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Palmer Digital Group selected as approved digital menu board supplier for Burger King franchisees
12/08/2026
TNDV powers broadcast of Pickleball Slam 4
11/08/2026
Infiled-WP-Serie realisiert großformatiges LED-Display in Pariser Westfield Forum des Halles
10/08/2026
Hippotizer MX Series media servers support immersive storytelling at National Cowgirl Museum
05/08/2026
Telmic und Partner realisieren Broadcast und Streaming auf Expo 2025 mit Blackmagic Design
20/07/2026
Kramer supports Colombian university’s initiative centralising AV across multi-campus environments
10/07/2026
La Télé erweitert Eishockey-Programm der National League mit Unterstützung von Blackmagic Design
08/07/2026
Palmer Digital Group selected as approved digital menu board supplier for Burger King franchisees
Palmer Digital Group (PDG), a supplier and installer of indoor and outdoor digital kiosks, drive-thru digital menu boards and canopy systems, has been selected as an approved supplier of outdoor digital menu board systems for Burger King franchisees across the United States and Canada. The agreement allows franchisees to purchase PDG’s single- and triple-panel outdoor digital menu board (ODMB) systems as they modernize drive-thru operations with new technology.
The new partnership represents another major milestone in PDG’s continued expansion within the quick-service restaurant (QSR) market. Installations are already underway, with the first locations opening in Wisconsin and approximately eighteen orders already placed. PDG expects roughly thirty Burger King locations to be operational by the end of the third quarter and approximately fifty by the end of 2026.
Burger King franchisees will have the flexibility to choose either professional installation by PDG’s nationwide installation team or complete installation themselves after receiving training from Palmer Digital Group. Because many franchise groups already maintain experienced construction teams, PDG developed an installation-friendly design to simplify deployment.
Training for self-installation is led by Patrick Profitt, PDG’s Vice President of Project Management and Field Operations, through an online session that walks installation teams through every step of the process. Beyond installation, PDG provides deployment services including site surveys, concrete foundations, conduit installation, high- and low-voltage electrical work, trenching, indoor display installation and ongoing break-fix support, to give customers a single source for every stage of the project.
The Burger King systems will utilize LG 49-inch outdoor displays integrated into PDG’s modular outdoor digital menu board enclosures. The modular design allows individual components to be serviced or replaced without replacing the entire structure.
The agreement also creates significant long-term growth opportunities for Palmer Digital Group. With approximately 6,000 Burger King restaurants across the U.S. and Canada eligible to purchase through the approved supplier program, PDG sees substantial potential as franchisees continue upgrading their drive-thru technology.
(Photo: Palmer Digital Group)
TNDV powers broadcast of Pickleball Slam 4
When viewers tuned in to watch Pickleball Slam 4 live from Seminole Hard Rock Live in Hollywood, Florida, on April 16, 2026, they saw a fast-paced national broadcast showcasing some of the sport’s biggest personalities. Behind the scenes, the production was the latest chapter in a relationship that stretches back more than sixteen years between mobile production specialist TNDV (a division of Live Media Group) and sports production company Ohlmeyer Kusserow Group (OKG).
Tasked with producing and directing the live broadcast for a major US sports broadcaster on behalf of client Horizon Sports & Experiences and GSE Worldwide, OKG once again turned to TNDV for technical production support. The partnership dates to 2010, when OKG founders Lou Kusserow and Chris Ohlmeyer launched their company and selected TNDV to support some of their earliest tennis broadcasts.
“Sixteen years later, we rarely call anyone else”, says Kusserow, who directed the Pickleball Slam 4 broadcast from inside TNDV’s flagship Exclamation mobile production unit. “We trust Rob and his team completely. They understand how we work, they hire great people, and they consistently deliver.”
TNDV deployed its Exclamation truck for the main live broadcast and its Modulation truck for satellite uplink and transmission support. The production marked TNDV’s first pickleball event and required a workflow tailored to the pace and presentation style of the rapidly growing sport. Unlike traditional tennis broadcasts, Pickleball Slam 4 emphasized player interaction and personality as much as game action.
TNDV and OKG collaborated on a camera strategy designed to capture both the speed of play and the exchanges between competitors throughout the event. “Pickleball moves incredibly fast, and there’s a lot more conversation between players than you see in many sports”, says Rob Devlin, President of TNDV. “We spent time studying previous productions and finding ways to streamline the technical approach.”
The production utilized nine Sony HDC-4300 broadcast cameras, two jib cameras, and three Panasonic UE150 robotic cameras positioned throughout the venue to provide dynamic coverage and player-focused perspectives. A wireless camera captured player entrances and feature elements, while all four competitors and the referee were equipped with wireless microphones to bring viewers directly into the action.
At the center of the workflow was Exclamation’s Evertz Nexx routing infrastructure, which managed video and audio signal routing, audio embedding and de-embedding, transmission feeds to the Modulation uplink truck, and in-house IMAG feeds displayed throughout the venue. TNDV also relied on DSC Labs ChromaDuMonde color charts to match camera systems and maintain consistent image quality across the production.
Communication was equally critical. Kusserow directed the broadcast using an RTS/Clear-Com communications system that connected production personnel, on-air talent, venue staff, technical crews and event stakeholders throughout the facility.
“This was one of those productions where everyone was pulling in the same direction”, says Devlin. “The venue was great to work with, the OKG team had been planning the show for months, and our crews worked seamlessly together. When you have a relationship that spans more than a decade and a half, there’s a level of trust that allows everyone to focus on making the show look great.”
(Photos: Live Media Group)
Infiled-WP-Serie realisiert großformatiges LED-Display in Pariser Westfield Forum des Halles
Mehr als 64 Millionen Menschen besuchen jedes Jahr das Westfield Forum des Halles unter dem markanten Canopée im Zentrum von Paris. Der Komplex vereint über 150 Geschäfte, das meistbesuchte Kino der Welt, zahlreiche öffentliche Kultureinrichtungen und vieles mehr. Der Place Carrée bildet innerhalb des Einkaufszentrums einen zentralen Knotenpunkt. Einkäufer, Kinobesucher und Pendler, die zwischen der Pariser Metro und den RER-Linien umsteigen, passieren diesen Bereich täglich.
Als Westfield beschloss, das bestehende LED-Display durch eine größere und leistungsfähigere Lösung zu ersetzen, war ein System gefragt, das sich in einem der meistfrequentierten öffentlichen Innenräume der Stadt behaupten kann. Für die Definition der Projektanforderungen beauftragte Westfield das französische Planungs- und Beratungsunternehmen Scenarchie, das auf audiovisuelle Gestaltung, Szenografie und digitale Umgebungen spezialisiert ist.
Scenarchie legte die technischen und räumlichen Anforderungen für das neue Display fest und stellte sicher, dass sich die fertige Installation harmonisch in die Proportionen und Besucherströme des Place Carrée einfügen würde. Anschließend folgte ein wettbewerblicher Auswahlprozess. BTB Audiovisuel, ein französischer Systemintegrator und AV-Partner von Infiled in Frankreich, beteiligte sich gemeinsam mit Infiled an der Ausschreibung und setzte sich gegen mehrere Wettbewerber durch. Als Systemintegrator übernahm BTB die vollständige Installation vor Ort.
Das Projekt brachte eine besondere Herausforderung mit sich: Da der Place Carrée tagsüber von tausenden Besuchern frequentiert wird, konnten sämtliche Arbeiten ausschließlich während der Schließzeiten zwischen 22 Uhr und 7 Uhr durchgeführt werden. Innerhalb von acht Nachtschichten demontierte das Team die bestehende LED-Wand, verlegte die Strom- und Glasfaserverkabelung, integrierte den Controller in ein Technikrack und passte die vorhandene Unterkonstruktion an die Abmessungen des neuen Displays an.
Mit einer Breite von 8,4 Metern, einer Höhe von 4,7 Metern, einem Pixelpitch von 2,5 mm und einer Auflösung von 3.360 x 1.890 Pixeln musste das Display über die gesamte Fläche hinweg optimal ausgerichtet werden. Da es aus unterschiedlichen Blickwinkeln und Entfernungen innerhalb des Einkaufszentrums sichtbar ist, hätten selbst kleinste Abweichungen zwischen Cabinets oder Modulen die Bildqualität beeinträchtigen können. Um diese Anforderungen zu erfüllen, entschied sich BTB für die WP-Serie von Infiled.
