Sixteen:Nine - All Digital Signage, Some Snark
David Labuskes, AVIXA

David Labuskes, AVIXA

September 22, 2021

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT

There is a whole pile of back seat driving happening lately in the pro AV and digital signage communities about how to run a trade show in the COVID-19 era, and much of the focus has squarely been on Dave Labuskes, the CEO of AVIXA, which runs InfoComm and co-owns the even larger trade show ISE.

The show is happening in about a month in Orlando, and with other big trade shows saying never mind for 2021, there are endless questions and suggestions about the prospects of the show even happening.

It will, says Labuskes, unless there are measures like government-mandated closures. Given that the show is in Florida, that's probably not going to happen.

Labuskes has done some frank interviews lately that went into deep detail about InfoComm and COVID, and the business. I spoke with Labuskes late last week and did not see the value in rehashing and revisiting a lot of what he said, so in our chat we talk a little about how things will come off and why. But we spend a lot more time on bigger picture stuff about how trade shows fit, and whether a niche industry like digital signage can find a well-defined home and community at big, omni AV shows like Infocomm and ISE.

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TRANSCRIPT

Mr Labuskes, thank you for joining me. I wanted to get into a number of things, but I also didn't want to just rehash some recent conversations you had in an hour long interview last week with Tim Albright from AVnation that went into a lot of frank discussion about where InfoComm is at and everything associated with that, but I can’t cCompletely ignore that, and I just wanted to ask, where are things now , has anything changed in the last week since I watched that interview? 

Dave Labuskes: Mr. Haynes, it's good to be here. There have been a couple of other events that have announced cancellations, but there's been nothing that's changed in AVIXA's policy with regards to InfoComm. We still see a runway to a fantastic event with fantastic people conducting fantastic business.

It's been described as being the last trade show standing this fall, but that's not really true. There's all kinds of events going on here, there, and everywhere. 

Dave Labuskes: Yeah. There's a lot that's described that isn't necessarily really true, David. But yeah there's events and trade shows happening every day, all around the world, and I'm actually a little confused. For an industry that is really based on overcoming challenges and doing the impossible and making things happen that nobody believed could actually happen, there is that sort of a sentiment that trade shows can't take place right now and that just simply is not true. They're taking place every day. 

So I have mixed opinions personally. I was supposed to be doing a mixer down at InfoComm and decided not to do that, and that wasn't really so much about I don't think InfoComm should even happen or anything else, it was just as simply a fact of, I didn't quite see how a cocktail party, where everybody was wearing a mask and being asked to stand six feet apart would work terribly well and the optics were weird. 

It's one of those things where I could see a trade show happening, but I didn't see that happening well, and we don't need to get into all of that. I'm curious more about whether or not you're enjoying all the armchair opinions from people who say what you should be doing, but have never actually run a tradeshow? 

Dave Labuskes: Before I had this job, I was a partner at a large architectural engineering firm, and one of the gentlemen that was on the search committee that was interviewing me for this job, James Ford, owner of Ford AV and I'll never forget where he was sitting in the boardroom, he leaned forward and said, “Dave, you've got a really good gig, like why would you want this job?” And I'm like that's a great question, and I try to answer it, and he's like, “But Dave, here's the thing: You're running one of the largest consulting practices in the world and if you have a management meeting and you decide to go liveleft, then everybody's going to leave that meeting and they're going to go left, and the jobs that you're interviewing for you and your team are going to decide to go left, and then 50,000 people are going to tell you, you should go right!”

I actually celebrate varied opinions. I do think a lot of people express an expertise that is perhaps inflated in their own perception. Trade shows, they're a complicated industry. I've been doing this now for eight years and I have people on my team that have forgotten twice what I'll ever know. The interplay between the various different constraints, the challenges that people throw out there as though they're simple challenges. Yeah, they're a little frustrating, but I signed up for it. Nobody made me do this job. I was forewarned, so maybe I'm the one that has an exaggerated impression of my expertise.

Is part of the problem just simply that it's Florida and Florida is this eternally weird place at the best of times, but it's got a particular problem and people all the way up to the governor of the state who don't seem to recognize that, “Hey, maybe there's a bit of a problem happening here.”?

Dave Labuskes: Yeah. I think I'll be a little more politically correct than that, and it was nice for you to try it, but it isn't my first rodeo here. 

(Laughter) I wasn't trying to bait you. I just think that's a big part of it and the people, the armchair opinion makers who say why don't you just move it or why didn't you just do it in another city? There's a little bit of baggage associated with doing that but just simply speaking, it's a part of the country that has a particular exacerbated problem, but doesn't seem to want to recognize that it has an exacerbated problem.

Dave Labuskes: It all comes from the jurisdictions and it all comes down to point of reference, right? You can also just say, is it the problem that the event is in the United States, right? Because if you look at the United States and compare the United States to other countries, we're not necessarily getting a straight-A report card.

What I have said, and I know we don't want to have the same conversation I've had already with others, is that I don't think the brush that should be used in making that decision is Florida. I think the brush that we should use in painting that picture is Orange County. There's parts of California that may or may not be behaving in the same fashion you or I would do.

So I think you have to look at where are you going to fly into, where you're going to be, where are you going to have dinner, where are you going to sleep? Those types of things, and when you get to that stage orange county this morning had 79.4% of their population over the age 18 having had one shot of the vaccine. They've got a mask order that was issued by the mayor strongly recommending that masks be worn inside any public space. They've got plummeting hospitalization rates, death rates, positivity rates at 12.4%, I believe. 

So, I think, unfortunately the world and this country and all of the states have this polarization thing going on, and yeah, would it be more comfortable for people to attend an event somewhere else that are looking from afar and don't take time to do all that research? Probably. The headline, the abbreviated picture, is challenging, but I do think that there are people that are going to make a decision that attending a trade show weighed against other factors just isn't for them this year, and I think they'd make that decision regardless of where it is. 

Yeah. I guess that's the other thing that you didn't know you were signing up for was having an extensive ability to talk in genealogical terms.

Dave Labuskes: This is a true story, David. Last year, I came home from the office, and at dinner I said to my wife and son I spent an hour today reading a scientific study about the efficacy of washing your hands with cold water versus hot water, and that is not something I ever anticipated taking place in my career, I will admit that. (Laughter)

By the way, it is just as good. You just don't tend to wash them as long because it's less comfortable, but... 

I'm just impressed I was able to say epidemiology. 

Dave Labuskes: Happy with that. These are words that were not part of our vocabulary two years ago, right? 

Just drafting off of some of that: CEDIA which AVIXA has a relationship with because you co-own ISC had their event last week or the week before in Indianapolis and I won't go into how that went business-wise or anything else, but I'm curious if you had AVIXA folks there and did they see how things were done? I know they had signage and kind of cues on whether you are comfortable with people coming close and all that sort of stuff. Did those things work? 

Were there things that you learned from that you can take away and apply to InfoComm? 

Dave Labuskes: First part of the question: No, we didn't have anybody from AVIXA at that event that I'm aware of. Not that I know of, but I'm sure there were people there that were AVIXA members. We do have a close relationship with CEDIA. Obviously we have a partnership over a very large joint venture that owns and operates ISC and ISR and DSS. The show itself is owned by Emerald Expositions, and we have our conversational talking relationship with Emerald as well. In fact I have a call next week with Emerald to talk through lessons learned. 

I was in Louisville, Kentucky a couple of weeks ago at a SISO conference, which is the Society of Independent Show Operators. So it's Emerald, Informa, and mostly the for-profit trade show organizers and AVIXA was invited to attend. The industry of trade show organizers and meeting planners and event planners, we've joined arms and we recognize that this is a problem for all of us that we have to share best practices with, we have to share learnings with, we have to talk about what works and doesn't work.

It's kinda like the AV industry and as I'm learning more about it, the digital signage industry where people compete, but they also have a comradery where a rising tide lifts all ships kind of a thing, and so I think all trade show operators are working through this, associations as well are famously collaborating with regards to sharing information and learning and helping each other. So that's a good part of the pandemic. 

I would imagine one of the things that all these organizations collectively learned, if they didn't already know it, is that the whole virtual trade show thing just really doesn't work. Does it?

Dave Labuskes: It certainly didn't work in v1.0 of 2020. I think v1.5, and we're starting to get closer to 2.0, I think there's hope for it. The best visual I saw over the last 18 months is talking about books versus movies, and you don't convert a book to a movie by putting it on a podium and filming somebody turning the pages. And I think that probably is a closely apt description of what we all did with our first version of the virtual events. But I think you can tell a story, very effectively in print or in film, leveraging and celebrating the differences of the media. 

Where I am at now and where AVIXA is driving towards, and you'll see more developments about this in the next couple months is more about how AVIXA delivers on its mission, leveraging physical  events and digital platforms, and how do they interface and interact with each other? How do they mutually benefit each other? What's good in one, that's not good in the other?

Not a lot of good, special effects when you're reading a book, but a lot of great imagination when you're reading a book. Not a lot of ability to be character development through introspection in a movie, but it's really easy to do that when you're reading.

I think if you look at education, you look at delivery of information from provider to consumer, that can be done pretty effectively digitally. I think about human interaction and the break time during class is almost impossible to create digitally. That doesn't mean it is impossible. So I see a lot of assumptions that we made in order to achieve X, we needed to convene people face-to-face being challenged. But I also think that all of the pundits that got online in March and April of last year and said, this is the end of face-to-face, and we're going to be digital for the rest of our lives, have seen that they were probably not right with that either. 

I think the one thing that I took away, or what I have enjoyed about these virtual events is the ability to attend round tables panels presentations on demand. So I don't need to be somewhere or sit at a certain place, set aside things then at 10:00 AM, I'm going to watch this.

Just the simple fact that I got stuff going on. I can't do this today or right now, that I could click on it and see. Yeah, somebody from Brand X explaining this to me on my terms, and if I'm bored, I just click out, I don't have to stand up and walk out of the room and embarrass the presenter or anything like that. That part I like.

Dave Labuskes: I do too, and that's the irony of it is. If one of the things that all of us like is the absence of time and geography constraints, right? So it doesn't matter if that panel discussions take place in London or Nova Scotia or Orlando, you can still receive the outcome of that panel. 

Why are we saying that they should be organized and delivered between 9:00 AM and 4:00 PM Eastern time on Tuesday and Wednesday of next week? That's where I get to this. I think it's more about a digital presence and digital community, a place where people interact when it's appropriate for them to interact, where they can organize their interaction times.

I'm old enough to have been in chat rooms on Prodigy and AOL and you remember you would organize with people like I'm going to be on at eight o'clock tonight for an hour, because you can only afford an hour. Because we were charged by the minute, and then I think that's what we have to recognize. So in that regard, I'm really excited about the fact that I'm not a trade show organizer, instead I’m an association that is committed to an industry and an industry community, and what I can do is build that community both digitally and physically. 

