for 4.3″ shelf edge screen

Something that caught my eye in terms of screen technology was the use of 4.3″ (11cm) TFT LCD displays used for shelf-edge applications or as mini video displays for counter advertising – or even inside a card. The screen is more or less the size of a smartphone screen, but is lighter. The resolution in that size is very good and the screens can display individual or joined content. The only fault, especially if the screens are used next to each other, is that they have quite a thick frame so the image is not continuous.

The mini displays inside cards were designed by Display Innovations and have a video that is activated when the card is opened, and that can play for the battery’s life of three hours. Pixel Inspiration has combined its version of digital shelf-edge display with a QR code reader, so the screens play content continuously until a QR code is scanned, which triggers information on the product to pop up on the screen.

CDS was also demonstrating its shelf-edge display. “The displays work like a desktop extension,” explains managing director Chris Bartram. “You can decide what you put on each screen or run an image across several. It’s a PC interface so you can use any media player from signagelive, Scala or any other. The maximum number of TFT 4.3′ (1.3m) screens you can put in one line is eleven, but we can daisy-chain them to link together up to 72 displays.”

Christie MicrTiles at Saville AV stand

One particular product that was being showcased by many companies was Christie’s MicroTiles. The versatile cubic rear projection display was present in at least six different stands, and not just on the In-Store Show pavilion, but the Live Marketing area, which was for companies offering exhibition stands, as well. Equinox Design had the largest Christie MicroTiles display, a five by eight array. The show’s entrance hall had a MicroTiles display, as did system integrator Saville Audiovisual, distributor Aztec and content designer Beaver Group, to name but a few.

TED - H Squared

An innovative store concept which attracted crowds was the one presented by H Squared. Its name was TED, the happy machine. TED stands for Technology Engagement Device, and combined screens and mobile technology. Visitors were handed a card to fill in, or by scanning a QR code they were taken to a website. Here they were given a virtual scratch card to reveal whether they had won, and what time they needed to go to the stand to get their ‘free stuff’. TED was a videowall comprised of several screens with videos of eyes and mouths. At the time arranged for people to come and collect their prizes, TED came alive as an interactive screen, seeing the bystanders (via a webcam) and talking to them. Winners needed to open a small box to find their goodies.

IBM future store

But how can these solutions work together? The entrance of the In-Store Show had concept stands, showing what the future of retail can be. I must say I didn’t think much of these. IBM had created a ‘shoe shop fusion’, with screens on the shop window showing tweets and live models parading in the window as if it were a catwalk. The twist, and where IBM technology came in, was that the public tweeted what shoes they wanted to see modelled. IBM proposes using a multi-channel experience to engage customers at various levels and feedback to the retailer through its analytics.

The show covered all areas of marketing and communications, and was worth a visit.

First published in Output Magazine

Moscow Digital Signage conference attracts 300 people

Russia’s digital signage leaders, DigiSky and Adissy, have organised for a second consecutive year the “Digital Signage – no alternative!” conference. Bringing together more than 300 people from Europe, Moscow, Russian regions and Commenwealth of Independant States (CIS) countries, the two days conference was held at the Korston Hotel in Moscow (May31st-June1st).

After last year’s success, DigiSky and Adissy realised the importance of providing a space to debate and learn about this rapidly growing industry, and decided to extend the conference to two days.

“Digital Signage – no alternative!” had an interesting agenda with speakers from Russian and other European countries, talking about the state of the market, technical advances and business development. Some of the companies sharing their knowledge included: Microsoft, LG, Scala, Harris, AOpen and Intel.

The conference invited end users and media companies to familirise themselves with what Digital Out Of Home networks are, how they can be used, what benefits they bring and how to find the right solution for their business.

It also included an exhibition area, where attendees could see digital signage demos first hand.  The demo-zone showcased innovations such as gesture control; touch-sensors; integration with social media; and the use of Near Field Communication (NFC).

DigiSky presented a complex media extension for business. The demo was a combo of music, digital signage and thematic content – ideal for brands that want  to offer their clients an unforgettable shopping experience.