Das fertige Display wurde mit einem NovaStar-H-Series-Controller sowie sechs CVT10-S-Glasfaser-Einheiten ausgestattet. Das 16:9-Panelformat ermöglicht eine proportionale Darstellung über die gesamte Bildschirmfläche. Mittels ultraflacher Cabinets und des nahezu nahtlosen Erscheinungsbildes fügt sich die WP-Serie den Wünschen des Auftraggebers entsprechend in die bestehende Architektur ein.
(Foto: Infiled)
Wisycom solves RF challenges across miles of live action for Gravity Media
When live cycling races and international marathons stretch for miles across cities and countryside, there is no margin for RF failure in live broadcast. As Chief RF Communications Engineer at Gravity Media, Glenn Willems is responsible for ensuring long-range RF communication in some of the most demanding live broadcast environments in the world, so that the events reach viewers without interruption.
These productions often require communications links spanning extraordinary distances, sometimes placing the RF team more than 100 miles away from the action. Throughout the racing season, which runs from February through October, Willems and his team support major cycling events such as the Tour of Italy, Tour of Denmark and numerous international marathons, including those in Berlin, Vienna, Amsterdam and Rotterdam.
To meet these challenges, Willems frequently turns to Wisycom, integrating a range of the company’s RF over Fiber and wireless solutions into Gravity Media’s workflows. “The wireless part of the communication is absolutely critical”, he says. “It’s all live television, so our broadcast simply has to work.”
Wisycom solutions often play a role in creative, problem-solving scenarios, such as during the Berlin Marathon, where Willems was tasked with enabling a reporter to conduct live interviews while riding a bike alongside runners. “It was a rather particular request”, he laughs. “We had to find a way to get that wireless microphone signal into our transmission system while everything was moving.”
The solution involved using Wisycom MCR42 camera receivers, integrated directly into the video link system. “If you looked at it, you might realize we weren’t operating like a professional scripted TV or film production team”, Willems admits, “but it worked extremely well. That’s the kind of outside-the-box thinking we often need, and Wisycom made that possible. Thanks to the MCR42’s multiband and multi-compatible capabilities, we were even able to integrate third-party microphones without issue. That flexibility meant we could adapt quickly, which is crucial in live broadcast environments.”
Beyond wide-ranging racing applications, Gravity Media also regularly relies on Wisycom for large-scale and non-traditional infrastructure deployments, utilizing the brand’s MFL RF over Fiber system. “The MFL is a modular system, so you can mix and match and configure it the way you like”, Willems notes.
The Gravity Media team also deployed the MFL system on a major stadium installation, where the TV compound was seven- to eight-hundred meters from the field of play. The system links the OB vans to the field of play via fiber. “Fiber virtually has no losses, which means every fraction of a dB is preserved”, says Willems. “That directly translates into range and stability. For us, every fraction of a dB counts. As long as your connectors are clean, fiber is also plug-and-play. People think it’s black magic, but it’s actually incredibly robust.”
(Photo: Gravity Media/Wisycom)
Absen powers one of the world’s most ambitious 3D immersive LED installations
Absen has delivered a landmark COB (Chip on Board) LED installation at Swinburne University of Technology in Melbourne, Australia, powering the Swinburne Virtual Universe (SVU), a purpose-built 3D immersive environment that is believed to be the largest truly wraparound LED screen ever constructed for public education.
Spanning over 106 sqm across a seamless canvas, the installation uses Absen’s KLCOB1.5 Pro V2 technology to transport visitors from a Melbourne campus to the furthest reaches of the cosmos. Officially unveiled in April 2026, the Swinburne Virtual Universe places visitors at the centre of a futuristic space surrounded by high-contrast LED screens that deliver 3D imagery and interactive animations.
Audiences can be flown around a virtual solar system, witness planetary close-ups as if aboard their own spacecraft, and explore deep space environments powered by supercomputer simulations and real astrophysics data. The SVU is driven by Nvidia GPU technology and real-time rendering engines, with content generated directly from Swinburne’s OzStar and Ngarrgu Tindebeek supercomputers.
Delivering an experience of this ambition demanded display technology capable of meeting an exceptional set of requirements. The installation needed to produce 3D imagery across an unusually wide, low-profile screen geometry, maintain colour accuracy and uniformity at close-viewing distances, and perform without interruption across long, continuous operating periods. At the same time, the surface had to withstand the demands of a high-traffic public environment, be robust enough for interaction, and remain visually seamless across every viewing angle.
The KLCOB1.5 Pro V2 was selected to meet these demands. With its ultra-fine 1.5 mm pixel pitch, the product delivers the detailed resolution essential for immersive close-range 3D content, producing deep blacks and high contrast.
At this scale and geometry, maintaining seamless uniformity across the entire surface is critical to the immersive effect. The KLCOB1.5 Pro V2’s monolithic construction and engineering ensures a smooth, uninterrupted canvas that supports the visual integrity of the 3D content, regardless of viewing position within the space.
The facility will serve undergraduate students, school groups, families and the wider public, as well as acting as a creative and technical resource for Swinburne’s Film, Games and Animation programmes. It is part of an expanding portfolio of astronomy assets at Swinburne, including its partnership with the W. M. Keck Observatory.
“We are proud that the KLCOB1.5 Pro V2 was selected to power this remarkable installation and help deliver an experience that brings the universe closer to audiences of all ages”, comments Ruben Rengel, Vice President at Absen.
The Swinburne Virtual Universe will progressively open to schools, families and the broader community, serving as a hub for science communication, research translation, and public engagement with space science. For Absen, the project adds to a growing global portfolio of COB LED installations in education, cultural and public environments, reinforcing the technology’s place at the forefront of large-format immersive display.
(Photos: Absen)
Hippotizer MX Series media servers support immersive storytelling at National Cowgirl Museum
The National Cowgirl Museum & Hall of Fame in Fort Worth, Texas, is celebrating more Women of the West through new immersive storytelling experiences powered by Hippotizer MX Series Media Servers from Green Hippo.
The museum honors the Women of the American West through exhibitions, archives, and immersive storytelling. While video and projection have long been part of the visitor experience, the museum’s expansion aims to significantly elevate the flexibility and creative potential of its visual environments. The museum’s archives currently house more than 4,000 artifacts and information on more than 750 remarkable women.
Fort Worth-based integration specialist Electro Acoustics & Video Inc. led the design with the Hippotizer Meuse MX Media Server. The project forms part of the museum’s 16,000-square-foot expansion project, centered around refreshing its immersive projection-driven attractions.
“We focus heavily on video and projection elements throughout the museum”, explains Hunter Atchison, Associate Director of Operations at the museum. “Our new space features nine projectors surrounding the room projecting content in a panoramic format.”
Previously, the space featured looping panoramic ranch footage from Texas and Colorado alongside horse show visuals. While popular with visitors, the legacy system offered limited flexibility and proved difficult for the museum team to maintain and customize.
“Our goal with the new system was to create something far more fluid and adaptable”, says Atchison. “We wanted a space that could transform depending on the experience we want to create. Hippotizer is giving us the ability to customize the room and use it however we want, depending on the event or experience.”
The museum’s existing external video contractor first recommended looking into Green Hippo solutions, leading the Electro Acoustics team to connect with Green Hippo’s Scott Kehoe. “Scott was very helpful and even set the client up with a demo system for a few months to make sure they liked the system”, says Ryan Walker from Electro Acoustics.
That collaborative approach continued throughout the installation and integration process: “The system was being controlled by an outside control system, and Green Hippo was willing to meet with our programmer to discuss how everything was going to work together”, says Walker. “They worked with us every step of the project.”
The decision to implement Hippotizer Meuse MX now affords the museum’s team better management of visual content across the nine-projector environment while opening up new possibilities for exhibitions, events, and donor experiences.
During the daytime, the panoramic environment supports the museum’s immersive exhibitions and interpretive storytelling experiences. In the evenings, the same space transitions into an events venue for weddings, donor receptions, and private functions. Museum staff can transform the room with projected visuals ranging from mountain landscapes to coastal scenes, while also incorporating custom event-specific content.
The panoramic event space is part of a broader expansion project designed to seamlessly connect the museum’s original building with newly developed galleries and attractions. Across from the projection space, the expansion includes an 18-horse carousel installation, while adjoining gallery areas host rotating exhibitions including costumes from Miranda Lambert’s recent tour.