What do you think of the suggestion that the days of the big macro show are cloudy and that regionalized events make more sense, so an InfoComm Southwest, an ISE UK, that sort of thing? And granted that was tried a little bit in the past year, but that was out of necessity as opposed to design. 

Dave Labuskes: Yeah, I'm intrigued by it. But I think the loudest proponents of it are the attendees, not the exhibitors and the attendees don't pay. Doing ten small shows only costs a little less than doing one big show or less than doing then ten times doing one big show. The cost of doing a show has a fixed amount. Even in the smallest show, you're going to pay an X and then get to the big show, you may only be paying 2X where if you're doing a regional show, like 10 times, you are close to 10X, and your ROI on each of those events is smaller because your audience is small. 

Now that's using all the old rules. So if we go back to the last question, if I can segment an audience for an exhibitor and say, I'm going to bring people that have spending authority over half a million dollars that have a project next three months, it's going to require a high-end audio system. That's going to change that algebra, and so I don't think you throw it out the window, but economics has a factor in these things and it's easy to say I would rather go to a small event in Nashville, but the problem is I have to find somebody to pay for it, and even if you say I'm happier to go to a small event in Nashville, I bet you don't want to spend $195 for a ticket to go to that event? 

I get the hunger for it. I get the desire for it, but I don't see a business model around it right now. We've never been successful at small events being profitable. There have been good strategies like, before ISE launched. We did small roadshow events from country to country, it was before my time, but I hear stories from the old timers about the amazing sort of experience of going from hotel room or hotel conference to hotel conference across from Warsaw to Budapest to Rome type thing. And we've done them in advance of launching our Bangkok show. We did it in advance of launching our Mumbai show, but those become feeders to a larger event that has a more sustainable business model. We did a lot of what we used to call round tables, for example, we did the AVIXA round table in Baltimore where you'd have 15, 20, maybe 30 people come to them, and so you were spending a lot of money on an event that served 15, 20 or 30 people, and we just felt like there were better ways of spending the industry's money than that. 

The demise of Digital Signage Expo certainly raised the eyebrows at AVIXA and got you guys thinking, although you've always had digital signage as a component, you've had pavilions for many years, but there was an opportunity and a sense that something needed to fill that void. Granted, it's been refilled to some degree since then, but the show hasn't happened yet so we'll see how that comes off. 

How do you build up the digital signage affinity for InfoComm? Cause I've gone for many years, but I go to have a look at the gear. I'm not a gear head, but I write about it and everything else, but I don't really see it as an end-user show where a big retailer, those kinds of people are going to come to that they maybe they send their gearheads, but more likely it's the integrators that sell into big retail and so on are there are there, so how do you make all that kind of come together over the next couple of years?

Dave Labuskes: Boy, there's so much in that question, David. We should talk more often, I enjoy this.

Yes, it is an unfortunate demise and it didn't get folks in the AVIXA thinking. Yes, we've been looking at the digital signage industry for a long time. I do think it's a community within the larger industry that needs to be celebrated, and that's that other point with regards to small regional shows versus big shows. I think we see lots more shows within shows taking place, and I think that's probably the right solution, and I'm biased. I think AVIXA has the right place to build a home within a home for the digital signage community. 

First of all: there was this interesting dynamic between the association and the show operator, right? From an association perspective AVIXA has been having conversations with DSF, with DS-LATAM, with digital signage of Asia, and the various different entities in Europe. When you move from our association to association, one of the ways I think I actually described it to Rich Ventura, he and I were talking probably years ago and it's like you and I, David, are best friends, but our dads owns the competing gas stations on the corner, and so we can go to school and everything and be friends there but when we came home there's limits. 

That was kinda how I felt like it was and I felt like there's a window there to not have that dynamic. Now, some of that's changed and I respect Questex. I respect Paul and don't know him well, but I know him and I've had conversations with him and he's a smart guy and I believe he's committed to delivering a successful event. I think it's being honest, looking at what does an organization want, what is the community best one? And making honest agreements and commitments to each other, and then keeping them. There are advantages to working together, and I think the end goal is that “home within a home” and “a community within a community.” 

I think the challenge and opportunity for digital signage and InfoComm is the scale of the InfoComm show and the specificity and the heart and relationship with the digital signage community, and I think if we work together, we can build that home within a home. I think it can be more than a guest room. It can be an in-law apartment. It can be a place where it's identified and that's, yeah, I'm disappointed that you're not going to be there, and I know the mixture is just one manifestation of that home within a home, and we look forward to being able to do it in the future. 

Absolutely. One of the logistical problems or mechanical problems, so to speak, with a big show like an InfoComm is: yes, you've created these pavilions through the years of digital signage pavilion and some of the vendors have been in that, designated zone, so to speak, but the biggest players are the display manufacturers, and they've always had their spots, their Primo spots, and they're serving a whole bunch of audiences at InfoComm, not just the digital signage people. So how do you figure out a way to create a show within a show when you've got Sony in the front row, Samsung's got a giant booth in the middle of the hall and so on. You're never going to be able to herd them all into one hall, so to speak? 

Dave Labuskes: Yeah, so what do you do then? I think what you have to do and we're down to the details of tactics, right? But I think you start to curate attendees' journeys. You use content as the honey to attract and people will come where content is and content can be delivered where people are, and that's the challenge of starting a trade show, but we've done that. We know how to form a trade show and it takes time and it takes continual feeding until it becomes a self-feeding cycle, and then you have to create a journey that is guided a bit so the attendees that are coming from retail or the attendees that are coming from the advertising agencies can get to where they will be able to extract value and some of that will require tour guides, not maps and serendipity, because it's too big to just let somebody lose, but we have that problem now with end users in general at the show, you described as gearheads, but about 40% of the attendees at a typical InfoComm are end user buyers. It's part of what makes that show so valuable to exhibitors. 

A lot of them are brought there by channel members. The consultants are bringing their customers, the integrators are bringing their customers. But a lot of them are brought there by us too, with promoting them and developing conference content that would be of interest to them, creating a nucleus of community. It's all very explicit, but it doesn't happen by chance. There are hosted buyers that are brought in to shows around the world. There are groups that are sponsored. There are other associations that are partnered with. Richard runs our Asian subsidiary. He's a genius at identifying influential associations within the geographies and partnering with them to offer programs. Organizations like the Indian Architects Association are partnered with our InfoComm Mumbai event, and they are holding content conferences for architects in conjunction with our event. All of our channels want architects at it. Those types of strategies are part of the town and the team that works on these.

Last question, looking ahead a few months to ISE and it's hard to do the crystal ball thing, but I gather things are calmer in Spain. I don't hear very many people at all saying, hell no, we're not going to Barcelona or anything else, maybe that'll bubble up, who knows? But is ISC in Barcelona going to be normal-ish?

Dave Labuskes: Yes, I think so. Again, like you said, the crystal balls are not crystal clear and now, after the last series of conversations, I think I'm going to put the crystal ball into the same place where I put “pivot” and “agile” and “unprecedented” but yeah, the biggest indicator that you would have about and event like ISC at this stage five months out is sold show floor space, right? 

I don't think we've even opened registration for attendees yet, and show floor sales are, I think they're probably about 8% off of 2020. I guess there's no such thing as quoting me because we're recording this, but it's within that ballpark of the size of the last event at the Rye, which is, really the last event to compare it to. So if it's 90% of that size, 80% of that size, I think that's, that absolutely fits into your technical definition of normal. 

And there were lots of people who said, because you're going to Barcelona, as awesome a place as it is, it may mean you see a slight drop because people who might go to ISC in Amsterdam, because they can drive there, maybe would not go all the way to Barcelona? 

Dave Labuskes: Yeah, but there's other people that are going to drive to Barcelona that wouldn't have driven to Amsterdam. And yeah not a hundred percent a repeat audience, but…

Well, I’m not driving to Barcelona. 

Dave Labuskes: Yeah, me neither. (Laughter)

That's those armchair spectators that you talked about earlier, right? We did the homework to make a determination about that, and we love the Rye. We would love to have stayed at the Rye, but the Rye isn’t big enough to hold the show as it was moving forward in the future and it was starting to have a negative impact on attendee experience and you start to have those different factors impact a show and reach the value of the show. 

I'll just be happy if I can find my way around. 

Dave Labuskes: Yeah, it's a beautiful city. I'll tell you what it's like. It's the opposite of the Rye. It was one of the things I joked with Mike about. Finally I figured out how to get through the Eye without getting lost, and now we've decided to move the show. 

Yeah, me too. 

All right. I appreciate you taking some time with me. I suspect you're a busy fellow these days.

Dave Labuskes: Never too busy for you, sir. Congratulations on your recent deal. I'm really happy for you. 

Thank you!

Paul Miller, Questex

Paul Miller, Questex

June 23, 2021

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT

When news broke back in March that the live events and publishing firm Questex had bought the assets of Digital Signage Expo, there was, understandably, a lot of interest and speculation about whether that might mean the defunct trade show and conference would be revived.

It will be, likely around the same timeframe as the past, and back in Las Vegas. It is also likely it will have the same name - though it might just be called DSE. 

What's also clear is that it will not be a simple re-boot of the old show - which makes perfect sense, since the Digital Signage Expo that ran for 15+ years would politely be described as spinning its wheels - with attendance flatlined and exhibitor counts shrinking.

I contacted Questex when news first broke of the DSE assets being acquired at auction, and have had a few conversations since then with the company, including its CEO Paul Miller.

I wasn't sure how much he could tell me, but we had a terrific, very open chat about what went down, and his company's thinking around a new and different DSE in 2022. 

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TRANSCRIPT

David: Paul. Thank you for joining me. Who is Questex? 

Paul Miller: Hi, Dave, thanks for having me first and foremost. Questex is a media and information services business that produces events alongside its media sites. We have been in existence as a company for about 15 years, just over. We are a company that focuses on really five or six markets, that is the life sciences and healthcare markets, the technology markets, and then we also focus on the areas of travel hospitality & wellness, and all of that is wrapped up around a focus on the experience economy. That's who we are and we do events, we do media websites, we do all kinds of connecting of buyers and sellers in those areas. 

David: So of those properties that you have in the context of the Pro AV world, what would people who are listening to this most likely know, LDI or the Nightclub & Bar Show? 

Paul Miller: Yeah. They would probably know our Nightclub & Bar Show in Las Vegas, mainly because that would have been in history. Some cases would collaborate with DSE and in some cases would just sit alongside so they would know that. 

They probably would know the Lighting Dimension Show, the LDI show that you mentioned. Yeah, that's also one that is quite well known in this space. I would say outside of that, there are events that I think are relevant in the hotel area, in the spa area, in the gym area where we’re connecting owners of hotels & operators of hotels and gyms and spas with various people that want to sell into those spaces. So of course digital signage is a huge area for all of those end users. So they may not know those, but certainly, I think they're areas that we think are very relevant. 

