Jun 1, 2012 4:01 PM, By Cynthia Wisehart
How installed AV systems support event revenue
One of the museum’s key AV elements is the 420-seat Robert H. Smith Auditorium, which was expanded with a mezzanine floor and configures in multiple ways—both to show an 18-minute multiscreen experience titled New York Story by Donna Lawrence Productions and to support a distinguished speaker series and other public programs and performances. The theater has already hosted Bill Clinton, Joe Biden, George Bush, and the borough president of Manhattan among others.
To support New York Story, Electrosonic installed a three-projector blend system comprising Christie WU12K-M projectors fed by Extron JMP 9600 2K JPEG2000 video players controlled by a Medialon show control system. Renkus-Heinz speakers supply surround sound, augmented by two double 15in. JBL subwoofers. Digital sound processing is by MediaMatrix Nion.
The show’s imagery begins at the front of the stage on four 6ft.-wide screens, which roll up and down and widen to a total of 10. Images are also shown on gray drapes, set just behind the white roller screens. Midway through the show, some of the movable screens lift up to reveal the center portion of a 72ft.-wide backscreen bearing a single image. During the last five minutes of the experience, the entire 72ft. span is revealed. The stage machinery for the display surfaces was provided by PDO and LA Propoint.
Electrosonic’s projection system is designed to cover the three screen planes, which are sometimes used simultaneously. To ensure that it was feasible, Donna Lawrence Productions did full size tests at Electrosonic’s Burbank facility one year prior to installation.
The design consulting team also devised an innovative solution for the auditorium’s sound system. Since the main screen had limited space behind it for speakers, and speakers behind the main screen could not be used once the 2ft.-wide screens were deployed, they opted to hide speakers in the apron and ceiling of the stage to give the audience the illusion that sound is coming from the center of the screen.
To maximize usability of the theater, an AMX-controlled full presentation system allows for everything from a complete band set up to a simple PowerPoint presentation. It features a Panasonic projector, connections for up to 18 microphones, Blu-ray and DVD players, and podium control for the PowerPoint computer. The presentation system only shares speakers and the screen with the show. The theater’s mezzanine houses a touchscreen control position for Medialon and AMX, and features a Yamaha LS9-32 sound mixing board.
Beyond the theater, and on other floors, Electrosonic equipped the Smith Gallery and Dexter Hall with fixed speakers and portable special events audio and video systems that allow presentation in either gallery with either local or theater-generated audio and video.
The portable part of the system can be used as a standalone setup anywhere in the building. So this means a given room can either operate off the networked audio system via installed screens and loudspeakers, and/or plug in the available portable sources including wireless mics, DVD and Blu-ray, speakers and the like.
It’s a level of flexibility that almost didn’t happen, says Andrew Kidd, Electrosonic’s sales consultant. “We knew from the beginning what Donna Lawrence would require for the theater, but only part way through the installation we learned that a presentation system was also needed,” he says. There was, in fact, time to provide the necessary system, but this brings up one of the key takeaways in considering the multipurpose potential of a museum. The New-York Historical Society hired most of its event staff last fall, as the museum prepared to reopen. However, four years ago, as the renovation was being conceived and the systems design planned, the event staff was not on hand to participate—a situation Kidd says is not uncommon. It does however highlight the potential opportunity to address this important revenue stream early on. In fact, it may also help with systems budgeting when event support and the attendance revenue can be factored in.
“Museum designers are expected to factor the flow and guest experience into the layout of the halls and design of the exhibits. It would be ideal to have that kind of foresight for the event planning—someone who can consult and lay out a day in the life of the museum both during and after hours,” Kidd says. “We would have liked to have been talking about this earlier, understanding the business plan and how to support it,” Kidd says, but adds that the important things made it in, which are distributed, networked audio, a flexible presentation space and system, and portable audio and video solutions. “We got it 85 percent right without being able to know everything about how it would be used.”
“We have a platform we can build upon as we learn,” Licht says, and he uses the day-in-the-life analogy as well. “But I don’t know if you really can foresee ahead of time everything you’ll need. For example, streaming has become so much more accessible just over the past few years that we’re looking to add it now in response to requests. I’ve had people requesting hard disk playback systems too; we’ll see how that goes and how many requests we continue to get.”
“The renovation really put us more on the map then we’ve ever been before,” Maresca concludes. “We’re already seeing the benefit of events, both in terms of revenue and museum awareness. And 9.9 of 10 events we do need AV.”
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