(Photos: Green Hippo/National Cowgirl Museum & Hall of Fame)
Palace Cinemas installs Christie RGBH hybrid laser projection at Pentridge
Palace Cinemas Pentridge, a 15-screen multiplex located in the historic area of Coburg in Melbourne, Australia, has deployed Christie’s CineLife+ Series RGBH cinema projector, the CP4420m-RGBH, in the complex’s largest auditorium, which offers a 12-metre-wide (39-foot) silver screen, Dolby Atmos surround sound, and 220 luxury recliner seats.
The projector is housed in a discreet ceiling enclosure to preserve the venue’s architectural integrity. This marks the first deployment of Christie’s RGBH cinema projector in Australasia, building on Palace Cinemas’ existing investment in Christie cinema technologies across its circuit, including RGB pure laser projection with Real Laser illumination and RBe projectors powered by Phazer technology. The project was delivered by Hoyts Cinema Technology Group.
(Photo: Christie Digital Systems)
Brasilien startet mit MPEG-H Audio in die Zukunft des personalisierten Fernsehens
Das örtliche Sendernetzwerk Globo in Brasilien hat anlässlich der Fußball-Weltmeisterschaft 2026 den neuen terrestrischen TV-Standard DTV+ (auch bekannt als TV 3.0) mit der Technologie MPEG-H Audio im regulären Betrieb gelauncht. MPEG-H Audio wurde maßgeblich am Fraunhofer-Institut für Integrierte Schaltungen (Fraunhofer IIS) mitentwickelt.
Zuschauer in Brasilien profitieren damit vom modernsten TV-Audio-Standard auf dem Markt und erleben erstmals ein Fernsehen, das sich an ihre persönlichen Vorlieben anpasst - interaktiv, individuell und deutlich immersiver als bisher. Ein zentraler Bestandteil dieser Entwicklung ist die Audiotechnologie MPEG-H, die es während der WM ermöglichte, den Ton des live übertragenen Fußballspiels selbst zu steuern: Zuschauer konnten beispielsweise die Stadionatmosphäre verstärken, den Kommentar leiser stellen oder alternative Audiooptionen auswählen.
Globo, das größte Medienunternehmen in Südamerika, hatte kurz vor Beginn der Weltmeisterschaft den regulären 24/7-Betrieb von DTV+ aufgenommen und die Spiele anschließend über das neue System übertragen. Erstmals wurde damit die vollständige Sendekette aus Produktion, Übertragung und Empfang im Regelbetrieb live eingesetzt.
Die kommerzielle Einführung von DTV+ markierte den Übergang von regulatorischen Vorbereitungen und Testphasen hin zu einem kontinuierlichen Rundfunkbetrieb im Free-TV. Der Rollout startete in den Metropolregionen Rio de Janeiro, São Paulo und Brasília und soll schrittweise auf weitere Städte ausgeweitet werden. Bis 2030 soll die Abdeckung fünfzehn Ballungsräume erreichen.
„Das ist Fernsehen, das sich den Menschen anpasst - nicht umgekehrt“, sagt Harald Fuchs, Leiter der Abteilung Mediensysteme und Anwendungen am Fraunhofer IIS. „Brasilien zeigt, was heute technisch möglich ist: ein hybrides System aus klassischem Antennenfernsehen und Internet, das Interaktivität und Personalisierung in den Mittelpunkt stellt.“
DTV+-Empfänger sind bereits im brasilianischen Einzelhandel erhältlich, weitere Fernseher und Set-Top-Boxen sollen in Kürze auf den Markt kommen. Ein wichtiger Baustein ist dabei die Standardisierung: Alle DTV+-Empfänger unterstützen MPEG-H Audio, auch über HDMI-Schnittstellen, sodass kompatible Soundbars und Heimkinosysteme eingebunden werden können. Zahlreiche Hersteller haben sich dem MPEG-H-Audio-Trademark-Programm angeschlossen. Dadurch werden Interoperabilität und eine nahtlose Integration garantiert.
Zum Start von DTV+ im regulären Sendebetrieb hat Globo eigens einen Showroom für Interessierte in Rio de Janeiro eröffnet.
(Foto: Fraunhofer IIS)
Brompton processing powers Lamda’s professional-grade virtual production studio
Brompton Technology’s Tessera LED processing platform is at the core of a virtual production studio at the London Academy of Music & Dramatic Art (Lamda). Supplied and integrated by Universal Pixels, the installation forms part of a strategic investment by Lamda in emerging screen technologies, and is already reshaping how the school trains the next generation of creative professionals.
The studio is centred around a 7 m wide by 3.5 m high LED volume of Aoto RM 2.3 panels on a gently curved structure using 2.5° panel increments, and driven by a Brompton 4K Tessera SX40 LED processor alongside two Tessera XD 10G data distribution units. Running in conjunction with Unreal Engine, the volume renders real-time environments ranging from photorealistic exteriors to fully abstract sci-fi worlds. It sits alongside a dedicated 30-camera Vicon motion capture volume with a sprung floor.
Rather than treating the technology as an add-on, Lamda has made the LED volume a genuine academic priority. It features across the school’s full range of programmes, from its Foundation in Stage and Screen (CertHE) and BA Professional Acting through to MA/MFA courses in Classical Acting, Musical Theatre, and Professional Acting. The new studio serves as a shared space where acting, directing, and production and technical arts students work together, mirroring real-world virtual production practice.
With LED volumes now standard on high-end film and TV productions, from prestige streaming drama to commercials, students working inside Lamda’s volume engage with the same workflows, technical language, and environmental demands they will meet on professional sets, long before they graduate.
“This technology opens the door to XR or mixed reality, to new ways of making films, and to extending the physical stage and the spaces in which we work”, says Charles Douglas, Assistant Professor of Acting and Directing with Emerging Technologies and Head of Screen & Audio Training. “Using it in practice is one thing, but it’s also an invitation to reimagine the frame of what we do. That’s an important departmental mandate for us, to catalyse a new chapter of performance and storytelling.”
Brompton’s API has also become an integral part of how students are taught to work on set. Through an integration with BitFocus Companion, test patterns can be triggered via a Steam Deck, enabling students to quickly identify hardware or cabling issues and move efficiently through the troubleshooting process.
The colour consistency of the Tessera platform give Lamda the confidence to use the volume not just for student projects, but for professional-grade output: the system supports graduate films, commercial digital assets, and collaborative research productions with equal consistency.
That professional reach is already evident in the work produced. A short film made in partnership with Media Trust, funded by The Crucible Foundation and based on stories from Prison Reading Groups, was shot entirely within the volume and features actor Ralph Ineson.
The space has also played a central role in the Lamda x Lyric Future Technicians Programme, a widening participation initiative delivered with the Lyric Hammersmith Theatre, through which a cohort of young people from West London recently got hands-on experience with professional filmmaking infrastructure. For many, this was their first encounter with this level of technology.
(Photos: Brompton Technology)
Marshall and Terlecki/de Jong create hidden camera stage design
Massachusetts-based tour design company Terlecki/de Jong concealed a CV228 HD Lipstick Camera from Marshall Electronics into a 1950s Electro-Voice 664 microphone to capture intimate live visuals for indie pop artist Del Water Gap’s “Chasing the Chimera” tour.
Terlecki/de Jong Co-founder, Designer and Creative Director Maxwell Fitzgerald Terlecki and his business partner Travis Gunnar de Jong specialize in designing immersive visual environments for touring artists. For the Del Water Gap tour, Terlecki sought a way to incorporate video elements without introducing a visible camera element that might disrupt the stage aesthetic.
“I bought a Marshall CV228 Lipstick Camera because it’s incredibly small and has a very low profile on stage”, says Terlecki. “People often mount them on mic stands, but I wanted to push it further and completely hide the camera inside the housing of a microphone.”
The camera was installed inside the classic microphone, allowing it to be in plain sight while remaining virtually invisible to audiences. “From the audience perspective, all you see is what appears to be an ambient microphone on stage”, explains Terlecki. “In reality, there’s a camera hidden inside of it, capturing the shot. It’s kind of hidden in plain view.”