David: We'll get into acquiring assets of DSE, but I was curious when that happened, so I looked up Questex to see who they are and how they work and I get a sense that your typical approach is you have publishing wing as a foundational thing that kind of sets the content for that particular vertical market, and then you grow and market the live event off of that. Is that a fair assessment? 

Paul Miller: Yeah, I think that's a good assessment, Dave.

We believe that we should be engaged with communities 365 days through the year because people don't always wait for an event before they make their decision. So we want to help them through that buying process through content that attracts them to our websites. As they interact with that content, we like to use that data to produce what we would consider a very relevant show. So when you come to the show, it's content that's been popular throughout the year, probably speakers that have been writing content that you can come and meet live. So we see a full connection between how people in the B2B world look for content, and how they go through that buying process, and the event is part of that. 

In many cases, it's an exciting part of it, because people come to actually buy. In some cases, they come to network. In some cases, they come to get educated, and in some cases, all three. So, that idea that we would just do an event, and then see you next year is not really in our DNA. We're more, “Hey, we want to serve you throughout the year, and we'd love to see you live at the event if relevant.” 

David: And I also get a sense that that the events look different depending on the vertical. So you don't necessarily do a full trade show with exhibits for a certain vertical because it really doesn't fit, whereas, for other verticals, it may. 

Paul Miller: That actually is a really astute comment. I think sometimes in our world, not the digital signage world. This is our world at Questex. We sometimes talk about events a little bit like somebody saying, “I'm going on vacation to Africa,” and your first question is what country you're going to because you’re going to have a different experience depending on where you're going. 

In the events world too, there are various flavors. In some events, it truly is sort of a cash and carry. You bring in your goods, you set up your store and people come in and they buy your goods, and there's nothing wrong with that at all. By the way, I do not think that applies to digital signage, certainly on the whole, but that there is a flavor of event that we do that sort of emulates that, that is very much you come in to buy stuff and the exhibitors are there to sell stuff and success is how much did I sell, frankly?

And then there are the educational type events which sort of surround large conferences. I think you'd be familiar with these: great speakers, good education, and some really good networking off-piece at the hotel bar afterward, et cetera, and then you can get into some really specific events which are matchmaking buyers with sellers. This particular buyer is looking for this solution and we're going to put you in a room with this seller. They tend to be more intimate, very VIP, in some cases, we will host those buyers. So we tend to be, and I think your comment is right on. We tend to look for what fits what element of the market at the right time.

I think where it gets exciting, Dave, and this probably leads us into sort of our thoughts around the Digital Signage Expo is that in many cases you can do all three. You can have a great conference, you can have a great show, trade show floor, and you can do great matchmaking, and it doesn't work all the time. We have a feeling that it is relevant to DSE from what we've been hearing from the market, but you're absolutely right on the money. We don't really have a one size fits all approach as a company, and I think given the communities we serve, that would be very difficult for us to shoehorn in certain templates if you will. 

David: Right. So back in, I think you said it was April, but you acquired the assets of Exponation. What did you actually acquire? 

Paul Miller: We acquired the assets of Digital Signage Expo which would have included the trademarks, the websites, the database, the customer database. I think that was about it. A few other URLs, websites that sort of surrounded the industry a little bit. But everything that Exponation had that was DSE-related is what we acquired. 

David: And how did that happen? Was there like a Broker who came to you and said, “Hey, we have this”, or do you have people who just pay attention to this sort of thing? 

Paul Miller: No, it was strange, to be honest. The last year has been strange in many ways. Firstly, we’re very aware at Questex of DSC. We had, as mentioned at the start, we had seen the show, we had visited the show. I wandered over to the show while at our Nightclub & Bar event.

David: Just to sober up? (Laughter)

Paul Miller: Yeah, actually, just to see what it's like at a B2B show that isn't serving alcohol, which is a different field, and actually we had been impressed for many years with the show. We certainly didn't really know the understories and what was really going on, but from a very shallow view, I would say, the show looked very professional. There were great companies, and there was good buzz, and we always said to each other that, that looks like a great event, and that was about it, just for the record. 

Then I forget the actual timing, but sometime in the fall of last year, we obviously saw the story that Exponation had filed for Chapter 7, and that sort of alerted us about that a lot of us that are in the events business, the pandemic has been devastating. It wasn't that it was a surprise, but to be honest as having that sort of very narrow and shallow knowledge of the show, we were like, wow that's a shame that, that was a good looking event and we're probably going to see more of this was our initial reaction. Then what happened, Dave is that we got a notice from, I think it was the bankruptcy court. I can't remember who it was, but anyway, we got a notice that the assets were going to be auctioned to help raise funds, for those people that the debt was owed to if you will.

So we said, okay we like these assets and we've got some things that we could bring to the event, or this was before we knew, by the way, that might be relevant. So we entered into an auction process and it was the first time in my career that I've ever been through such a process and it truly was a person on the phone, basically banging the gavel and saying, “Yep,  sold to the people at the back,” and that ended up being us. We obviously then did a lot of homework before we went into the auction. We got our hands around a little bit. What was the size of the show? What was the target audience for the show? What do we think we could bring to the show? And it checked a lot of boxes for us. Yeah, we went into the auction seriously and we won that auction, and then, of course, you find what actually have we acquired? And that was a fascinating sort of few weeks of research. 

David: I've spoken with you in the past, I've spoken with someone else from your company and a consultant, Brent Gleason, who you've engaged to help out with this. 

I'm curious, as you've done your kind of due diligence and exploration of the industry, what have you been hearing about the industry, your impressions on that, but also, we can go from there to what are you going to do? 

Paul Miller: Sure. So firstly I have to say, and I think you know this that there wasn't a lot of ho-hum type of commentary in the research when we went to the industry. People were very passionate about space, very passionate about this product. Not all of it positive. I think there've been some negative experiences for certain people, but what we did find, Dave, was that this is an industry that is going through terrific growth and that growth looks to be sustainable, certainly, through the next half a decade if not beyond in our opinion, so great sort of 7.5% CAGR growth rates, touches a lot of verticals, and I know that people listening and yourself would know this, but this was our learning, touching verticals as diverse as healthcare, through to retail, through to hotels, houses of worship, hotels. So that was really interesting for us.

We also found and heard that the industry actually wanted a place to gather. They do see this as an industry that has its unique personality. It's not all about one thing or another thing, and there are definitely some trends that are coming in, the digital out of home space for instance, that in my opinion, is akin to what happened between print and the internet, back in the late nineties, a lot of data starts to be kicked off and a lot of backend technology starts to get into play. With digital signage becoming the forefront of that, it's where people first interact. So we got very excited very quickly. Some of the comments frankly, were hard to swallow or people saying, “Hey, the event was not what it used to be.” “It was starting to lose a little bit of its luster.” 

Obviously when the show was canceled last year. Some people were really quite upset about the lack of refunds and what went on there, and I fully understand that. We had to cancel a lot of events last year as well. It was a very tough scenario for everybody, but the industry we felt as we got into it had an opinion, and it was a strong opinion and people wanted to talk. We had incoming people calling us saying, “I want to talk to you about what you've bought here and let you know what you've got.”

And actually Brad was one of those, by the way, Brad said, look, I have a lot of history with the show, and I'd love to help reinvent it along the lines that I feel, and I think what the industry feels it should have been going in any way. So look, we have the ability to “start again” in many ways. I don't think the Exponation had that ability. They had a product, they had to try to grow that product. We've acquired a set of assets, but we have a real strong ability to listen to the community and try to create a new experience for the community that they're telling us they want. And that's unique. So, we purposely were have been extremely patient. We just said, let's listen, and the more we listen, the more we're finding that the industry wants an event, it wants a place to gather, but it doesn't really want your grandmother's DSC. 

I think the event has reached its limit, if you will, in terms of value and people wanted to do something else going forward, without losing some of the great things about the event, seems like it was a fantastic place for the industry to network and meet once a year. We don't want to lose that. That's a super reason for having an event. So, it's been a real experience. I mean, this is a very good acquisition from my experience, acquired through auction had gone into Chapter 7 through the pandemic and it has a set of stakeholders that really want to have a say. I mean, nobody said, sorry, I don't want to talk about it, or, I don't really have a comment. Everybody had something to say and I think that's great. That shows some passion. It shows some engagement. It’s just that not all of the comments were positive, I have to be honest.

David: Oh, for sure. When we chatted in the past, I said, I don't think there's enough to do at a trade show with a whole bunch of exhibit stands and everything, the way it was done in the past. There's a diminishing number of companies that want to spend those kinds of dollars, and I just didn't see it. Is that what you’re hearing more broadly? 

Paul Miller: Not really, no. I get your point, and we actually gave people the ability to tell us what they really want. Now, I will say that the number one thing that's coming back is that we want to meet people that are going to buy our product. So we want to meet, we don't really want to just get together and talk to each other. But it's a very expensive meeting to just talk to other people in the industry. So there's been a lot of questions to us like, do you reach people in the hotel industry? Do you reach people in the restaurant space? Do you reach people in other areas where digital signage is needed and can be engaged with? 

And when we've explained, as I did up top, that these are the markets we're in, people have gone, if you can get those folks to attend an event, we absolutely will bring a booth and we absolutely will exhibit, but you gotta bring buyers. You're not going to get away with putting up an exhibit and meeting without competitors across the aisle, that’s not enough. 

David: Right. I know with Exponation, they worked their butts off trying to get brands to show up, to a level that they were putting them on advisory boards and things like that, just to make them feel like they should be there. 

Paul Miller: Yeah. Look, I've been in the events space for sort of 25 years. It is not easy, particularly when, and this is where it comes back to the strategy of Questex, I think compared with Exponation, we're a huge believer in content.

I think I've said this to you before content is still king or queen, but the kingdom is data. Once you have people and you've attracted them, around content, it's really about understanding what their needs are, what they're looking for, engaging with them, and I think if you're a pure-play event company, what you do is you put on an event once a year, you're sort of reliant on a lot of partners to produce that content for you, and not in your environment. So you don't get the data as much, and I think that makes it very difficult in complete deference to what Exponation was trying to do. 

I think they were trying to do the right thing, but when you don't have that daily engagement with the community, it's quite hard to hit it out of the park on every single thing. You're going to find your content probably gets a bit tired, sometimes the loudest voice gets to be the speaker, as opposed to the one that everybody wants to hear. There are certain things that data takes out of the room. It takes that emotion out of the room and it says like this audience is engaging with this type of content, that's what they want to see live. That I think gives you a little bit more data-driven decision-making around what the industry wants, as opposed to my gut feel or what somebody just told me at the bar last week at the show. 