Natalya Vorontsova, Business Development Manager of company AOpen, mentioned, that the conference was conducted at the highest level. “The Russian market already knows and understands what Digital Signage is. It is time to make the most of its potential and get total efficiency from the made investments. The conference gave knowledge and ideas for how to achieve it”.

Alain Bodenstedt, Regional Executive Director of Scala, said “The conference was a great opportunity to meet a lot of interesting people and companies, and strengthen our ties and position in this market.” He pointed out that although some of Scala’s competitors are becoming less active in this region, the company sees great room for growth. “Thanks to our pilot product Scala5, we are able to meet the customers` requirements to a successful project”.

The Imperative Group Managing Director Chris Heap highlighted how well the conference had been organised, with a wide range of the participants and a nice balance between the main program, business communication and informal networking.

Harris’ Maxim Sverdlov, Head of the Key Account Management Department put her name down for next year’s conference already, saying: “The event was excellent. In future I would like to hear more reports from end users and it might be a good idea to have some round tables for discussions.”

Alexander Pivovarov, Adissy Director thanked sponsors: LG, Scala, Microsoft, AOpen, Harris, Intel, QMatic, IAdea, Tricolor and Croc. He also said that the help of its partners Dismart, Qarta, iFree and 3M was much appreciated. “Next year we will make it even more interesting, bigger and better.”

Vladimir Kozlov, Director of DigiSky, concluded: “Only two years old, but this conference is already proving a success and a must attend event in Russia. We will continue with its development, so next year come and join the leaders.”

First published in Output Magazine

Screeen Media Expo on wheels

This year three companies drove into Earls Court at Screen Media Expo: Eyetease Media, Verifone and Phillips.

Philips Public Signage, AOpen and NDS, truck

Philips Public Signage, had partnered with AOpen and NDS, and parked a big lorry in the middle of the hall. The displays were featured inside and outside the vehicle and showed from glasses-less 3D displays to touchscreen solutions, retail applications and way-finding.

An interesting demo on the truck, was from software company NetDisplay, with its new digital signage software product PADS4. PADS4 enables the design, schedule and distribution of any type of content to any screens. The Microsoft .NET system, is connected to a database that allows users to include real-time data to their content.

Eyetease and VeriFone didn’t use their ‘wheels’ to show integrated solutions for other markets, such as hospitality or retail. Their proposition is indeed vehicles with screens. In the case of Eyetease, with its iTaxitop, the screen is on the roof of the vehicle. VeriFone instead opts for an in-car screen and this year it also showed a Sky News wrap promoting its latest deal with the broadcaster.

iTaxitop’s double sided mobile digital advertising screen, was this year 20% larger than last year (where it featured on top of a Mini instead of a black cab) and had 1200 candelas instead to the 1000 from V1.0. The screens are LED backlit LCDs and consume just 1.2 to 1.5 watts to the gallon, not being a real burden for the vehicle’s battery.

Richard Corbett, CEO EyeTease and Geny Caloisi

The on-roof screen takes only a couple of hours to mount and once in-situ, it is secure and can cannot be taken away. Eyetease Media’s scheduling software and GPS connectivity means that an advertising campaign can be quickly deployed onto thousands of iTaxitops in seconds using 3G and 4G mobile technology. The system supports all content formats, including static imagery and video.

VeriFone, a company well known for its secure electronic payment technologies, is growing its networks of taxis that use its credit card system and screens. The company’s 15-inch LCD in-taxi screen is part of VeriFone Digital Network (VNET) Media. The solution, called TaxiTV, combines advertising, local information and now also 15 minutes loops of Sky News. VNET has geotargeting technology, by which advertisers can send cluster messaging around a specific neighbourhood, event, conference or key store locations.

“We have over 4000 cabs now with our credit card systems and over 2500 cars with media screens,” commented Chris Polos vice president, US Media Sales, who was at the show.