The live camera feed is projected onto a large canopy element above the stage, creating a dramatic visual focal point. Designed by Terlecki/De Jong and fabricated by the soft goods company Sew What?, the canopy envelops the performance area while serving as a projection surface for real-time visuals. “We have a projector at front of house that sends the image up to this canopy above the stage”, adds Terlecki. “The CV228 camera gives us an intimate shot of the performer that expands into a huge image overhead.”
For the “Chasing the Chimera” tour, the visual team processes the feed through Resolume software, stripping the color entirely to create a high-contrast black-and-white look. “We remove all saturation and then just play with a little contrast and exposure”, says Terlecki. “That’s really it.”
Terlecki first discovered Marshall’s lipstick cameras while designing visuals for punk band Amyl and the Sniffers, for whom multiple units were deployed across the stage. “We used five Marshall lipstick cameras on that tour”, he reports. “I already knew how small they were. That’s what made me start thinking about more creative ways to hide them on stage.”
For Terlecki, minimizing visible production gear is an important part of stage design. “From a design standpoint, the more you can get away from seeing equipment on stage, the better”, he says. “If you can hide cables and cameras - anything that distracts from the performance, you end up with a much cleaner and more immersive visual experience.”
(Photos: Marshall Electronics)
DMC Production reimagines live OB with Calrec
DMC Production has turned to Calrec in its quest to redefine outside broadcasting with a flexible approach to live production that reverse engineers the conventional broadcast workflow. Working in collaboration with Calrec and Grass Valley, DMC has unveiled AR 1 and AR 2 - two identical, scalable software-defined remote production vehicles that represent an outside broadcast framework the company describes as “reverse remote production”. The units were designed and delivered by systems integrator Broadcast Solutions.
Calrec’s ImPulseV Virtualised Audio Mixing Engine plays a key role in the vehicles’ software-based architecture, replacing the traditional hardware-heavy OB model. The guiding principle is simple: all production-critical processing happens at the venue - video switching, replay, signal processing, multiviewers, recording and audio mixing, all running within a pure cloud-native Grass Valley Ampp environment with remote operation from any of DMC’s broadcast centres.
By keeping the raw production feeds at the venue rather than backhauling them to a central facility, the remote vehicle becomes the local production edge. The major benefit is bandwidth efficiency; a large multi-camera production can be handled over a lightweight 100 Mbit/s internet connection. DMC has worked with Calrec to develop an audio network that connects everything seamlessly and delivers low-latency control with a familiar interface.
Jens Envall, DMC’s Chief Innovation Officer, says this is the first step in a larger deployment model for DMC Production. “The aim is not just to build one or two vehicles, but to establish a repeatable and scalable production concept where software, IP connectivity and professional broadcast control surfaces work together in a practical live production environment”, he states.
At the heart of the installation is Calrec’s technology partnership with Grass Valley’s Ampp, which was announced in April 2026. In the first phase of the integration, DMC is using Calrec’s ImPulse1 processing core until the fully integrated ImPulseV Ampp platform comes online, but Envall is already planning for more native control integration within the Ampp environment.
DMC has also installed a 48-fader Calrec Argo M console at its remote production facility in Munich, Germany. The ecosystem is connected and managed using Calrec’s remote production capability, True Control 2.0, enabling seamless integration between the Argo M control surface and the OB units across any geographic boundaries.
It means an audio engineer can manage the entire mix remotely across a low-latency connection while production-critical processing remains in the Ampp-based remote production vehicles at the venue. Each vehicle also includes Calrec Type R for local monitor and in-ear mixing, together with the required IP I/O infrastructure.
DMC produces a broad mix of live sports, studio, entertainment and event-based coverage. “The demand from the market is changing quickly”, says Envall. “Customers want high-quality production, but they also want more flexibility, shorter setup times and more efficient use of resources.”
“Many rights holders and broadcasters no longer think only in terms of one main programme feed”, he continues. “They want clean feeds, ISO feeds, highlights, digital clips, social-first versions, venue feeds and sometimes additional language or commentary options. Because the vehicle can generate clean programme feeds locally, we can create a more flexible output structure from the venue. That can then feed traditional broadcast, OTT, social media, rights holders, venue screens or partner platforms.”
“This is not a standard installation where we are simply replacing one traditional audio console with another. We are building a new workflow, and that requires a close dialogue between engineering, product and operational teams”, Envall concludes. “Calrec has been very supportive throughout the project. That ongoing relationship is important because this is the first step in a scalable model. We need partners who are willing to develop with us, not only supply equipment.”
Christie projection helps bring story to life at new Montana Heritage Center
Christie projection technology is helping visitors experience Montana’s history in a new and immersive way at the recently opened Montana Heritage Center in Helena, Montana, with AV design and integration by Electrosonic.
The 150,000-square-foot museum and cultural destination combines large-scale projections, LED displays, interactive touchpoints, spatial audio, motion sensing, and storytelling to create a visitor experience that spans Montana’s earliest peoples through the present day.
As part of the museum’s audiovisual ecosystem, Christie Captiva and GS Series 1DLP projectors deliver imagery throughout key exhibit spaces, helping transform galleries into dynamic environments that respond to visitor movement and engagement.
Developed through a collaboration of technology and exhibit partners, including AV and technology services company Electrosonic, the museum features a variety of interactive experiences. Visitors can hear the voices of Montana’s sovereign nations through multimedia exhibits, explore mining history within a simulated mine environment, and experience projections and soundscapes that bring historic events and landscapes to life.
Among the museum’s highlights is Washington Way, an immersive entrance experience featuring coordinated projection, LED pillars, and a luminous ceiling environment that welcomes visitors into the Homeland Gallery. Throughout the museum, Christie projection works alongside LED displays, audio systems, and interactive technologies to create seamless storytelling experiences.
The Heritage Center’s exhibits are designed not only to educate but also to evolve. The museum’s integrated technology infrastructure allows content to be refreshed and expanded over time, ensuring future generations can continue to engage with Montana’s history through new stories and perspectives.
Electrosonic served as the audiovisual design and integration firm for the project, collaborating with RLMG, Main Street Design, Available Light, Cinnabar, Cushing Terrell, Sletten Construction, and Christie to deliver the museum’s immersive experiences.
(Photos: Christie Digital Systems)
Arri Alexa 35 Live provides Hollywood look for Eurovision
For the first time in Eurovision’s 70-year history, the contest was captured not with standard broadcast cameras, but 24 Arri Alexa 35 Live cameras with Super 35 sensors. These cameras were chosen by Austrian state broadcaster ORF to deliver a Hollywood-inspired cinematic look.
“During a test in Sweden we placed the Arri cameras next to the main broadcast camera of our Swedish colleagues and we saw different color nuances with the numerous light, fire, and special effect elements”, says Michael Kögler, Head of Directors at ORF. “These are things that people watching at home will see -things they have never seen in this context before.”
The ability of the Arri Multicam System to implement bespoke creative looks was embraced by the delegations. During preproduction Arri prepared a “look book” of around fifty music video-inspired looks, from which the delegations made selections in collaboration with the event’s lighting designer and vision mixer.
Only one country chose to stick with the show LUT; all the others chose an Arri look and the winning delegation, Bulgaria, used two different looks during its performance. “Every country had its own lookup table that could be loaded into the cameras instantly, and you could switch between the different looks”, says Bernhard Popovic, Camera Operator.
With so many looks being used during the final show, Arri set up a workflow that enabled automated look-switching on a shot-by-shot basis. This facilitated what looked like 25 unique music videos, but shot in real time and output live with no postproduction and no additional complications to the broadcast workflow. The addition of cinema-style looks on top of creative lighting design and traditional live painting enabled subtler nuances of color and was especially beneficial to skin tones.
After all the preparation, the look building, and the many rehearsals, the 2026 Eurovision grand final was broadcast live on May 16, 2026. The new cinematic aesthetic was as noticeable to the audiences at home as it was to the creatives and technicians in Vienna. “I believe this will change the future of television”, states Kögler. “There are possibilities for a completely different visual language, a completely different representation for various events - and not just for live entertainment, but also for sports events.”
Telmic und Partner realisieren Broadcast und Streaming auf Expo 2025 mit Blackmagic Design
Telmic, ein auf die Planung, Herstellung, Installation, den Betrieb sowie die Vermietung von LED-Displays, Beleuchtung und Bühnentechnik für Fernsehen, Theater, Konzerte und Events spezialisiertes Unternehmen mit Sitz in Japan, hat bei der Expo 2025 in Osaka einen Workflow von Blackmagic Design genutzt, um die Live-Produktion, Broadcast-Ausspielung und YouTube-Streams für Veranstaltungen auf dem Expo-Gelände zu realisieren.