David: So, based on everything you've been hearing, everything your team has been doing, do you have the bones of an idea of what we’re going to see?

Paul Miller: Yeah we do. I think that's a good description. I'm not sure we're fully fleshed out, but I can certainly tell you a few things that we're going to do. 

Number one, we are going to relaunch the show. Just to be clear from the top, we are going to relaunch the show. We do think that the show has to be repositioned somewhat to be a broader show to bring in those customers, as I mentioned, We're looking at experiences around a broad-based agenda of life and business and mid the re-emergence of society and the global economy. So this is more about where does digital signage fit in the “roaring 20S”? So we are looking to bring back the event. We're looking at next Spring and we are looking at Las Vegas. I can't go much further than that at this point in time, because we are obviously trying to secure venues and we're trying to secure dates, and that by the way, is easier said than done in a post-pandemic environment and everybody wants dates.

But we do have our Nightclub & Bar rebranded as our Bar & Restaurant event in Las Vegas next spring. There's the possibility of bringing that together again if you will. We will have an exhibit floor but also adding things like show floor experiences, very inclusive. You know, “let's demonstrate some applications, do some showcases, have some themed presentation stages.” So a lot of buzz on the show floor, but at the same time, a really engaging conference program, lots of curated presentations, tracks based on innovative applications, why do this, what are the outcomes, what you should be looking for?

And last but not least we are hoping to have multiple layers of networking at the event. That's one thing that this community told us is, “Please don't lose the networking!” 

As I think, you know more than I know, great parties, great places for the industry to come together and celebrate, learn to buy, to sell. So yeah, we were even looking at guides around Las Vegas itself, tours of installations so people can learn, form real-life applications, not just what somebody might tell you what could happen. Let's curate some tours, and we do that by the way, for our Bar & Restaurant event, we take people behind the scenes at a Nightclub behind the scenes of a Vegas restaurant, so they can see everything from point of sale applications through to what's going on in the kitchen, and how does the food come out? We think that the audience, the community is telling us it wants more, hands-on more, show me what works, more education, more demos and bring it all together as an event that is an experience beyond just, ”I walk the show floor and I meet a couple of friends at the bar.”

David: Yeah. I've certainly heard many times and when I did a little survey asking about, where should a trade show go? The comment that's stuck in my head was, I know when I go to something like DSE, I'm landing, and that's what I'm doing that week, or for the next two, three days, that's my subject matter versus an ISE or an InfoComm, which are great shows, but they're Omni shows covering a whole bunch of different vertical industries and technologies and everything else and you don't have this aggregate of people who are just there for digital signage. Now you could go to a party and talk to 20 people, and they're all doing things that have nothing to do with digital signage, but they're in AV. 

Paul Miller: Yeah, by the way, I think both are relevant. A lot of respect for ISE and InfoComm and the AVIXA Association in general, I think they do great stuff by the way.

And I think there is relevance in attending a show that is broader than just the sort of industry that you're in. I think that's where you do see adjacencies and ideas that might be applicable. But what was loud and clear from this community was we wanted our own place. There's enough going on in the digital signage space for us to need to focus on our industry, our solutions, our ecosystem for us to want our own place, and that, by the way, was one of the key learnings over the last 8 to 10 weeks of listening to people. 

There wasn't one person who said, I don't think the industry needs its own place. There are a few people who said can I afford the time to go to all of these events? And I think that's a relevant comment and that's all about saying, well, we have to win your respect to get your time, and we have to have a program that you walk away after two or three days or a week, and you go, “Wow, I'm going to recommend this to my friends because these guys really put something on that it creates a fear of missing out if I'm not there, and I think more importantly than all of that actually creates business interactions. People actually do write orders and they do write RFPs at the event.” That's what we're here for at the end of the day. 

So yeah, I think the need for an event that's focused on this particular community is clear: that's actually a box that was checked very clearly. it wasn't a 50-50 decision.

David: There will be people who listen to this and think that's great that you're doing a show, but spring in Las Vegas or just spring in general in the trade show industry is very crowded. There's a lot going on and you're putting this in between ISC and InfoComm, which are AV shows, there's NAB, all these other ones that happening around then there, I've heard many people say it would be lovely if an event like this was in the fall instead.

Paul Miller: Yeah. Unfortunately, the fall is also busy. It's got its own interesting issues and particularly around the pandemic where shows have been moved around, and they're off cycles. The feedback that we got, Dave, was again, you're right, “It's crowded. Please don't put it over the top of another show because we don't want to be forced into a decision. Do we go to this or this?” 

The feedback we got was, “We liked where it was before,” which was, around that April timeframe, spring timeframe. So we've taken that into account and we didn't have any huge set of people saying, “Hey, move it to November or get it out of the way.” The other option we had by the way was to think about, do we put it alongside our lighting show, which is in the fall, October, November. 

The more we get into it, the more it becomes clear to us that actually, the lighting show is not as relevant as an audience, they tend to be lighting designers, people that are doing the rigging of lighting, et cetera. A better audience would be people that are buying stuff for their restaurant for us. So yeah, we're never going to get a date that's going to satisfy everybody, unfortunately. Our feeling is we have the best chance to bring the right set of buyers to this event in the spring of next year. 

David: And if you do it somewhat in tandem with an existing show like your Bar & Restaurant show, I imagine there's some efficiency around Ops people, like, you don't have to bring double the staff. You may bring more than you would for one show, but not of double compliment. 

Paul Miller: Yeah, the efficiencies come with, obviously the show place itself. So if we do go to the Las Vegas convention center, obviously you get efficiency. If you do two in one, if you will. 

From our team perspective, maybe Dave, in terms of we could send seven people rather than two sets of five, for instance, which is where I think you're going. But I'm not sure, I think what we're looking at for this event is and also by the way, for the Bar & Restaurant event, as you can imagine, the experiences there are pretty high end. You've got people launching new dreams. You've got people launching new bar and restaurant concepts. So I think that it would be the same as at a reinvigorated DSE. I guess what I'm trying to say is that I'm not looking for cost efficiencies, let me put it that way. That wouldn't be the reason for doing it. 

David: When do you think you'll have a launch or an announcement saying we're going to do this? 

Paul Miller: We're in the midst of recruiting an advisory board. We're getting some great traction there, by the way. I can give you a few names if that helps. I would say we are a matter of weeks away from a full announcement and maybe not many weeks. 

David: Yeah, and I guess you really have to be because planning cycles are long, right? People are already budgeting for 2022. 

Paul Miller: We gotta get moving, yeah.

It's not just the budgeting aspect of this. It's the sales team that has to be implemented. You've got to have your content team in place. Your advisory board needs to meet so we can start to get around the sort of flavor of the show. So no, we gotta get our skates on, no doubt about it.

David: So who are some of your advisors that you can say? 

Paul Miller: Some that I can say, and by the way, there are a number of others that we think are going to be really exciting for the community to hear about, but we've got Rich Ventura, B2B Business line manager at Sony, I think previously the chairman of the DSF. We've got Rick Robinson, Chief Strategy Officer for Billups, leading voice in the out-of-home industry, and by the way, a play on the advisory board, just for the record is these four quadrants, there's the industry veterans, those people that really know this space, the new voices, and the new faces. We said we're going to reinvigorate, let's get some new voices. So Jackie Walker, digital signage subject matter expert at Publicis Sapient is one of those. 

We've got a number of others. Laura Davis Taylor retail & reality, we've got some people here that I think are going to bring some really great new voices and faces alongside the veterans, also strategic partners that we're looking at, and of course, people like yourself in the media. We'd like to have a balance of all of the above and if we're going to deliver on our promise of a reinvigorated show, I think the definition of insanity is doing something the same way and then expecting a different outcome, so we've got to make some changes here and reinvigorate the advisory board, get new names and voices and faces involved, but don't throw away the baby with the bathwater either, make sure you've still got the people that know what they're talking about. 

David: The last question I suppose is will it be called Digital Signage Expo or it'd be something else, or is that TBD?

Paul Miller: Yeah, that's a great question. We have, interestingly, sometimes for how things happen without doing more sort of fundamental research, but internally we're using the DSE acronym quite a lot. I don't know is it Digital Signage Expo? Is it Digital Signage Experience? Is it DSE? At the moment where we're sticking with brand equity. Words and all that come with digital signage expo, but it's interesting internally, and we do refer a lot to it as DSE, and sometimes that just turned into the experience as opposed to the expo. So a little bit more about the industry, a little bit less about the product itself.

I would say a personal front, from what I've heard from customers, Digital Signage Expo is fine. People are calling it DSE anyway, and I don't know if I want to go through a massive rebranding exercise at the same time we're doing a relaunch of the event. 

David: Yeah. It's more of the communications and the people you bring on board and everything else. 

Paul Miller: I think so, yeah. At the end of the day, I think it is: have we delivered a product that people go to and say you know what, these guys are on the path to creating a must-go-to event, we did some business, it was great to meet the community again, and I learned a lot. If we can check those boxes, I think we can then start to think about, okay, what now? And at the moment, we're just fully focused on producing something that people walk away from Vegas going, “These guys nailed it, they listened and we've got an event that's a must go for our industry, and they want to listen to some more on how we can make improvements from stage one.”

So I think at the end of the day, that's what really matters. Yes, people have a lot of opinions. Yes, there's a lot of baggage. Yes, there's a lot of words that we're using right now that I hope resonate with the industry. But at the end of the day, it's did we deliver? 

David: All right, Paul, thank you. I appreciate your time. 

Paul Miller: Dave, it's a pleasure. Thanks for having me.

 

ACE Roundtable: Personalization In DOOH And Digital Signage

ACE Roundtable: Personalization In DOOH And Digital Signage

April 28, 2021

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT

As vaccination rates climb and we can seriously look at getting back to some normals in our daily lives, there's a lot of discussion happening around what consumers will expect, and accept, in terms of personalized digital marketing.

Things like appointment-based shopping and personalization grew more prevalent because of lockdowns and necessary pivots by brands, and consumers are now somewhat conditioned to services that are more tuned to their needs. 

But at the same time, there are still lots of concerns about things like being tracked in some way by technologies.

We talked about all this on a recent roundtable panel organized by Advocates for Connected Experiences, an umbrella organization that involves numerous industry associations and bodies that touch on advertising, retail, marketing and design.

I moderated the session, and noted how great it was that the gender balance was completely off, with one guy and a bunch of super-smart women.

My panelists included:

  • Kim Sarubbi, who chairs ACE
  • Debbie Haus, Retail Touchpoints
  • Kym Frank, Geopath
  • Cybelle Jones, SEGD
  • Beth Warren, CRI
  • Laura Davis-Taylor, InReality
  • Stephanie Gutnik, Verizon Media

This is a special edition of the podcast.