Chris Polos, VP Verifone and Geny Caloisi

Near Field Communication was a special topic at this year’s Screnmedia Expo and VeriFone is not lagging behind in this. The company was recently awarded “Best Contactless/NFC Infrastructure” for its London taxi operations at the 2012 Contactless Intelligence Contactless & Mobile Awards. Over the past 12 months, Taxis fitted with VeriFone solution offered its passengers the option to pay for their journey with a “tap and go” contactless card if they have one and the fare is less than £15.

Article first published in Output Magazine.

JedFam Group come to BroadSign’s rescue

For the past three months, the weather forecast looked quite stormy for BroadSign International (BSI), after it filed for protection under Chapter 11 of the United States Bankruptcy Code in the United States Bankruptcy Court for the District of Delaware. But now, the company, which provides software-as-a-service for digital signage networks, claims that ‘it is poised to extend its market dominance as a balanced and striving global enterprise,’ according to its press release.

The Bankruptcy Court recently approved a sale of BSI’s assets to JedFam, and BSI will emerge from bankruptcy as BroadSign International, LLC. and Brian Dusho will remain as Chief Executive Officer of the digital signage software provider.

“Today marks the start of a new chapter for BroadSign,” said Brian Dusho. “Thanks to widespread support from our lenders, customers, partners and friends, our operations have remained robust through this process.” Dusho reported that BroadSign has experienced unprecedented growth in recent months. “I am especially grateful to our employees around the world whose continued hard work and focus have been instrumental in enabling us to reach this achievement and who will be important contributors to our future success,” he said.

First published on Output Magazine

Samsung says: Competition in the Security Market is at a High


Simon Shawley - Samsung

For the past four years Samsung Techwin has been focusing in European market. Since 2008 it has a head office in the UK with sales and support offices across Europe. In January 2010 the security business of Samsung Electronics was transferred to Samsung to create a single Samsung security product offering.

Samsung has a broad product portfolio, encompassing CCTV, IP & Network, Access Control, Door Entry and Intruder Detection.

Simon Shawley, General Manager, UK and Ireland for Samsung Techwin Europe Limited talked to Risk UK about the current state of the industry and its evolution. Shawley has worked within the security industry for over 20 years and is the driving force behind a team of seasoned professionals who have been instrumental in Samsung becoming one of Europe’s fastest growing security brands.

Q: What are your predictions for the next twelve months in the security sector?

A: I can safely predict that the next 12 months and beyond should be very good for Risk UK’s readers, the majority of whom are end- users, as there is certainly no shortage of manufacturers wishing to compete  for their business.  At a time when security budgets may be under pressure, it is very good news that this competition between manufacturers is pushing down the cost of security equipment. Equally importantly, recent advances in technology, such as intelligent video analytics and the availability of Full HD cameras, means that end-users can now achieve significantly more from their investment in security.

Q: At IFSEC this year Samsung is focusing on education, specifically getting people up to speed on IP. How much of a problem is this knowledge gap and what are its effects?

A: For every installer or system integrator who is knowledgeable about network based security systems, there are still many more who do not yet know what questions to ask when they have a requirement to specify an IP network based solution. Until recently, Video over IP was only perceived as a solution for large projects but we are now seeing the technology increasingly utilised in small to medium sized installations. As a major stakeholder in the security industry, we feel it is essential that we share our knowledge and expertise in respect of IP network solutions and technologies with our existing and potential customers. IFSEC will give us the opportunity to do this but we will also be conducting training courses throughout the year.

Q: Do you think that new security technology hits the market too often for end users to keep up? Does this contribute to the knowledge gap problem?

A: Much of the technology which has been introduced by the security industry has its origins in the massive investment that companies like Samsung have made in consumer products. Other technological advances have come about as a result of a response to evolving customers’ requirements. Whatever the reason, the pace at which new technology has been introduced is not generally the problem. Any difficulties have usually come because of the lack of training on how to implement any new technology and a misunderstanding of what can be achieved from it. Video analytics is a very good example of this. When first launched some years back, stand-alone video analytics software was oversold and many users became disillusioned because it did not meet their expectations.

Q: What would you say are the other big issues/concerns you are seeing from customers at the moment?