Für die Expo 2025 arbeiteten Telmic und Sansei Technologies, die Muttergesellschaft des Unternehmens, gemeinsam an der Ausstattung der Expo Hall „Shining Hat“: Geliefert wurden Rigging-Systeme, Beleuchtung und Videotechnik. Das kreisförmige Theater mit rund 1.900 Sitzplätzen wurde für eine Vielzahl von Veranstaltungen genutzt, darunter Eröffnungs- und Abschlusszeremonien, Musikaufführungen, Theaterproduktionen und Foren.
Der zweigeschossige Stahlrahmenbau verfügte über eine Gesamtfläche von mehr als 8.000 Quadratmetern sowie über eine kreisförmige Bühne mit einem Durchmesser von achtzehn Metern. Sechzehn Projektoren ermöglichten 360-Grad-Projektions-Mapping im gesamten Raum. Darüber hinaus wurde auch die Expo National Day Hall „Ray Garden“, in der teilnehmende Länder, Regionen und internationale Organisationen ihre „National Days“ und „Special Days“ veranstalteten, mit Technik ausgestattet.
Die Expo Hall „Shining Hat“ war einer der größten Veranstaltungsorte auf dem Expogelände. „Für den Live-Broadcast und das Streamingsystem beauftragten wir Japan Broadcast Solutions mit der Auswahl der Komponenten sowie mit dem Systemdesign und der Installation“, sagt Kenjiro Negishi aus der Business-Development-Abteilung bei Telmic. „Ein vergleichbares Videosystem haben wir in der benachbarten National Day Hall umgesetzt und zugleich Live-Produktion, Broadcast und Streaming realisiert.“
Ryo Enami von Japan Broadcast Solutions ergänzt: „Die National Day Hall verfügte über drei große LED-Wände, für die wir ein entsprechendes System zur Auslieferung von Inhalten entwickelten. Für die Expo Hall entwickelten wir ein Live-Broadcast-System, das Videosignale an den Media-Server, der als Kern des 360-Grad-Systems des Projektions-Mappings diente, übertrug. Unter Berücksichtigung von Anforderungen wie 4K60p-Support, Kompatibilität mit B4-Zoomobjektiven und integrierter Streaming-Funktionalität haben wir das System überwiegend mit Blackmagic-Design-Produkten realisiert. Wir waren zudem für die technische Unterstützung in der Expo Hall verantwortlich. Da beide Hallen nahezu identische Systemkonfigurationen nutzten, konnten wir eine zuverlässige Backup-Struktur gewährleisten.“
Jede Halle wurde mit drei identischen Blackmagic-Setups ausgestattet, bestehend aus URSA-Broadcast-G2-Kameras, Zoom Demand, URSA Studio Viewfinder G2, Camera Fiber Converter und Studio Fiber Converter. Für das Mischen kamen ein Atem-4-M/E-Constellation-4K-Live-Produktionsmischer und ein Atem 1 M/E Advanced Panel 10 zum Einsatz, ergänzt durch ein Atem Camera Control Panel zur Kamerasteuerung. Zur Aufzeichnung und Wiedergabe wurde HyperDeck Studio Pro 4K eingesetzt, während das Streaming über den Streaming Encoder 4K erfolgte.
„In der Expo Hall haben wir zusätzlich ein Atem Micro Panel eingesetzt, um die Signalumschaltung für Großbildanzeigen zu unterstützen“, sagt Enami. „Für das Live-Streaming war eine separate Signalumschaltung unabhängig von den Inhouse-Bildsignalen erforderlich, weshalb wir einen Atem Mini Extreme ISO verwendet haben. Da internationale Teams und Veranstalter eigene Media-Server, PCs und Kameras mitbrachten, haben wir zahlreiche Blackmagic-Mini-Converter, -Teranex-Mini- und -Teranex-AV-Geräte eingesetzt, um verschiedene Ein- und Ausgangssignale sowie Formate zu unterstützen. Die URSA Broadcast G2 mit B4-Mount ermöglichte uns zudem den Einsatz von großen Teleobjektiven.“
Aufgrund der Größe der Expo Hall „Shining Hat“ kamen zahlreiche Mini Converter Optical Fiber 12G für die optische Signalübertragung innerhalb der Halle zum Einsatz. Ein Blackmagic Videohub 10x10 12G wurde für das Routing der Rücksignale zu den Monitoren in der Halle verwendet.
„Bei der Eröffnungszeremonie wurden die beiden Veranstaltungsorte über ein Glasfasernetzwerk verbunden, um Video- und Audiosignale zu übertragen“, sagt Negishi abschließend. „Dadurch konnte eine Performance realisiert werden, bei der ein Solo der Nationalhymne in der Expo Hall mit einer Orchesterbegleitung aus der National Day Hall synchronisiert wurde.“
(Fotos: Blackmagic Design)
Calrec expands broadcast ambitions for Savannah Bananas
The genre-defying Savannah Bananas baseball team has placed Calrec at the heart of its growing broadcast story. Adopting an agile, distributed ecosystem built to scale, the team’s production arm Banana Ball TV (BTV) has installed three 36-fader Argo M consoles, three Type R systems, and True Control 2.0.
Spread across two main control rooms at BTV’s remote facility in Savannah, Georgia, and with flypacks positioned out in the field, Calrec’s audio network sits at the core of a significant expansion of BTV’s REMI capabilities. Designed to extend capacity and accommodate future growth, it makes BTV’s workflows more fluid.
“We’ve seen lots of expansion for the 2026 World Tour season, and part of re-building our facilities from 2025 to 2026 was to expand capabilities and increase overall efficiency”, says Savannah Bananas’ Head of Technology Matt Webster. “The Calrec consoles are all being used to support REMI broadcasts; we have Argo consoles in our main control rooms and we deploy the Type R frame in the field in our mobile units and flypacks.”
“This gives us a combination of analogue, embedded SDI, MADI and Dante, and all the audio is given a first pass mix and level set before it is embedded in our video transmission system back to Savannah”, he continues. “We ensure lip sync is correct on-site, so when it comes back into the control rooms, we just focus on mixing the broadcast as if we are doing it at our home stadium.”
“We also have remote control of the consoles via the Calrec Assist GUI for changing things on the fly”, he adds. “The most challenging part of any audio console is how you have to interact with it if you are not standing directly in front of it, but nothing beats having access to a web page; it means we can access any console from inside the stadium to make changes, and I can also work remotely to support all our shows from home and fix issues that arise quickly.”
Access to Calrec’s True Control 2.0 protocol, which provides even greater levels of remote control and flexibility to scale up when required, gives scope for BTV to further develop its workflows. Webster says he plans to introduce it more as the season progresses. “We want the technology to outpace production”, says Webster. “It’s all about scale and simplicity, and Calrec allowed us to achieve this in our second generation of REMI workflows.”
“It brings us a level of consistency that we have been looking for”, he furthers. “And it is simple enough for any audio operator to just jump in and start driving. All our production staff are able to move from room-to-room and from site-to-site and not have any compromises or workflow limitations.”
Webster notes that BTV’s focus is on creating an environment that is always positive and fun, above being a competitive sport: “In many ways, Banana Ball is designed for casual sports enthusiasts and people who like a good entertainment performance first. But it also caters to diehard sports fans that want a legitimate competition to get behind, and follow through a season to the end.”
Calrec’s Regional Sales Manager, Rob Lewis, adds: “Everything about the Savannah Bananas approach is hybrid. Its mix of non-stop entertainment with traditional live game coverage has captured the hearts of casual and hardcore baseball fans alike. Its reach is growing fast. Every broadcast is available free on YouTube, while an exclusive ESPN and Disney+ deal means all 25 televised games are available to stream.”
“It makes perfect sense that its audio workflows should embrace that same philosophy with a hybrid approach to full remote and distributed workflows, and Calrec’s ecosystem is aligned to knock it out of the park”, Lewis concludes.
(Photos: Calrec Audio Ltd.)
Orlando Science Center reimagines dome theatre with Christie RGB pure laser projection
Orlando Science Center has unveiled its newly renovated 8-story dome theatre, The Dome by Dr. Phillips Charities, featuring a Christie RGB pure laser projection system that transforms the former IMAX venue into an immersive theatre with 8K content for educational programming, presentations, live planetarium experiences, and special events. Christie partner SSIA Technologies consulted and installed the systems.