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Chris Chinnock, 8K Association

Chris Chinnock, 8K Association

March 17, 2021

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT

There was a lot of skepticism and debate in the digital signage community when 4K commercial displays started coming on the market, with industry observers openly wondering if visual messaging applications needed that high level of resolution.

Several years later, 4K is perhaps not common, but certainly being used in many projects, and both accepted and supported.

And as 4K bedded in, the industry started seeing some of the bigger display manufacturers showing 8K displays at trade shows, and the debate about the demand and the challenges for super high resolution displays started all over again.

One of the ways an industry builds awareness, acceptance, support and standards for a new technology is to have working groups or organizations of stakeholders. There's an 8K Association now, and the companies that got it going asked display industry veteran Chis Chinnock to step in and run it. An industry observer, writer, analyst and consultant, Chris has been around displays forever and seen the evolution. He understands what the engineers are going on about, but has the skills to explain it in terms mere mortals can understand.

He explained to me where 8K is at on the adoption curve (it's still early) and we get into the implications of 8K on infrastructure. He also explain who will want and use 8K, and why.

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TRANSCRIPT

Hey, Chris. Thanks for joining me. Can you tell me what the 8K Association is all about? 

Chris Chinnock: Sure. Thanks for having me on your podcast, appreciate that. 

The 8K Association was formed at CES in 2019, so about a little over two years ago, and it was formed with panel makers and TV makers primarily and that's when 8K TVs were starting to come into the market and we had some initial goals which was to promote those 8K TVs, to develop a certification program for those 8K TVs, to begin gathering 8K content for our member use, and to begin education of the professional community, because we're going to need a full 8K ecosystem from content creation, through distribution and display for this to become mainstream.

Is this the sort of thing that wouldn’t necessarily just happen organically?

Chris Chinnock: It would happen organically. We just wanted to form the organization to try and help facilitate communication and maybe move the ecosystem a little bit faster than it would've done organically. That's all.

And is this something that manufacturers do? I think of some of the other certifications and reference designs out there?

Chris Chinnock: Oh, yeah and there's tons of these organizations out there with different marketing goals or ecosystem development goals, so we're not reading any new ground here. We're, this is a tried and true kind of approach. 

For example, in the 4K transition, the UHD Alliance came up to do a promotion and development of UHD or 4K content, mostly aimed at consumers and then the UHD Forum was originated not long afterwards, which was focused more on trying to educate and develop the 4K ecosystem and the professional community and they developed a bunch of guidelines and whatnot to help broadcasters and filmmakers implement 4K workflows. In many senses, we're following that model and learning from what they did and trying to leverage that going forward. 

Yeah. It's an interesting thing. You have lots of people saying, “8K: is that something we're ever really going to need?” “There's no content for our…” blah, blah, blah, blah, blah. These are all the things that were said about 4K and lots of questions as to whether 4K whatever take route at all and it certainly has, is it the same argument or is this a little more nuanced because 8K is like super duper high resolution? 

Chris Chinnock: It is the same argument. We had naysayers six, seven years ago for 4K. We've got naysayers for 8K now. Absolutely, it's a different environment now, but there's also a lot of things that are similar to what was happening in 4K six, seven, eight years for sure. 

With 8K, you're talking about super high resolution. In the context of digital signage, where would 8K be particularly useful and applicable? 

Chris Chinnock: From what I'm gathering, we've actually been poking around in the proAV space, trying to understand what the needs are for 8K, to tell you the truth and what we're learning is the big need is really in distribution and transport. So the canvases are clearly getting bigger and larger in digital signage. An 8K digital signage is not uncommon, I don't think nowadays. But it's not necessarily in a standard 16:9 format. They come in all kinds of aspects, ratios and configurations.

But what we're starting to see is, these big canvases, you want to start with a higher resolution source of master file, so that you can have a piece of that 8K master going out to various parts of this display. So if you letterbox it or clip a PC in there, you want to start with a high resolution piece and not have to do upscaling at the display itself, if you can avoid that, because there are some issues with that.

So the main argument is interesting, with the 8K Association and the website, you even have on the navigation bar, just straight out, “Why 8K” and I go through things and some of those objections, so to speak are: you can't see the resolution, that the human eye can't even raise, can't even resolve 8K now. 

I don't think that's quite accurate, is it? 

Chris Chinnock: No, it's not and people make that argument based on simple acuity, that is the Snellen chart and it's literally based on geometry and that is a big part of vision. There's no doubt about that. But human vision's far more complex. There are higher order things going on, they call it hyper acuity, so that allows you to see, for example, the differences between parallel lines and slightly unparalleled lines. It allows you to see stars in the night sky that simple acuity says you can't see and perhaps more importantly, we form images in the brain, the retina and the eye is part of it, but the brain puts those signals together to create an image. So we sometimes and often do fill in details in our brain to create that image of the world. 

So if you have an 8K image versus a 4K image, it has less artifacts, it has more texture and detail. So it creates a higher sense of realism. It's subtle and the hyper acuity may say you can't see that difference, but all these other factors reinforce that it's more real, it's more present.

Do you have to be within a certain kind of viewing cone or proximity in order to appreciate that difference between 4K and 8K? 

Chris Chinnock: Yeah, certainly the closer you sit, you will see more detail and sharpness and texture, and that's for sure, because that's part of the simple acuity part. But also remember, we're talking HDR signals for the most part with 8K content now. So it's high dynamic range, it's white color gamut. All these things make a big difference. 

Yeah, if you're using high dynamic range, then you can see an incredible amount of detail that isn't otherwise revealed. 

Chris Chinnock: Exactly. 

From your point of view, are there certain kinds of applications for signage that make more sense than others?

Like from my point of view if it's at a museum or something where you're going to get people who are going to be walking up close, that's when it starts to make some sense. 

I just don't know that anybody's ever going to need a 8K digital menu board in a QSR. 

Chris Chinnock: I agree with that, absolutely and museums are one perfect example. I know I've seen in some trade show demonstrations, they'll have an artifact that can be either a video capture, a 3D video capture of an artifact, or it could be a very high resolution computer generated image. 

But now you can go up to the screen, you can really look at this artifact. You can zoom in on it. You can rotate it and you don't see any discrepancies in that image. You've got lots and lots of resolution to play with here, so it's much closer to lifelike 

In terms of math, what's the difference? And I hope I'm not putting you on the spot here, but just generally the difference between a full HD file and an 8K file, in terms of size and what are the implications in terms of the equipment, graphics cards and everything you need to play it out. 

Chris Chinnock: File size is going to depend on the compression that you use. Maybe a better way to look at it is what's the bandwidth you would need, the uncompressed bandwidth you need for various files.

So I think full HD is somewhere around three gigabits as I recall. But now if you want to do 8K, I think the highest reasonable level that you want to do is 8K at 60 frames per second, 10 bit and now the difference comes with color subsampling. If it's video, you're going to do four to zero color subsampling, that's about 30 gigabits per second. So ten times full HD, right? If you want to do broadcast quality, that's four to two color sampling. That's 40 gigabits. You want to do four-four,-four for high resolution graphics in proAV, 60 gigabits per second.

Woah!

Chris Chinnock: Yeah, so here's the problem: it's a distribution challenge, right? So there are solutions out there. If you want to do proAV, you can use HDMI 2.1. You may have to use two connectors if you want to do four-four,-four. That's a real challenge, just to sync those and it's going to be short distance, right? So your player's gotta be right by, probably a standalone 8K display of some sort. 

The other side of the coin is IP distribution, right? That's a huge trend in the whole proAV space. So there's a lot of solutions that are out there to do that now. A lot of them are focused on one gigabit networks and that's just not gonna cut it for 8K, right? So we're starting to see, there’s at least two organizations that I know about that are trying to develop some standards in this. One is the Software Defined Video Over Ethernet (SDVOE) and that's focused on using a 10 gigabit network to support it.

10 gigabits is okay if you use some kind of a mezzanine codec, like JPEG XS. That's supposed to be a lossless codec that you can compress up to fifteen to one. So you can get all those signals onto a 10 gigabit network easily with JPEG XS and then the other organizations I'm aware of is the AIMS Alliance organization, and they're developing what's called the IPMX standard. What they're doing is borrowing video over IP standard from the SMT organization from broadcast and that standard is called ST2110 and it has all kinds of high-end features in it for broadcast, including redundant distribution. So you have two Ethernet channels So if one fails the other one's always there. It's got high-end timing and grand master clocks. 

We don't need that for proAV for the most part. So the AIMS Alliance is specifically trying to take that broadcast standard, strip out what you don’t need, add in some things that you do need for proAV and develop a new standard.

So if I'm somebody who runs a facility operations for a Fortune 500 company and at their main headquarters office campus, the CEO has bought an 8K TV for his home and says, “I love 8K. I want my whole digital signage network converted over to 8Kx8K displays. It can replace the 4K's or the 2Ks that are hanging up on mounts and all that.”

What are the infrastructure implications if you want to be moving files around on the wide area network and everything else? I suspect you're thinking about even the cabling, certainly have a lot of the hardware that's moving data around everything else. 

Chris Chinnock: Absolutely and that's why you have to have a network that can support this. If your corporate network is based on a one gig ethernet structure, you're going to have to upgrade that. I know some of the new Intel motherboards support both 1 gig and now 2.5 gig ethernet outputs over, I think that's probably over Cat 5 cables and that may be sufficient if you're using a video and can compress that enough to get on a 2.5 gig network. It's pushing it a little bit but it's possible. It, again, depends on the client here, if they're really sensitive to having pixel accurate images or if it just has to look pretty good, I should say really good, but...

If you want to go to a 10 gig network or a 5 gig network, these are all much better because you can use less compression. But they come at a cost: all your network switches and maybe the cabling have to be upgraded to support this as well. 

Yeah.So like a regular Cat 5 may not support it and then you're pulling hundreds of meters of new cabling? 

Chris Chinnock: Potentially. Yeah, absolutely. Or, maybe just go to a fiber network to be future-proofing who knows? 

Wow and so I would imagine some new builds are future-proof like crazy, but there would be probably 90% of the built environment out there would probably need to be tweaked in some way, right?

Chris Chinnock: Yeah, I think so. 

One of the other arguments about 8K is that there's no content available. Is that true?

Chris Chinnock: It is true. There is very limited content out there. The interesting part of that is that actually a lot of content is shot on 8K cameras and there are now 12K cameras out there. Black magic design is a 12K camera. So it's being captured in 8K or higher, but it's not being finished in 8K or distributed in 8K yet. 

Is that because there's no market for it? 

Chris Chinnock: Yeah, partly. You gotta have a certain critical mass of 8K TVs out there before you start streaming to it and I think streaming is going to be the first way that we see 8K content coming to consumers and you need good codecs out there to distribute it too. 