A: In a tough economic climate customers are understandably looking for exceptional ‘value’. For a leading brand such as Samsung to succeed, we recognise that it is not therefore sufficient just to offer competitively priced ‘Best in Class’ products. They have to be backed up with the highest levels of pre and post sales support and that includes free technical support, a free system design service to help customers choose the correct combination of products for each project, and a full three-year warranty on all products.

Q: How long has analogue CCTV got left in the UK?

A: Whilst it would seem inevitable that in the future the vast majority of video surveillance systems will be IP based, there will always be situations where an analogue based solution best meets the requirements of specific projects. There is already a rapid growth in the demand for IP network based systems and in respect of new systems, it is hard to make the case for analogue. However, the UK has more existing analogue based CCTV systems than any other country in Europe and many of these systems are more than capable of doing the job in hand. Customers are therefore unlikely to want to completely replace these with an IP system and may instead, when their requirements expand or change, look to introduce a hybrid system which allows the introduction of new technology, whilst retaining existing cameras, DVRs, etc.  A good example of the HD-SDI is technology which can offer all the benefits of Full HD over analogue cabling. We don’t believe in IP for IP’s sake – our customers should be able to choose a solution that delivers the quality of image and operational features required at a price that fits their budget.  Quite often it can be a mixture of technologies and that’s where Samsung can win – we have a complete analogue and IP product portfolio that can be mixed if required to optimise budget allocation either for new systems or an upgrade of existing systems.

Q: Samsung has integrated its SRD series of DVR with SureView, which also offers Immix cloud control software.  Is there a tendency amongst your clients to use more DVRs and get the service from the Cloud?

A: Our motivation for integrating with the SureView Systems’ Immix®  software was to ensure that installers who recommend a Samsung SRD DVR to their customers can do so knowing that control rooms can remotely take advantage of the DVR’s key functions and its ability to record very high quality images. The recently introduced web based ‘Cloud’ version of the SureView Systems’ Immix®, will undoubtedly be an attractive proposition to users who are looking for customised services which can be viewed by a web browser or mobile device, but this is a separate issue to how many DVRs may be required at each site. This is just as relevant in the IP arena and we are currently working with SureView to get similar integration for our NVR range – watch this space!

Q: Is the Cloud a safe place for security?

A: According to recent research conducted by PwC, many UK companies are failing to keep a proper check on the security of their data held by third parties offering Cloud computing services.  Although three quarters (73%) of organisations are using at least one outsourced service over the Internet, only 38% of large organisations ensure that data being held by external providers is encrypted.  It is important, however, to point out that the SureView Immix® Cloud software platform allows customers who have a control room, as well as commercially run remote monitoring centres, to create a ‘Private Cloud’ where data is stored on their own servicers and not third party servers which may or may not have the required level of security.

Q: What does the future hold for UK trade associations?  Are you a fan of them?

A: Samsung is appreciative of any association that seeks to raise standards and promote the best interests of the security industry.  As a manufacturer we are particularly keen to support any organisation which encourages and makes it easier for end-users to implement an electronic security solution which is why, for example, we are members of ONVIF which is an open industry forum for the development of a global standard for the interface of network video products.  The ONVIF standard is intended to ensure interoperability between network video products regardless of the manufacturer.

Q:  You are about to launch a multiple-language website, which languages will this include?

A:  Initially, French, German, Italian, Spanish and Russian, but the number of different language versions of the website will increase over the coming months.

Q:  What countries do you work with?

A:  Samsung’s professional security products are supplied and supported by Samsung Techwin Europe Ltd across Europe, Russia and CIS.  Our head offices are in Chertsey but we also have local offices in France, Germany, Italy, Czech Republic, Spain and Russia.

Q:  What is your security pet hate?

A: My pet hate is that a security solution is generally considered a grudge purchase, and is a spend that is often difficult to justify with a tangible return on the investment. In my opinion, if a camera is worth paying for, it is worth recording at the best quality it can deliver.  If it is worth recording it is also worth protecting that recording by using, for example, RAID storage so that evidence is not lost the event of hard drive failure, which will inevitably happen at some point. RAID is pretty standard in the IP world and the cost is rarely resented – it is simply good practice.  It is disappointing that an industry offering a security solution to protect people and property quite often does not consider it worth paying a little extra to secure the evidence capture, which after all is the main purpose of the system.



