Integration of audio matrix and video wall controller

Traditional video wall splicers under FPGA architecture usually do not support audio transmission, but the central control room or command center needs to process the audio signal. Integrators use the audio separator to separate the audio of the input signal source, and then. The audio signal is uniformly transmitted to the audio matrix or audio processor, and finally output to each speaker device. This solves the problem that the traditional splicer cannot handle the audio, but the system is too cumbersome, and the user needs to use two operating software (video wall controller software / audio matrix software), the project will have many more unstable factors.

 

The iSEMC VK-S video wall controller has been innovated. The audio output interface is integrated in the input card, which can directly strip the audio of the input signal and transmit the signal to the audio matrix through the audio cable. At the same time, the VK-S control software supports. The third-party control page, that is, you can customize a control page about the audio matrix in the page, which realizes the same software to control two devices, which is convenient for customers to operate and alleviates the maintenance problems in the later period.

 

 

Mainstream audio is usually divided into Mono and Stereo, so what is the difference between them?

 

When we listen to sound through audio playback equipment, our brain will perceive the information of the sound according to the difference between the sound signals received by the left and right ears, including loudness, width, depth, distance...

 

 

  1. Mono

 

Mono is the oldest and most basic way of recording sound using only one audio channel. Because there is only one audio channel for mono, our brain receives no difference in the information from the left and right ears, and the auditory system will not produce psychoacoustic positioning, so there will be no difference in width and depth.

 

Although the current audio recording methods are mainly stereo, mono recording is still very common, such as the broadcast we listen to. Mainly because the mono signal is simple and not easy to lose, it is still a good choice in some occasions that do not require too high sound quality.

 

  1. Stereo

 

Stereo includes many kinds, such as: two-channel stereo, surround sound, panoramic sound...Listen to me introducing you one by one:

 

2.1 Two-channel stereo: This is the stereo that we hear most often in our daily lives. Regardless of music, TV, etc., they are all made in stereo. Two-channel stereo has two audio channels, so it can give the listener a sense of breadth, and even a sense of direction under certain production conditions. We often wear headphones to listen to music, and we can feel that some sounds are on the left and some are on the right. When the sound on one side is louder than the other side, we will feel the sound has a direction. The current dual-channel stereo technology is very mature.

 

2.2 Surround sound: This audio production method is mainly used in the film industry. The current standard surround sound is 5.1 channels. Including 5 full-band audio channels, and a bass (cannon) channel. Because there are 3.1 channels more than two-channel stereo, in such a sound environment, the listener can clearly perceive the direction of the sound (front, back, left, and right), depth, and so on. Of course, surround sound equipment is very expensive, but it can bring us an excellent audio and video experience.

 

2.3 Panoramic sound: The simplest explanation for the difference between panoramic sound and surround sound is to give the listener an extra level of sound perception. It can be imagined that a person is placed in a ball, and all points of the ball can make sounds. More tends to our natural sound field, more immersive. Now we can feel the charm of panoramic sound in the "Dolby Atmos" movie theater. Simply put, a few additional speakers are installed on the ceiling of the auditorium.

 

The VK-S uses a 3PIN audio interface, with a distinction between left and right channels, which realizes stereo audio and improves the overall audio experience.

 

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AV Over IP solution for stadium

Stadiums are generally composed of multiple sets of screens. For example, an outdoor large LED screen is used to play advertisements or promotional videos, or the LCD video wall in the monitoring room is used to display surveillance cameras and LED digital signage around the stadium.

 

The distance between multiple sets of screens in the venue is far greater than the transmission distance of traditional HDMI cables, so AV over IP is a good solution. Not only video transmission, AV OVER IP is also reliable in audio transmission, and it can also replace central control equipment to control third-party equipment (lighting...).

 

 

 

Ultra-low latency, visually lossless compression

 

In the sports industry, audio and video manufacturers have been seeking to transmit the image to the audience with ultra-low latency without compressing the image quality. iSEMC AV OVER IP decodes and encodes professional-grade video with ultra-low latency, and outputs, the delay is less than 60ms to ensure an excellent user experience and response time in mission-critical applications. Give the audience real-time visual enjoyment.

 

 

The system is stable and reliable

AV OVER IP has been successfully applied to countless large-scale venue projects and has mature project experience, so it is stable and reliable. Will not let the audience miss any beautiful moments.

 

Multiple control protocols and modes

The system can support multiple control protocols, and the required equipment control can be seamlessly connected with the iSEMC integrated intelligent control system with related control protocols. The system uses IO, infrared and serial ports (RS232/RS485) to control various devices, such as lights in the stadium, lifting platforms, etc., to enhance the overall effect

 

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Video Wall Controller 3x3 Project-Based on iSEMC NP Series Controller

The new video wall project (Monitoring Room) based on NP Pro Series has been established, let us understand the project requirements:

 

The video wall consists of 3x3 55-inch LCD. The operator needs to support the display of 320 channels of IP cameras (RTSP/H.265) on the video wall, and support for split window display. At the same time, it needs to support camera alarm function and video storage

 

Reasons for applying NP Pro:

  • Each screen supports 16 split window display
  • Connect to the camera directly through the switch, so no input card is required
  • Support camera alarm
  • Support video storage
  • Support PTZ

3x3vidoe_wall

 

Diagram

 

 

 

The video wall controllers of the isemc Np pro series help you easily create fascinating dynamic video walls, which can easily attract attention even in challenging visual environments. We provide a complete set of groundbreaking products and technologies that can be integrated seamlessly or gaplessly to create advanced video wall solutions. At the same time, isemc’s products are also equipped with trusted training, quality assurance and technical support, allowing you to rest easy

Np pro can manage and drive 4K video content on any size display
Achieve creative video, data management and large-screen multi-window display. Large format, 4K resolution, multiple signal sources, and multiple display applications have become a trend, and users need standard tools that can easily respond to these needs. With our decades of expertise in engineering, manufacturing and integrated displays, and processing solutions, professionals trust isemc to realize visual displays of various sizes with excellent performance.