NHK has been broadcasting 8K content for over two years now but they're broadcasting at 80 to a 100 megabits per second with high compression ratios, and that's just too high. Netflix is 15 to maybe 25 megabits per second, that's where most of the streamers are coming in right now for 4K content. That's where you need to get, maybe you could start at 40 or 50 for a premium 8K streaming service, but you quickly got to get down to that 25 area, I think in my opinion.

Is there a likelihood that there will be more content produced that is in the right format? What changes that?

Chris Chinnock: Yeah, I think again, you need that critical mass of TVs out there. You need a cost-effective distribution system and when that arrives, especially with these new codecs that are coming like VDC, I think you'll see major streamers jumping in with an 8K service.

Another argument is that production costs are also high. Is that primarily the costs of cameras that are like Black Magic Design and RED cameras that can shoot in that? Or, are there a whole bunch of things?

Chris Chinnock: Yeah, there's a bunch of things there and those were exactly the same arguments for 4K adoption, six, seven years ago. It's more memory, it's more bandwidth. The camera costs are a little bit higher. The storage costs are a little bit higher. That's all true but I think we're also in a very different era now. So with this pandemic, we've seen a big acceleration of production workflows to the cloud. There's no doubt about that, with all the remote production that had to go on. We're also, I think, going to see an evolution of that. So more and more production will go to the cloud and I think that actually favors 8K production as well, because what we're seeing and a company, FrameIO just demonstrating this, they have a camera to cloud service now. So you can be on set shooting with 8K cameras and as soon as you finish that take, it goes right up to the cloud. The original camera files are in the cloud and then from the cloud, you can do proxy editing proxy color grading. You can do everything and have dailies right back on the set the next morning.

This is going to revolutionize, I think, the way movies and TV shows are produced, 

When you’re talking about compression. I think in terms of compression somewhat clobbering the file, does it have any noticeable impact on quality as opposed to the native file? 

Chris Chinnock: Sure and that just depends on the compression ratio.

JPEG XS up to 15:1, that's supposed to be a lossless thing. So visually lossless, if you're at that kind of compression ratio, but if you get into a distribution, that's called a Mezzanine Kodak. If you get into a distribution Kodak, one goes to consumers, Amazon or Netflix is using, HEVC and is going to be hundreds to one in compression and so you can potentially see our artifacts that way. 

Especially now, when you put us on a very large screen, that's tens of meters wide, you'll definitely see things on that size screen that you wouldn't see on an 80-inch screen.

Is 8K best suited for flat panel displays as opposed to LED? 

Chris Chinnock: Not necessarily. With LED again, because it's a bigger screen, it's less forgiving, because any artifact is just more visible. 

What about the timelines on all this? You mentioned how six, seven years ago that the fuss that was out there was around 4K and nobody's ever going to use it or anything else… What do you see are the timelines to a time when 8K is a shoulder shrug? 

Chris Chinnock: Well, there's a graphic that we one of the market research companies put together that showed that the resolution transitions and now we're talking about displays here. So when a display of a new resolution was introduced to the time it was selling at 50% of retail sales.

So SD to Full HD, Full HD to 4K, and now 4K to 8K, that cycle is seven years and consistently seven years. So you could argue that we're a year, maybe two years into the 8K cycle at this point. The pandemic probably added a year to that. So if in seven years 50% of sales are now 8K TVs, we saw how fast 4K TVs were adopted and how fast 4K streaming came onboard. 

Will history repeat? Probably. 

Is this primarily a consumer driven product or do you envision a lot of commercial adoption of 8K displays? 

Chris Chinnock: I think the push today and certainly the focus of the 8K Association has been on consumer entertainment, production and the entertainment production value chain. But as we have already discussed, there are clear needs in the proAV space here as well, particularly for all these larger canvases for rental and staging, for corporate environments, for pop-up events. We talked about museums, there's medical imaging that's an important area as well, that's coming on board. 

How about 8K VR? That's starting to happen as well. So there are a range of different applications here, including broadcast as well. It's happening in broadcast too. So yeah, it's happening in a lot of different areas, even security cameras. There's 8K security cameras now. 

Is some of that just a function of end users and integrators and everybody else wanting to have the latest and greatest and say, “We're doing 8K, we're doing AI, we're doing machine learning.”? Or, they're just jumping on the latest? 

Chris Chinnock: Yeah, and I think, that's what companies do, and they always have to make the next product a little bit better than the previous one. So 8K is a natural next step and I'm glad you brought up this idea of AI as well, because that's also very different from where we were during the 4K transition. 

Upscaling in the 8K TV, AI based or machine learning based and neural network based now is a  completely different technology from when we had upscaling and 4K TVs. AI is being used in the encoding space as well to help reduce those bit rates and do seen optimized encoding now. So we're just at the very beginning of this AI capability and the cloud capability. So the combination of these I think is going to be very powerful.

If you're using display technology that has AI based upscaling and it's that good, do you really even need to produce at native 8K or are you in a lot of situations and are going to be just fine with 4K upscaled? 

Chris Chinnock: Yeah, today that's a very acceptable solution. In fact, it has to be the solution because that's what we have out there.

But one of the scenarios that we're trying to standardize in the 8K Association is, we don't really have a good name for this yet, let's call it Smart Streaming just for purposes. But the idea here is that you encourage those 8K camera original files to now be mastered in 8K, so you create a naked finished movie or piece of content. 

You now smartly downscale that to 4K with some metadata about how you did that. You now use conventional encoding techniques, HEVC, or AV1 to distribute that content the way streamers are doing that now and if you have an 8K TV, you can now read this metadata smartly, upscale that back to 8K and theoretically, that gets pretty close to a native 8K distribution scheme in terms of image quality.

If we're talking about four to five to six years before 8K is really settled in, companies that are thinking right now about a refresh of their display technology and the supporting infrastructure for the digital signage network they're running across whatever environment it may be in, do they need to be future-proof now? 

Or they're fine with what they have at the moment and they can just have in their heads that the next refresh cycle, we'll be looking at 8K?

Chris Chinnock: I think it depends on the number of pixels they want to put up there. If it's a big canvas with a fairly tight pixel pitch, which means it's a lot of pixels then absolutely, I would be thinking of a higher network structure for that. If it's a smaller display with a bigger pixel pitch, then maybe you don't necessarily need it. 

And we're talking 8K, but I have seen the stories for 12K and I believe even 16K. Are those things that will exist beyond labs? 

Chris Chinnock: I would not underestimate that capability, yes. I believe that will probably happen and we'll go through this whole cycle again. “No one could see it. We don't need it. It's too expensive.” 

I read something saying 16K is pretty much perfection, that's like 20/20 equivalent, perfect eyesight. You're seeing everything! 

Chris Chinnock: That depends on the screen size. 

Ah, okay. This is all over my head. 

Chris, how did you get involved with the association? 

Chris Chinnock: I was actually asked by the TV manufacturers to help form it. So I said, yes. 

And is this a full-time gig or among the many things you do? 

Chris Chinnock: No, it's one of several things that I do, yeah. 

Just for the listeners, what kind of work do you do? 

Chris Chinnock: I've been in the display industry for close to a thousand years now. (Laughter)

I've done all kinds of things. We published newsletters for quite a while. We did market research reports, consulting services. I've run a bunch of events on this. I do white papers for clients, et cetera, et cetera. So my focus has always been on the cutting edge of display related technology. So 8K is one of them. 

I'm also very active in the light field and holographic displays, AR and VR are key areas for me and micro-LED and mini-LED is also an exciting technology for me as well. 

Yeah, and the fun thing is everything you're looking at is ever evolving and always interesting.

Chris Chinnock: That's why this job is fun. I learn something every day, right? 

Yeah. That's the same with me. People ask me, I'm in my early sixties now and people are asking me, “Are you thinking of winding down?” And I say, not really because the stuff I work on is interesting and I follow the stuff that's emerging and that's always fun.

Chris Chinnock: Exactly. I'm with you. 

All right, Chris, I appreciate you taking some time with me. 

Chris Chinnock: I appreciate the time. Thanks, Dave.

 

Bill Robertson, NextGen Video Information Systems Alliance

Bill Robertson, NextGen Video Information Systems Alliance

March 10, 2021

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT

Suppose something bad happens - like a tsunami or a gas leak - and the alert messaging comes up on TVs and digital signage screens in English text. That's great, except if much of the viewing audience consists of first-generation immigrants who barely speak or read English.

It's pretty much the problem, right now, with public alert systems, and a volunteer organization called the NextGen Video Information Systems Alliance is trying to fix that. Called NVISA for short, the body has come up with a way to add universal graphic elements to emergency alerts.

Called Visually Integrated Display Symbology (or VIDS), the system can be adopted across a wide range of communications platforms, notably digital signage.

In this podcast, I speak with alliance member Bill Robertson about the thinking behind these graphical alerts. We also get into detail of how digital signage network operators and solutions providers can plug into the system and put it to work.

Subscribe to this podcast: iTunes * Google Play * RSS

TRANSCRIPT

Bill, thank you for joining me. What is the NextGen Video Information Systems Alliance and why did you form it? 

Bill Robertson: The NVISA, as we call it is a group of like-minded initially technology companies that had different pieces of technology that were primarily focused at the upcoming ATSC 3.0 broadcast standard. We had different elements that we could use or leverage and many of us that formed the NVISA were members of the ATSC, what was referred to as the “I Team”, implementation team, where we talked about this and helped present some of the elements that are the standards that embodied in ATSC 3.0. We saw more opportunity in getting together and not just being standards based and focused on those particular things, but how could we leverage this? What could we do together as a group, again, of like-minded individuals to be able to represent these things.

And some of it too is not necessarily having to wait until people adopt that new standard, but what could we do today? What could be leveraged with even today's technology? So the initial start was some technology companies, but more broadcasters and other people have joined the Alliance to help modulator what's going on, what and how it could fit, what other things we could do.

So it's been a nice thing about this next gen video thing does not necessarily say that it's gotta be the next in this type of standards implementation, but what else could we do to improve the whole idea of information? 

Okay. So I was interested in this because I got a press release talking about how your organization had put together a series of recommendations for symbols to use for alerts, correct?

Bill Robertson: Yeah, and that was actually our first product in Working Group 1. I was a chairman of that particular group and what we focused on is a recognition that there are things in the broadcast groups in North America, primarily the United States and Canada, where there are members of the community, emergency managers, females on the United States side, whether Canada on the Canadian side, that issue alert information and the alerts can go out over radio, in audio broadcast and they can also go over television. People have seen these in the United States, they're usually accompanied with different tones to get your attention, to make sure you understand, “Hey, this is an alert. This is information.” 