At the heart of the installation are eight Christie Griffyn® 4K35-RGB projectors configured in a fulldome projection system that delivers high-resolution imagery across the theatre’s newly resurfaced dome. The Dome also includes an inset Christie CP4435-RGB pure laser cinema projector for 3D science, nature and space movies.
“One of our primary goals was to replace our aging film projection system”, says Stephen Holt, Vice President of Facilities & Exhibits, Orlando Science Center. “Working with our consultant and project partners, we identified a projection and audio solution that would allow us to create immersive experiences for years to come. The result is a venue that can support everything from live planetarium shows and giant-screen films to educational programming and special events.”
Installing the projection system presented some challenges. Four Griffyn projectors and the CP4435-RGB cinema projector were housed within the theater’s existing projection gallery, while four additional Griffyn units required custom placement at the front of the dome to ensure complete image coverage. The installation team also worked within tight physical spaces while coordinating with ongoing construction activities throughout the renovation. The project was completed in time for the theatre’s public opening.
The renovated theatre seats more than 300 guests and serves as a multipurpose immersive venue rather than a traditional planetarium. While astronomy programming remains an important part of the theatre’s mission, the upgraded projection system enables a broader range of educational and entertainment experiences. The Science Center also invested heavily in content creation as part of the project to ensure visitors would immediately experience the full capabilities of the new venue.
“Technology is only as good as the content it presents”, says Annette Sotheran-Barnett, Co-CEO/Founder at SSIA Technologies. “Orlando Science Center recognised that from the beginning. They made content development a priority, creating experiences that showcase both the technology and the stories being told. When audiences see real-time astronomy visualisations and immersive fulldome content running on this system, they immediately understand what’s possible.”
(Photos: Definition Studios/Giant Screen Films/Roberto Gonzalez/K2 Studios)
Kramer supports Colombian university’s initiative centralising AV across multi-campus environments
Fundación Universitaria del Área Andina’s “Rauda” initiative is transforming AV management across multiple campuses, using centralised AVoIP and cloud-based control to deliver more consistent, scalable learning environments and illustrating powerful global trends in education and proAV.
Universities are under increasing pressure to deliver consistent, technology-enabled learning experiences across multiple campuses, often while managing growing AV estates with limited IT resources. Recent data indicates that 25 percent of faculty in North America and Europe have considered leaving an institution over poor technology; for students, that number rises to 33 percent.
For Fundación Universitaria del Área Andina in Colombia, an institution founded in 1893, addressing these challenges became a priority. It responded by launching Rauda, an ambitious initiative designed to centralise and standardise audiovisual infrastructure across its campus network. With locations in Bogotá, Pereira and Valledupar, the university had developed a diverse AV landscape over time, designed to support both in-person and hybrid learning for undergraduate and graduate students across a wide array of disciplines.
The institution relied on a mix of technologies, including classroom touchscreens and commercial displays in halls and reception areas, with systems managed independently. This fragmented approach made it difficult to maintain consistency across learning environments and shared spaces, along with limited visibility into system performance and slowed response times when issues arose.
To address this, the university launched Rauda, an AV network initiative designed to centralise and standardise AV infrastructure across its campuses while creating a more efficient foundation for future growth. The goal was not only to improve day-to-day operations, but also to enable more consistent experiences for both faculty and students.
Working with system integrator Merge, Fundación Universitaria del Área Andina implemented the first phase of the Rauda project by deploying a centralised AVoIP architecture across its sites. Classrooms, auditoriums, meeting spaces and digital signage endpoints were connected into a unified network, allowing content to be distributed and managed more flexibly across locations.
A key focus of the project was the ability to monitor and control systems in real time from a single platform. By introducing centralised management tools alongside its AVoIP infrastructure, the university gained improved visibility into performance across its AV estate, enabling faster diagnostics and reducing the need for on-site interventions.
Centralised control has helped streamline support workflows and reduce incident response times, while delivering more consistent and reliable AV performance across campuses. According to the university, this has translated into improved availability of learning spaces and a smoother experience for both staff and students.
The new infrastructure has also unlocked additional capabilities, particularly in the area of digital signage. The university can now manage and update content in real time across high-traffic areas, supporting more agile and targeted communication with students and visitors.
The completed project leveraged a range of solutions from Kramer, including: KDS-EN7 encoders and KDS-DEC7 decoders for content distribution; Via Go 3 devices for wireless presentation and collaboration; KC Virtual Brain 5 and Panta Rhei for system management, monitoring, and control; VSM on Cloud for centralized, cloud-based management; dedicated network infrastructure built around Netgear M4250 switches; and TP-583TXR units for transmission support.
(Photo: Kramer)
La Télé erweitert Eishockey-Programm der National League mit Unterstützung von Blackmagic Design
Der Schweizer Sender La Télé hat für Routing- und Produktionsaufgaben einen gemeinsamen Backbone auf Basis von Blackmagic-Design-Technik implementiert. Mit diesem Setup strahlt der Sender das Eishockey-Programm der National League aus.
Durch die Verbindung seiner Standorte in Lausanne und Villars-sur-Glâne ist La Télé in der Lage, unter Fortführung des täglichen Sendebetriebs zwei Regieräume wie einen einzelnen Workflow zu betreiben. Das Herzstück der Anlage bildet eine Blackmagic-Videohub-120x120-12G-Kreuzschiene, über die beide Standorte zu einem Backbone verbunden werden. Auf diese Weise kann die Signalverteilung von beiden Regieräumen gesteuert werden. Für die Studioproduktion nutzt La Télé zudem einen Atem-4-M/E-Constellation-HD-Live-Produktionsmischer mit einem Atem-2-M/E-Advanced-Panel-20.
La Télé versorgt die Kantone Waadt und Freiburg mit Nachrichten, Unterhaltungsprogrammen und Live-Sportübertragungen. Der Sender sicherte sich gemeinsam mit den Fernsehsendern Léman Bleu und Télé Bilingue die Free-to-Air-Rechte für die National League. Der Inhaber der Übertragungsrechte, MySports, beauftragte daraufhin La Prod, den Produktionszweig von La Télé, mit der Produktion französischsprachiger Studioprogramme an den Spielabenden.
Für das Projekt mussten die Übertragungen aller sieben Spiele verarbeitet werden, die wöchentlich an drei Abenden stattfanden. Ein achtköpfiges Team war für die Liveproduktion, die Zusammenstellung von Highlights und die Studioproduktion zuständig. Zum Einrichten eines zweiten Regieraums und eines Studios standen drei Monate Zeit Verfügung, ohne den täglichen Betrieb wesentlich zu beeinträchtigen. Die technische Umsetzung wurde von Francois Vittoz (Technischer Leiter), Maxime Humbert (Technischer Manager), Ouriel Barbezat (Tonmanager) und David Klaus (AV-Techniker) geleitet.
An Spielabenden verarbeitet die Pipeline allein für MySports circa 45 Quellen und sechzig Ziele. Zur gleichen Zeit unterstützen zusätzliche Kapazitäten den laufenden Tagesbetrieb. „So wurden wir davor bewahrt, zwei parallele Systeme aufzubauen“, sagt Klaus. Audio wird zwischen dem 12G-SDI-Kern und La Télés Audio-over-IP-Netzwerk über Konverter übertragen, die das Audiosignal einbetten und extrahieren, bevor es zur Verteilung an den gemeinsamen Backbone weitergeleitet wird. „Wir können sogar Bedienerpositionen zwischen La Prod und La Télé gemeinsam nutzen, was für kleine Teams wie das unsere von erheblichem Vorteil ist“, so Klaus.
Die Feeds aller sieben pro Woche stattfindenden Spiele der National League gehen über Glasfaser als IP-Video-Signale gleichzeitig ein. La Télé empfängt zehn Signale von den Ü-Wagen vor Ort sowie zwei Exchange-Feeds für den Austausch mit der deutschsprachigen Hauptregie in Erlenbach.
Drei Editoren sitzen an Replay-Stationen, die mit DeckLink-Quad-2- und UltraStudio-Monitor-3G-Aufzeichnungs- und Wiedergabegeräten ausgestattet sind und überwachen von dort die Spielübertragungen, markieren wichtige Momente und erstellen Highlight-Zusammenfassungen. Als Abschluss wird eine Sendung mit Highlights übergreifend auf La Télé, Léman Bleu, MySports und Télé Bilingue ausgestrahlt.