When setting up the display screen, whether it is for on-site events, public or company spaces, or for teams that need to provide video solutions for video monitoring or R&D applications, isemc can provide excellent performance, control and flexibility, You present a spectacular experience of high standards.

 

 

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How to choose a switch in the av over ip project in the Philippines?

How to choose a switch in the AV OVER IP project? How to determine the network structure according to the project? We have this question in most projects. Switches are one of the most commonly used equipment in weak current. Regarding its use and selection, we have to know. In this issue, let’s learn more about how to choose switches in the next project.

 

 

  1. Network Size and Hierarchy

What needs to be considered is the network scale and switch application level, which are mainly divided into small and medium networks and large and medium networks.

 

When choosing a switch, you can use the OSI reference model to choose. If the company is only doing data forwarding, it is recommended to use a two-layer switch. If the departments are divided to isolate the departments, it is recommended to choose a three-layer switch. If you need to set up gateways, firewalls and other functions, you need a more advanced firewall-level switch.

 

How to plan the network hierarchy:

The network structure determines what equipment to use. Some small networks only have the core layer and the access layer, so the core switch is relatively better to choose, and the pressure is not great. For example, some small monitoring networks are only used in the internal network. Just choose a Layer 2 switch.

 

 

  1. Number of ports on the switch

The number of ports of the switch and the number of physical ports supported by the switch determine the number of terminals or secondary receiving devices connected to the switch, which need to be selected according to actual needs. Of course, you also need to consider subsequent network expansion. The access port of the switch is used to connect to the internal network terminal, and the uplink port is used to connect to the upper-level equipment.

 

If the number of input node and output node is around 16, and the number of points does not change much in the long term, you can choose a 24-port switch. If there are more than 16 points, and there are other network equipment, you need to do some redundancy on the number of ports. Otherwise, you can choose a 48-port switch.

 

 

  1. Port parameters

Port speed (100M, Gigabit, 10G) and port type (RJ45, SFP/optical port, PoE power supply network port, etc.). There are several optical ports, or several electrical ports, etc., the number of 100M ports and Gigabit ports. As AV OVER IP occupies a lot of bandwidth while transmitting ultra-high-definition video signals, a gigabit switch must be selected in the project.

 

  1. Forwarding rate

The data in the network is composed of data packets, and the processing of each data packet consumes resources. Forwarding rate (also known as throughput) refers to the number of data packets that pass per unit time without packet loss. Throughput is like the traffic flow of an overpass. It is the most important parameter of a three-layer switch, and it marks the specific performance of the switch. If the throughput is too small, it will become a network bottleneck and negatively affect the transmission efficiency of the entire network.

 

The switch should be able to achieve wire-speed switching, that is, the switching rate reaches the data transmission speed on the transmission line, thereby eliminating the switching bottleneck to the greatest extent. For the Layer 3 core switch, if you want to achieve non-blocking transmission of the network, this rate can be ≤ the nominal Layer 2 packet forwarding rate and the rate can ≤ the nominal Layer 3 packet forwarding rate, then the switch is doing Layer 2 and Layer 3 Line speed can be achieved when layer switching.

 

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Chroma Subsampling in AV Over IP

We often see words like 4:4:4, 4:2:2, 4:2:0 in the codec information. For example, controller A supports 4K@30Hz 4:4:4, and controller B supports 4K. @30Hz 4: 2: 2. No matter 4:4:4, 4:2:2, 4:2:0, they all describe the way of image compression and sampling, so what is the difference between them? On this page, we will introduce you to the concepts related to chroma sampling.

 

What is Chroma Subsampling?

Chroma subsampling is a type of compression that reduces the color information in a signal in favor of luminance data. This reduces bandwidth without significantly affecting picture quality.

 

A video signal is split into two different aspects: luminance information and color information. Luminance, or luma for short, defines most of the picture since contrast is what forms the shapes that you see on the screen. For example, a black and white image will not look less detailed than a color picture. Color information, chrominance, or simply chroma is important as well, but has less visual impact. What chroma subsampling does is reduce the amount of color information in the signal to allow more luminance data instead. This allows you to maintain picture clarity while effectively reducing the file size up to 50%. In the YUV format, luma is only 1/3rd of the signal, so reducing the amount of chroma data helps a lot. Because of bandwidth limitations from internet speeds and HDMI, this makes for much more efficient use of current systems.

4: 4: 4 VS 4: 2: 2 VS 4: 2: 0

The first number (4 in this example) refers to the size of the sample. The following two numbers refer to chroma. They all define horizontal and vertical sampling respectively relative to the first number.

 

The signal with a chroma of 4:4:4 is not compressed (so no sub-sampling is performed), and the brightness and color data are completely transmitted. In the four-by-two pixel array, the chromaticity of 4:2:2 is half of 4:4:4, and the chromaticity information of 4:2:0 is a quarter of the available colors. The horizontal sampling rate of 4:2:2 signals is half, but the vertical sampling rate is still complete. On the other hand, 4:2:0 will only sample half of the colors of the pixels in the first row, and completely ignore the second row of samples.

 

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