Above all, entertainment

Lighting & Sound International, cruiseship install - Above all, entertainment

Lighting & Sound International, cruiseship install – Above all, entertainment

The cruise ship industry is booming and P&O Cruises’ newest ship, the 115,000 ton, 3,080 passenger Azura knows how to attract its customers with the best entertainment afloat. Geny Caloisi reports on how P&O Cruises has taken the opportunity to enhance the consistency and reliability of the ship’s technical entertainment installation . . .

Follow this link to see the PDF: Above all, entertainment July10

Content comes in all shapes and sizes

Lighting & Sound International, conference report - Content comes in all shapes and sizes

Lighting & Sound International, conference report – Content comes in all shapes and sizes

So you’ve got the venue, the keynote speaker, some screens, lights and a sound system, but what do you have to do to really engage the audience? What is today’s secret to a successful conference or live event?

Geny Caloisi investigates . . .

Follow this link to see the PDF: Content comes in all shapes and sizes  page 2

The Rise and Rise of Video

Lighting & Sound International, video & AV - The rise and rise of video

Lighting & Sound International, video & AV – The rise and rise of video

The ‘convergence’ of light and video has long been a buzzword, but the rapid progress of LED technology in particular has meant that the past 12 months has seen the true emergence of video as an integrated and indispensable element of stage entertainment – in live touring, on television and at events worldwide. Geny Caloisi reports for L&SI on how video is now a linchpin of 21st century entertainment production…

Follow this link to see the PDF:The Rise and Rise of Video, page 1 The Rise and Rise of Video, page 2

Will 3D really make it this year?

From The Daily Telegraph to IBC and InfoComm, from the New Scientist to CES and ISE, everyone is talking about 3D.

Will 3D really make it this year?

If a-v’s cognoscenti is feeling a sense of wry deja-vu, they can be forgiven – it’s hardly a new technology. But with even specialist-research house Futuresource Consulting tipping 2009 as the year in which 3D makes its mark (AV, news, February), now is as a good a time as any to ask the all-important question: can corporates make money from 3D? Who really is using it, and why

Well, it depends who you ask: some say yes – companies are already doing so – while others are more reticent.

Certainly the oil, gas and heavy engineering industries have used 3D visualisation for a number of years. The technology allows experts to take a closer look at situations, prototypes or geographical areas without the need – and cost – of shipping a model or physically digging down a hole. The setting for these applications is normally either a projection screen or an all-immersive virtual reality cave.

Trond Solvold is the new product and application manager for 3D and high-end visualisation at projectiondesign, an a-v agency which has worked with the likes of the French Navy on 3D projects. He says: ‘Due to the current economic climate, there have been some moves in the 3D direction because companies are looking for more effective solutions.

’3D gives firms the chance to look at their products more closely and accurately, without the need to physically create the objects required – cars, houses, oil bases, and the like. 3D reduces production time and the product’s delivery to market.’

3D glasses

The movie industry is another big user of the technology. With 3D feature films taking around three times more box-office receipts per screen than 2D versions of the same film, it’s little wonder that the number of 3D cinemas around the world – 5,000 – is expected to triple in the next 12 months, according to Blair Parkin, managing director and founder of a-v consultancy Visual Acuity.

But although he acknowledges that 3D’s consumer popularity is in part driving its use in the areas of medicine, education and even video conferencing with telepresence, he is pragmatic about its universal appeal.

‘Until recently, Christie and Barco had 3D niche projection models in their range, which are terribly expensive but very good; they are still the right choice for certain applications.

‘Now, more and more low-cost 3D technology is being used, it is becoming commoditised and the market is opening up for a-v dealers and the integrator community,’ he says.

But Parkin warns: ‘I don’t think the 3D wagon is so big that everyone should jump on it. There are some 3D projects the a-v industry is well equipped to do, but some need more specialist knowledge. And it’s not a whole new market. It’s similar to 2D applications, just with certain parts of the applications done in 3D.’