(Fotos: Blackmagic Design)
Brompton Technology powers Scotland’s Nightsky Studios
Nightsky Studios is a virtual production (VP) facility located in Coatbridge, just east of Glasgow. Opened in April last year and with close to 3,000 sqm of indoor space, the studio has become a hub for high-profile productions, including shoots for HGTV American pay television channel and Scottish crime dramas. Spearheaded by founder and director Lewis Simister, Nightsky Studios employs Brompton Technology LED processing, managed by the studio’s dedicated team.
Ben Bentley, Studio Executive at Nightsky Studios, says that Simister conceived the idea of establishing a VP facility at the onset of the global pandemic. “Lewis, Avais (Safdar, Studio Executive), and I were each involved in different sectors of the live events market”, he reports. “When COVID-19 led to the cancellation of live events, Lewis saw an opportunity to use his skill with large format video walls in virtual production, which was emerging as an exciting new frontier. That was the first step; the next was securing a space to accommodate it.”
As they awaited the arrival of their LED screen, the studio’s space requirements were already growing. “We started with 604 sqm and quickly expanded to 1,600 sqm, then 3,000 sqm”, Bentley details. “Concurrently, we upgraded our ROE Visual Ruby 2.3 panels from 50 sqm to 100 sqm, and eventually to 150 sqm, all powered by Brompton’s Tessera processors.”
Nightsky Studios features two sound-treated stages - one 1,022 sqm and the other 604 sqm - along with a workshop space, green rooms, offices, and storage areas. The studio’s LED infrastructure includes 600 ROE Visual Ruby 2.3 panels running on Brompton 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units. Tracking is facilitated by a Mo-Sys StarTracker system, paired with VP Pro-XR.
Nightsky’s LED volume can be configured to any specification, either on- or off-site, from smaller setups to as big as a 30 m by 5 m “in vision” curved volume with full tracking capabilities and infrastructure. “One of our latest productions, ‘Outlander: Blood of My Blood’, went from a 2 m by 2 m to a 12 m by 3 m and, most recently, we did a 20 m by 4 m with the screens fully in camera”, says Bentley.
The team’s background in live events means building large-format video walls is second nature to them. They say they understand the cost implications of giant volumes, working closely with productions to minimise the amount of screen needed to achieve their client’s goals. This involves pre-visualisation to ensure the director’s and DP’s camera angles and stylistic choices are captured. Whether that is 2D, 2.5D, or fully virtual, they build the wall to match the production’s needs rather than forcing the client to adapt to a pre-existing setup.
Highlighting Nightsky’s continued commitment to delivering live events, the company has acquired 250 sqm of ROE Vanish Air Outdoor, driven by the Tessera platform, further expanding their product portfolio.
(Photos: Brompton Technology/Nightsky Studios/PaulM/Sony)
Marshall cameras used for equestrian competition broadcasts on CBS Sports Network
Tyrell Corporation, specialists in live sports and entertainment broadcasts, was tasked with delivering broadcast coverage of premier equestrian events, including the FEI World Cup Finals, which were held in Fort Worth, Texas, and were broadcast to over ninety countries, including in the U.S. for CBS Sports Network. To capture the horse jumping and horse dressage competitions, the company selected Marshall Electronics CV504 Micro POV and CV730 PTZ camera systems.
“We’re working in fast-paced, unpredictable environments where cameras are often placed in challenging or even precarious positions”, notes Marc Genin, Head of Production for Tyrell Corporation. His team deploys the waterproof, all-weather variant of the Marshall CV504 Micro POV camera directly within the course, embedding the solution near jumps to capture low-angle shots of horses clearing obstacles. In some cases, cameras are positioned just inches from impact zones or placed in water jumps, where splashes and debris are part of the shot.
“We can point cameras upward to see a horse soar overhead or place them at landing points to capture the power and impact”, explains Genin. “With the waterproof capabilities, we are able to put cameras directly in water obstacles, something that adds a new dimension to the broadcast.”
In addition to the POV cameras, Tyrell Corporation utilizes the Marshall CV730 PTZ camera for dynamic coverage of interview and reaction areas, commonly referred to as the “kiss and cry” zone. These areas require flexible framing as athletes and coaches move unpredictably during competition. Connected via fiber for long-distance signal transmission, the PTZ camera allows operators to pan, tilt and zoom remotely, ensuring consistent framing without the need for repositioning fixed cameras.
Unlike traditional sports broadcasts, equestrian events present unique logistical challenges. Courses are redesigned frequently, leaving little time for setup. “We don’t get to see the course until we arrive, and it changes constantly”, says Genin. “We can’t run cables across the ground, so we rely heavily on RF and compact camera systems. Marshall Electronics integrates seamlessly into our workflow.”
The production reaches a global audience, with distribution spanning dozens of international broadcasters. Coverage of the FEI World Cup Finals alone is delivered to nearly half the world’s countries.
(Photos: Marshall Electronics)
PPDS brings personalised entertainment to Bellevue Syrene hotel with Philips MediaSuite TV installations
PPDS’s range of Philips MediaSuite TVs has been chosen to deliver seamless access to personalised digital entertainment at the five star hotel Bellevue Syrene in Sorrento, Italy. With 51 guest rooms and suites, each designed with a blend of modern and antique furnishings, the hotel owners sought to modernise its ageing and restrictive television system by investing in a new fully connected and centrally managed hospitality display network.
In partnership with local integration specialist Meginet, key requirements for the project included 4K UHD display quality and the ability to provide guests with a personalised entertainment experience, offering seamless access to their preferred streaming services, apps and on-demand content from the comfort of their room. A fleet of seventy 4K UHD Philips MediaSuite TVs - ranging from 43’’ to 65’’ - was selected and installed inside all hotel rooms, with additional units added for larger suites.
Philips MediaSuite’s Cast feature allows guests to wirelessly share their favourite movies, TV shows, music, photos and business presentations directly from their personal devices to the TV. This solution enables guests to securely connect their smartphone or tablet to the TV using a unique QR code and instantly cast content from their preferred streaming services. Philips MediaSuite TVs also provide guests with access to thousands of apps, games and entertainment options to create a familiar and personalised home-from-home experience.
Additionally, Philips MediaSuite TVs provide the Bellevue Syrene’s AV and IT teams with complete control over the hotel’s display network using PPDS’ CMND platform. Centrally managed and customisable to reflect the hotel’s brand identity, the platform enables regular software updates, security enhancements and new features to be scheduled and deployed remotely as they become available.
Furthermore, Bellevue Syrene staff can now enhance their direct communications with guests either on a collective or personalised basis, by creating and displaying content on the TV screen, such as welcoming messages, in-house information, checkout details, marketing, and more. All TV login information is automatically deleted upon checkout.
(Photos: PPDS)
Christie projection helps transport guests in narrative-driven experience Atlas9
Christie’s projection technology is part of Atlas9, a new upscale immersive art experience in Kansas City, Kansas. Conceived, designed, and integrated by experience design firm Dimensional Innovations (DI), Atlas9 elevates the idea of an experiential environment by leveraging DI’s decades of experience working with some of the biggest names in entertainment.
Atlas9 is set inside a fictitious 1990s cinema, with interactive rooms and advanced gamification. Guests enter the 46,000-square-foot “theatre” to discover that, as a result of a projection experiment gone awry, stories from within film reels have come alive. Guests investigate the events and anomalies in the theatre, exploring the rooms and corridors as the narrative unfolds.
The catalyst for this experience came from DI’s CEO, Tucker Trotter, and brought DI and its sister company, DI Build, together with partners including Infinity Sign System, Swell Spark, Perspective Architecture + Design, and Homefield to showcase the company’s capabilities. The inspiration for the project stems from DI’s roots in movie theatre design and fabrication.
DI engaged Christie early in the project timeline for Atlas9, working closely with Paul Dumpel, Christie senior sales manager, and the Christie team to bring the project’s design intent to life. DI selected Christie projection technology in two rooms at Atlas9, including Auditorium #9, a 240-seat immersive theatre with audience-triggered on-screen moments controlled by four “best seats in the house”.