Well, the interesting thing about those is they're represented in, if it's a television thing, there's an oral component and a visual component. We've got text crawl, we've got audio that's associated with it. The trick is that those particular things have never been really associated with something that wasn't texts that had to be read. Or it might be a full screen display that takes over the primary programming and displays what the event is about. But we've seen more of a situation where if we could represent those with a graphical element, we could do a couple of more things. Number one, you're not reliant on them being able to read the particular alert, what it is. That seems a little strange, only in the fact that if English or French may not be your native language, let's say we needed to represent something to a Spanish community, to a Slavic community, whatever it might be, that if we can use symbols that are more generally understood to represent a particular event that's happening at that time, we think that is a better way to help communicate. 

So it's not just saying, you have to have the text and you have to have a crawl representation or you have to have a full screen slate, but many times, when you see this, if you see a lot of other symbols, like Stop signs’ got a standard shape for them and people will know what they mean, others signs, things like that represent information that can be conveyed without having to do any kind of motion, without having to display anything else. If we can put that symbol up there, we can definitely communicate. 

There must have been a lot of debate around the symbols?

Bill Robertson: There's some interesting things around that. There actually was a good body of work that was already done. So we leveraged a lot of that and some of these are ISO standards. There's actually an ISO standard on different societies; it's actually referred to as societal security emergency management guidelines for color coded alerts. In that standard they represent, okay, “here's a color code” and we adopted that into our recommended practice. One thing I should point out too is NVISA's not a standards group. We are coming together as a coalition of people and we're publishing these kinds of work as a recommended practice. So it's an idea that, here's some things that we've put together as like-minded individuals and we think has roots not only in this particular part of the industry, but in many other things, again, wherever there's visual displays and digital signage is the perfect example. Hundreds of thousands of these displays all over the place that could take advantage of a similar kind of thing. And by us mapping these things or looking at these symbols and bringing that together, it really helps. 

Another ISO standard for graphical symbols for public information, again, most of these, by the way, tie with hazardous waste or potential electrocution, you've seen some of these things as you approach a building many times, those kinds of things, but there's another group that's called the National Alliance for Public Safety GIS goes by the acronym, NAPSG and they've done quite a bit that goes beyond just electrical symbols or gas, chlorine gas, natural gas, those kinds of symbols that you would put up as warnings to the general public. But they've done things to incorporate elements like floods, hurricanes, tornadoes. 

And so we leveraged a lot of the work that was done and didn't just say, “okay, we're going to take this symbol.” Now some of the symbols, I will tell you, are a little complex if you start to squeeze them down onto a small display size, but they do a pretty good job of conveying the information. A tornado looks like a tornado, the symbol is pretty well described. There's other things too, where a flash flood looks like a house with waves so you know there's things going on. 

What we had to do was they didn't cover a lot of the event codes that are used in public alerting. So we had to either craft a couple of things around it, or reference them in a slightly different way. There's things that can be communicated to the public that are just simply information, for example, a school closing would be an information. It doesn't have to have a sign that might jump at you and scare you into action, but it's an informational type of thing. Maybe an exclamation mark or maybe we did a little cloud symbol with an ellipse to say, “Hey, there's information here, and pay attention to it.”

One of the important things that we did was not just about the symbols, but was also in adapting these ISO standards for people that are colorblind and to reference the symbol with the particular essence of the alert, “is this a really traumatic type of event?” For example, a tornado is a pretty substantive short fuse, quick action type of thing. Your life, limb, property are in potential danger. So we escalated some of these alerts to be represented not only by the symbol, but we added something to the symbol where we did a double underline and that was again to reference this, if I just put up the same symbol, for example, flash flood and flood watch look like the exact same symbol, but by adding a color border around them, we can represent them differently. So red with a double underlined says, “Hey, pay attention” More information to exchange and reference things. “Hey, this is an important thing.” “It's red.” “It's got this.” 

We also looked at the idea of contrast so that if the font was done in a proper way, and it had a certain speed to it, things like that, but it would be enough contrast. So people that had again, either colorblindness, maybe in the red, green spectrum or other things like that would still be able to at least read the text or be able to discern the difference because the double underline is different than a single underline or no underline. And that's again, the basis of what we did.

Yes, there was some debate, there was a lot of stuff, but I think we centered on some really good elements that we came up with to really represent what we were trying to go after. 

Yeah, I think there are three tiers of alerts. Is that accurate? 

Bill Robertson: We actually have five groups and that doesn't mean that the symbols change but group one, which is the most important one, for example, I use a tornado warning, something that has a substantial impact and again, a short fuse, it's a very timely thing you needed to take notice very quickly. In group one and group two, we use the same symbols. We use the same color background, but we have a unique thing that we set. One of them is an example. If you were to tune into your TV set and you happened to be watching while the alert is being sent, the typical scenario is that the alert pops up there, maybe we can put the symbol up there too, the alert scrolls by, and then it's over. It's done. You switch back to regular programming. 

The trick there is that the alert is still active. The alert hasn't gone away. The fact that you're still in a danger situation is still there. It just so happens that it just doesn't show up on the TV screen. So what we've done is set up a situation where the symbol would pop up and then the crawl or the text information would be displayed associated with that. Now, when I talk about a crawl, typically on television, you're familiar with these things, ticker-tape crawls, we went across that kind of stuff. Again, if that symbol pops up with it, you've got some association. If it goes away or let's say you tune in after it's already displayed, you don't know you're under an alert.

So we have a scenario that says: Group one has the symbol and the text displayed together. Group two uses the symbol, but no text. The nice thing about that is, for example, you might have a, let's say a tornado warning for an hour. You're in an active storm cell area. You've got a tornado warning and it's active for an hour. So now I can pop up the thing with the texts, say you're under a tornado warning, but then I can leave the symbol on the screen. It's not really blocking a lot of other information and programming is still up, but I've got persistence in that group too, that says I can leave the symbol up for the duration of the alert, not meaning I know how long the crawl is, but the duration of the alert says, what does the emergency management group say the duration of this event is, and keep it up for that period of time. So we've got like a watermark. So it's using the same symbol, it's in the same position and everything.

And so when when the crawl goes away or that information goes away, that symbol can persist. Now, this has deeper meaning in the future, that might be a clickable type of link. So here's an example:say the alerts have already been broadcast, the alert, the audio, everything has already gone. I tune in 10 minutes later. I see the screen. It's got that little icon up there. I wonder what that's about. I don't have to go search someplace else. It could be a clickable link. So on my smart TV or my display or whatever device I happen to be viewing this particular content on. I could click on that and it would take me to a page or to an area where I could find out more information about what that event is, what's going on, do I need to be prepared for what's happening? 

So that persistence in those really severe alert things really helps us set a standard and I say that loosely in a standard body type of thing, but in a way of representing important information and giving guidance on how it could be used to form a sense of iconography that people could use in the rest of their display technology.

So what would happen if this wasn't done, or I guess because this is just brand new, what's happening right now in terms of alerts. Is it just a problem that a lot of it's in text and it's just an English? 

Bill Robertson: Yeah. You're going right down that path. The situation that we have, and obviously I'll speak a little bit more to the United States because of the EAS system in the United States, the primary alerts are done in English. That's it, that's the kind of the native thing it's done in English even if it's a Spanish station. The worst case scenario is it could be a Spanish radio station and you’re still going to get the alerts in English. And that's not very good for that audience. 

So in the same context you would have English text information on a Spanish channel, so if you're looking at a video display and all of the programming, all the advertisement, everything else is all in Spanish, you've got your target market. All of a sudden, I pop up in emergency information, which emergency managers are really seeking to communicate to as many people as they possibly can. I want you to get this information out. It needs to disseminate to as many people as possible. 

And so if you just typically look at the normal things, there's no sign, there's no icon. You're going to get an English text crawl. You're going to get English audio over a Spanish station. That's not very good in really trying to communicate what's going on and to whom they can really discern that information and take action on it. The idea of this alerting is to be able to know whether you need to take action and what type of action you need to take. Typically that's described in these alerts, that's an important situation. 

So the idea is if we can take this stuff forward and people start to adopt this “VIDS” idea or this visual information display symbology. That's how we've coined the term VIDS to represent and do a better job of leveraging the stuff we've already vetted out. We vetted out the icons we've done the colors. We've done a lot of other things. It doesn't mean people couldn't modify that if they want it to, if there's something that they want to present a slightly differently, perhaps for a station ID type thing, but it's really to help bring this together. Bring this symbol that is universal. If there's no language issue with presenting the symbol and therefore it can be more easily discerned by people that don't have that native language skill or a may not be able to read the text, may have a visual impairment about reading it, or don't have the language skills because it's done only in one particular language.

And I assume it's important to have everybody on the same page in terms of the symbology use, because if you have five ways of showing a condition, you're just causing people to look at it twice and go, “okay, what does this mean?” 

Bill Robertson: Exactly and that's why, again, what we did is, we didn't invent that. It wasn't an idea. In fact we loathed the idea of trying to build graphic symbols because a lot of the stuff was already done. It’s “can we leverage them?” 

And by leveraging the stuff that's already out there and doing a little bit of improvement in what we think is by adding the double underline, so you can differentiate both the elevation of the alert, because again, the symbols could be the same in a flash flood and a watch, which isn't as meaningful or impactful if it was a flash flood warning that, that's the next step up. 

So that actually by the way, ties back into the group. So group one is the event codes or the event information is displayed with a symbol. Group two is the symbol-only to persist for those really important alerts. And then we go into group three, which has a yellow color again, focusing on what we should do for cautions or warnings and types of things. It uses a single underline under the symbol, again, to differentiate it, so we know where we are with the symbol, and represent that in terms of, “Hey, this is something of importance. It's not as critical as a red alert, but you've got a yellow alert.” So again, that color coding, we think is important. There's blue that we do with some symbols and most of the blues are done as informational types of things. Again, it's not a critical life/limb/property type of event, but it's something that's informational. Again, school closings or a road closure someplace because of Some kind of construction thing or accident even as it may be. 

And then the final one, is group five is a green background, no underline under the symbol. And that's really, again, a level of information, but they're typically for tests. So this is just, you could in essence, ignore it. “Don't worry, it’s green. Everything's okay. We're fine.” It's just up there to help say, okay, I can't read the text, but I understand this is just a simple message. No action necessary. 

So I'm an end-user with a digital signage network of some kind, let's say on a university campus, or I'm a digital signage software vendor, or a subscription content service as well.

How do I use this? How do I plug into it? What are the implications of operating it? 

Bill Robertson: We've had a couple of companies already implement VIDS in their character generation devices. One of our partner companies in NVISA has done this and we actually have some examples of what this looks like, which I can send you the YouTube video links I think would be very nice because again, when people see it, in a classic sense, a picture tells a thousand words and so they can see it and they get a better understanding of what these different types of things look like.