As mentioned earlier, the technology is not new: it dates back about 150 years, and started out with 3D postcards, which were mainly used for porn.

3D describes an image that provides some perception of depth. The technology changes the experience of watching TV, a movie or graphics. Let’s clarify here that we are not talking about 3D animation, which is still a 2D image, but rather three-dimensional images that jump off the screen.

To understand its drawbacks, it’s vital to understand how it works.

There are three ways of viewing 3D: with or without glasses, or in the glasses. The methods are: projected stereo (passive or active); direct 3D – where you watch a device, usually a monitor, without the need for glasses; and the more sophisticated head mounted, where you use glasses, but don’t see through them. These feature tiny screens on the left and right eye and are already used to create detailed 3D images for military training.

The passive techniques use two projectors, one for the right eye and one for the left. So one projector only has the content for the left eye, which is viewed through a filter and the other, also with a filter, shows the content for the right. The glasses recompose the image for the brain to understand, so it doesn’t see an out-of-focus picture.

Passive-stereo glasses don’t need any power, but most passive systems do require a screen that doesn’t di-polarise the light, which means a shiny or a silver screen.

‘One of the challenges of using a silver screen is that it tends to produce a hot spot, the centre of the image is brighter than the edges of the image. If it’s well designed, this doesn’t become a significant issue. But there is a fair amount of design work to get that right,’ explains Parkin.

On active stereo, there is no colour separation and the images are sharper. The LCD glasses are powered by a small battery to open or shut the left or right eye to help the brain create the 3D image.

3D cinema

Dolby only launched its 3D technology in the middle of last year and has the largest market orders. Its 3D system is projector agnostic and it works in an ordinary perforated cinema screen, which means the Dolby system can use the same projector and device for 2D and 3D movies.

Apart from 3D projectors, such as those available from projectiondesign, Barco, Christie and Digital Projection, also on the market are monitors and TVs that claim to deliver 3D HD TV into the living room. Called autostereo, their draw back is the viewing angle – you have to be in a sweet spot to see the image correctly – and long periods of use result in a headache. Manufacturers including Mitsubishi, Philips, LG, Hyundai and Samsung are retailing 3DHD displays.

Another downside of 3D TV is that the HD TV sets are no good for it. Consumers will need new sets and the prices are high. 3D TV is travelling a similar path to HD TV, but there is not enough content yet to justify the investment.

While 3D would be ideal for watching programmes such as sports or documentaries, first, the broadcasting industry has to come up with a common standard for the format and a slim way of setting up stereo cameras on their OB units, so they won’t obstruct the view of the general public with a huge, rigged double-whammy camera.

Chances are that we will have the choice to watch the 1012 Olympics on 3D/HD, but there is production work flow and display affordability to sort out still. This means that we’re still some way off before we get iMax in our living rooms.

In the corporate world, while 3D can deliver a genuine wow-factor on digital-out-of-home signage and a new take on usually boring PowerPoint presentations, it needs careful specification.

Elements to take into account include the fact that with 3D systems you need to double up bandwidth, connectivity and switching and network connection. If you are playing back 3D footage, you need two channels of video (for left and right eye). If you are rendering a 3D image live, you will need a graphics board with dual heads, so there are two outputs in one computer. You’ll also need to make sure the infrastructure can support the resolution of the dual image that is being sent down a cable.

This does not necessarily mean doubling costs, but as Rob Leach, director of creative company Line Up, points out: ‘Convincing 3D production costs are high for the corporate market, which wants to spend less. The opportunity to make money from 3D is there, but the project has to be large enough with an absolute need for 3D.’

Visual Acuity’s Blair adds: ‘People don’t understand the base line of how you do 3D and why you do it, so we are in danger of people selling feature benefits to an uneducated client base.

‘You need to research what you are using 3D for, what the choices are. It is an area where you have to get demonstrations on a similar application and a similar sized screen. Then, you can see whether what you are trying to do will work in 3D,’ he says. And whether it’s worth the investment.

First Published on AV Magazine