“Guests interact in real time with the content that is on screen”, explains John Coovert, solutions engineer manager, DI. “Some of the seats allow you to play Pong, and another seat allows you to do some fun rendering on the screen via a joystick in the top of a cup that’s in the cup holder.” Five 4K22-HS Series laser projectors are used in Auditorium #9, paired with Christie Mystique for automated alignment on a highly bespoke screen, creating a system dubbed “Holomax” within the Atlas9 storyline.
The second room, the Headshot Remixer, stylizes visitors into frame black-and-white Hollywood-style headshots. “We capture your photo when you come into Atlas9, and when you go into the headshot remixer, it’s a kind of ‘cinematic anomaly’ that occurs in there. It shows your face projected onto the wall, and then it starts to remix your face with the previous three, four, or five people who have gone through the space previously”, says Coovert. Two Christie 4K1600-JS projectors with ultra short throw lenses power the experience.
(Photos: Christie Digital Systems)
Datapath technology delivers mission-critical visualisation at ONGC
The Oil and Natural Gas Corporation Limited (ONGC) is India’s premier producer of crude oil and natural gas. Headquartered in New Delhi and operating as a Maharatna enterprise, the organisation manages a vast network of onshore and offshore assets that are vital to the country’s domestic energy output. To maintain this critical infrastructure, ONGC took the strategic decision to establish a centralised, 24/7 Production Operations Control Centre (POCC) at IPEOT, Panvel.
The primary challenge was to create an environment that enabled faster, more accurate decision-making by bringing together complex production dashboards, live operational video, and multi-departmental collaboration into a single, cohesive view. The solution needed to deliver high-impact visualisation for complete situational awareness, while remaining intuitive for day-to-day use and scalable to meet future operational requirements.
To support the creation of the new Production Operations Control Centre, ONGC selected Datapath as its video wall and operator KVM technology partner. At the core of the POCC is a Datapath-powered interactive LED video wall that combines visualisation with secure KVM workflows. This enables operators to access and control multiple workstations and live sources directly from the wall through an intuitive user interface.
Using Datapath’s multi-source visualisation capabilities, teams can view Scada and production dashboards, operator PCs, IP camera feeds, and web-based applications side-by-side without disrupting the primary operational view. Integrated KVM control allows operators to switch seamlessly between sources for troubleshooting and decision support, while multi-touch and multi-user interaction enables collaborative working during shift briefings, incident response, and executive reviews.
Designed for enterprise control room environments, the Datapath-T1V platform supports on-premises deployment, secure workflows, and integration with unified communications systems. This ensures operational visibility can be extended beyond the main control room to adjacent spaces and remote participants, while maintaining control-room-grade performance.
“The POCC is designed to support demanding, round-the-clock operations, where teams need instant access to complex information and the ability to collaborate without friction”, says Andy Lee, Senior Business Development Manager at Datapath. “Our role was to provide a secure, high-performance visualisation and KVM platform that enables ONGC’s teams to work with confidence, both today and as operational requirements evolve.”
Ranbir Singh, Director at Pan Intellecom Ltd., adds: “Our focus was reliability, simplicity and a platform that the end user can operate with ease and without much technical knowledge. Datapath helped us achieve this through their Aetria touch panel which provides a quick, responsive and seamless KVM control.”
(Photos: Datapath Ltd)
Christie laser projectors illuminate new immersive water show honouring Song Dynasty poet Lu You
Christie laser projectors are illuminating a new immersive water show celebrating the 900th birth anniversary of Southern Song Dynasty poet Lu You. Staged at the Lu You Hometown Scenic Area in Shaoxing, Zhejiang, China, the spectacle features close to twenty Christie Griffyn Series, M 4K RGB Series, and HS Series laser projectors.
Titled “The Wonders of Lu You”, the show officially opened to the public on February 17, 2026, coinciding with the first day of the Lunar New Year. The Lu You Hometown Scenic Area designed a guided route that leads visitors from Lu You Museum, through the water stage, and finally to Lu You’s former residence. After dark, the historic site transforms into a dreamlike canvas of light, water, and live performances centred on storytelling.
Christie’s authorized distributor, Shanghai Qingying Digital Technology (SQDT), provided end-to-end project support, from early-stage spatial surveys and equipment selection to complex multi-projector installations across performance venues and building facades. These initiatives ensured a continuous visual narrative as audiences moved between the memorial hall, water stage, and former residence of the poet.
“Christie’s product portfolio, spanning RGB pure laser and laser phosphor illumination technologies, has met the creative team’s requirements for realizing this large-scale spectacle”, comments Yueyi Wu, general manager, SQDT. “Together, these visual solutions deliver a seamless, emotionally engaging experience that resonates with visitors of all ages.”
SQDT provided a customized projection solution featuring a range of illumination options designed for the site’s outdoor environment. Multiple Christie Griffyn 4K50-RGB pure laser projectors, each delivering 50,000 lumens, were deployed at the main water stage to recreate battle scenes and capture the details of Song Dynasty architecture.
Complementing the main stage, more than a dozen DWU23-HS and DWU15-HS laser projectors were installed across distributed performance areas to enable flexible installations for corridor-based interactive projections and for reconstructing scenes from Lu You’s former residence.
SQDT also deployed Christie Conductor, an advanced monitoring and control software, for the Griffyn 4K50-RGB and M 4K+25 RGB projectors to enable stable 24/7 operation, supporting the high visitor traffic and operational demands of the scenic area.
(Photos: Shanghai Qingying Digital Technology)
VuWall und MVP Tech statten Sicherheitskontrollraum des Burj Khalifa aus
Der 828 Meter über Downtown Dubai aufragende Burj Khalifa ist mehr als eine architektonische Ikone - er ist eine vertikale Stadt. Der von Emaar Properties entwickelte und betriebene Turm benötigt eine Sicherheitsinfrastruktur, die in der Lage ist, in Echtzeit zu überwachen, zu koordinieren und zu reagieren - 24 Stunden am Tag, 365 Tage im Jahr.
Mit etwa 47.000 Besuchern täglich operiert der Burj Khalifa in einem Maßstab, bei dem Sicherheit, betriebliche Kontinuität und schnelle Reaktion auf Vorfälle oberste Priorität haben. Als vertikale Stadt mit gemischter Nutzung, Aussichtsplattformen, Firmenbüros, Gastgewerbebieten und Wohnräumen erfordert der Turm eine zentrale Übersicht über mehrere Systeme und Datenquellen.
Die Eigentümer des Gebäudes wünschten eine skalierbare Sicherheitsleitstellenlösung, die Videoüberwachung, operative Intelligenz und die Überwachung kritischer Infrastrukturen auf einer einzigen Plattform vereint. VuWall stellte in Kooperation mit MVP Tech/Convergint eine fortschrittliche Videowall-Managementlösung für den Sicherheitskontrollraum des Burj Khalifa bereit.
Im Mittelpunkt des Systems steht VuWalls TRx-Videowand-Verwaltungssoftware, die es den Betreibern ermöglicht, Informationen zu visualisieren, zu steuern und im Kontrollraum zu verteilen. Die eingesetzte Lösung umfasst auch VuWall-Anwendungsserver zur sicheren Freigabe und Steuerung von Webseiten, Dashboards, RDP-Sitzungen und Dateien, Pak-40-Videowand und KVM-Knoten sowie VuStream-150-AV-over-IP-Encoder für die IP-basierte Signalverteilung.
Da Emaar Milestone Systems’ XProtect verwendet, profitieren sie vom VuWall-Milestone-Plugin in TRx. So wird die nahtlose Integration mit dem VMS für die Videowall-Steuerung über eine einzige Benutzeroberfläche ermöglicht. Diese Architektur bietet den Bedienern schnellen Zugriff auf Live- und aufgezeichnete Videos, operative Dashboards und kritische Daten, alles verwaltet von einer einzigen Plattform.
Das Ergebnis ist eine zentralisierte, interoperable Plattform, die den Betrieb vereinfacht und gleichzeitig die Sichtbarkeit und Kontrolle erhöht. Ergänzend zu VuWalls Technologie ist der Raum mit LED-Videowalls von Absen und ergonomischen technischen Möbeln von CTF Consoles ausgestattet. Die skalierbare Architektur soll sicherstellen, dass das System mit den zukünftigen Anforderungen des Gebäudes wachsen kann.
(Fotos: MVP Tech/VuWall)