But for the content providers and especially the digital signage network, we would love to see them adopt this similar thing. And there's a couple of things around it, but again, the symbols are there. We have them available in JPEG and SVG format so they can grab the symbols. We've gotten the table already built for what event codes they're associated with. So we've done a lot of the groundwork. All we need is more people to gather the information that we've already provided and adopted into their product. 

The one thing that they will need in that environment and we've seen a lot more of this, and this is coming from my work, let me say my day job at digital alert systems,is we build the devices that listen for the event codes, that listen for the emergency managers and even in some respects the emergency managers use our equipment to generate the alerts that go out over the air, over the internet. And when we receive those, we can pass that information into the signage systems, into the character generators, into those things. So in other words, for the most part, they're doing their normal thing. They're showing and displaying the content that is already set up for that sign. if it's a map in a mall, if it's a menu in a restaurant type of thing, whatever it may be, they're doing their normal work. We can send them a message over IP that just says, “Hey, if this display is in this location, given some geo coordinates about where it might be, then here is the alert that you're currently under.” And Dave, part of the stuff that I look at around this is there's an idea that in college campuses and facilities, enterprise facilities that have a lot of signage around in their particular campus areas, they live in what I call a hyper bubble.

So it's a hyper-local bubble there. They're sitting here and they get information and they exchange it inside the building or inside the campus. There's not a lot of recognition of events that might be going outside that could impact them. Again, there's a lot more of these and we've been doing a lot of work in my day job about facility managers and other things about adopting this type of technology, because if I'm in that environment and what's really good, is these signage elements have a great way to communicate. It's fast, it's a great way to communicate, you can get very impactful messages, and when I say impactful, I'm talking about again, just because I get an alert, what I want to do is know, okay, I'm under an alert, but what should I do? If it's a gas leak, is it chlorine gas or is it natural gas? What should I do? 

Those things all come into play about information that you can exchange about these. Plume maps, there's a whole range of different things.

If we can then pierce that hyper-local bubble and bring in information. So for example, a campus is part of a city, part of a County, part of a state, and there may be events that are happening across that entire environment that they need to know what to do and if we can bring that information in and transfer it into those signage components and it's in a form that’s not only well known or is going to hopefully become more well-known in the typical broadcast community and cable casting community, then these people will recognize, “Oh, okay. I see it. I've got an alert information and I can display it.”

That's using an interim box of some kind that's sniffing for all that stuff. What happens right now, if I'm in a jurisdiction where there's an Amber alert, or if there is some other kind of public safety alert, that's pushed out to smartphones and to broadcasters and so on? 

Are they also using some sort of an interim device or is it just sniffing like a data cell or getting something triggered out to it that causes a message to pop? 

Bill Robertson: There's a couple of different things because, in the United States and Canada, the United States has what's called FEMA, the Federal Emergency Management Agency, but they have a server that is called IPAWS which stands for Integrated Public Alert Warning System (IPAWS) and it uses a technology that's called CAP (Common Alert Protocol). Again, we're talking about the government, so there's going to be acronyms. 

There's a similar type of thing that is run by a private company in Canada, and that entire methodology of alerts go through those kinds of clearing houses. Now the important thing too, is not every alert goes into those servers. In a local thing, let's go with some Teton County, for example and I want to generate an alert, it might just go out over the air and the sheriff there generates the alert. It goes out over the air. It never goes and sees IPAWS. So you can have some local ones and if you're not watching for those, you may miss them, but there is this idea of these integrated servers in Canada and in the United States. 

The problem is those devices or those servers serve a ton of information because there's a lot of agencies that are on them. What you need to do is to act correctly and so at every television station, every radio station, every cable head-in, there is this intermediate box that its job is to listen and monitor those things and it's also set up with a set of filters. So it's looking, saying, “okay, I've got all of this information, but is it important to me?”

Number one, does it rise to the level that I've set? I'm not going to get every alert and broadcast it, then you end up with a really bad situation of just constantly crying Wolf and no one pays attention to it. So the idea is to have a device, an intermediate device that monitors this feed, these feeds, and it says, “okay, is it for my area? Does it rise to the occasion that I need to pay attention to it?” And if it does, I basically need to decode that and turn it into text and audio because many times, for example, the ones in Canada, they don't come with audio. We actually use a text to speech engine to create that, and cause it to create the audio for the particular message. 

So the nice thing about that is: that capability that idea of having this intermediate device is to monitor, to look and to format it, so that the downstream devices, the character generators, the digital signage content only have to react to what we say is important because you preset it for what values you want and it has all of the information necessary for that. Here's the text, here's the audio, play this, represent it this way. 

So in a lot of circumstances in the digital signage world I would say 80, 90% of the networks that are out there are running as software as a service. So the end users may be using a service that is used by hundreds of other companies.

Does the central digital signage software CMS company need to have one, a listening device for all of its networks or one for each of its networks, or how would that technically work? 

Bill Robertson: There's a couple of different ways to do it and it's not dissimilar to the way that a lot of cable and even some broadcast companies have done central casting. So they've got remote locations, transmitters set up in one city, but they're actually being fed content from another remote city. 

Depending on the level of engagement, and the reason I say that level of engagement is in the United States, the FCC says that you have to have very specific standards. In other words, there's a requirement that says you must monitor off air signals and you must monitor the FEMA iPAWS feed. Again, that's under the purview of the FCC, for example, or in Canada, the equivalent situation where you are required to do that. In an area it's not a requirement, you can phase yourself into that and that way, if the central CMS system has the capability of discerning, “If I send it to five areas.” And in Canada there are SGC or special geographic codes in the United States. It's they're called FIPs codes, very similar to ZIP codes so that you've got an area that is defined.

If I send 10 different area codes, let's just use that as the idea. If I send 10 different area codes to the CMS, then the digital signage content management system is able to say, “This is an alert for this area code and I can send the alert information only to those receiving points.” So if I have the capability of breaking up my content or the alert going into those receive points, then you can do it in a central point because I can assemble it back to that central point, I can send information out and it's a great way to do it. It really is going to be dependent on kind of the design typology and how much addressability that CMS provides for different locations. 

All right. So if I am, again, an end-user or a digital signage solutions provider of some kind. I've read about this, I've listened to this podcast, and they're interested, what do they do? 

Bill Robertson: One thing that they could do right now is they can download the VIDS document the recommended practices from the NVISA website that's www.nvisa.org and so  if you go to the nvisa.org website, you can download this recommended practices and the symbology. Once they take a look at that and understand what we're talking about in the context of the symbols and things like that, we can make available the symbol set, we've got that available for them, and we can talk to them more about specifics on integration and then some of the other companies that they can talk to about how they would be able to assimilate that information, get it into their displays, where does the information come from? How was it received? What protocols are used? And that kind of stuff. So we can take them through a number of different things, but I really would encourage them to take a look at our recommended practices.

One of the things that we did in the practice document is make sure that it wasn't based on things like scan lines or pixels but really is a ratio, it's a relationship because if it's a 16:9 display, or if we rotate it for a vertical presentation where it's 9:16 or something else we want to be able to have the the icons and these text types of elements in the same relative position. Again, if it's a smaller screen, I'm not giving you fixed sizes for the number of pixels, there's a ratio of banner height to symbol height and that's an important distinction too, so that we can be very flexible in whatever format the display might be.

All right. That was terrific. Very interesting stuff. Thank you so much for spending some time with me, Bill. 

Bill Robertson: Dave. Thank you very much. I appreciate it. 

Again, if they just visit the www.visa.org website, take a look at the documentation, give us a shout, let us know if we can help!

 

ACE Roundtable: The Tech That Worked In 2020, And Going Forward

ACE Roundtable: The Tech That Worked In 2020, And Going Forward

January 27, 2021

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT

Just before Christmas, I moderated an Advocates for Connected Experiences roundtable that tossed around thoughts on what technologies were used to get us all through 2020, focusing on what really worked, and will continue to work into 2021.

It was a video discussion on Zoom, but it translates nicely to audio. I had technical issues with the planned podcast for this week, but this is a worthwhile, albeit last-minute stand-in.

The first voice you hear is Kim Sarubbi, one of the founders of Advocates of Connected Experiences, or ACE.

Also on the discussion, Joe' Lloyd from AVIXA, Kym Frank from Geopath, Beth Warren from CRI and the DSF, Cybelle Jones from SEGD, Bryan Meszaros from OpenEye Global, Asif Kahn from the Location-Based Marketing Association, and myself.

This podcast is produced with the kind, ongoing support of ScreenFeed, the digital signage content store. Get awesome-looking, engaging and automated subscription content for your screens.

 

AVIXA Digital Signage Power Hour - Roundtable - Commercial Real Estate

AVIXA Digital Signage Power Hour - Roundtable - Commercial Real Estate

December 9, 2020

The 16:9 PODCAST IS SPONSORED BY SCREENFEED - DIGITAL SIGNAGE CONTENT

I have been working with both AVIXA and invidis for most of the year on a series of monthly roundtables, called Digital Signage Power Hours.

They’ve all been great, but the one we did recently on experiential media in real estate was particularly good … because of the people who kindly provided their time.

We had David Niles, who created and still works on the Comcast Experience, one of the earliest and still one of the best projects out there involving LED in real estate.  

We also had Amahl Hazelton, one of the big thinkers at the famed experiential creative agency Moment Factory. Cybelle Jones, CEO of SEGD, was on, as was Jeremy Koleib, whose Consumer Experience Group works with property companies on big LED projects. And we had Emily Webster, the Senior VP of Creative at New York’s ESI Design, which is behind some of the best experiential real estate you’ll see in real estate.

We could have chatted for hours, but we had 50 minutes. Listen, learn and hopefully enjoy.

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ACE Roundtable: Making Connected Experiences Work Now, And Post-COVID

ACE Roundtable: Making Connected Experiences Work Now, And Post-COVID

September 23, 2020

The 16:9 PODCAST IS SPONSORED BY SCREENFEED - DIGITAL SIGNAGE CONTENT

Advocates for Connected Experiences is an umbrella organization created several months ago, that pulls together the people and shared interests of a variety of organizations that deliver experiences to guests.

That can be in places like retail, in museums, commercial properties or theme parks.

The short form for the group is ACE, and it was pulled together and somewhat driven by the Digital Signage Federation - notably past and present board members like Kim Sarubbi, Beth Warren and Laura Davis-Taylor.

One of the early efforts from ACE has been a monthly series of online discussions about important topics, that pull together top people from member organizations. The most recent one was about connected experiences now and post-COVID, as we all all hope there is soon a post-COVID.

I was the moderator for the discussion, and this is the audio track, which is roughly one hour.

The panelists included folks from Shop!, SEGD, Geopath, the DSF, the Location-Based Marketing Association, Blue Telescope, The Experiential Designers and Producers Association, Retail Touchpoints and AVIXA.

There's a lot of voices and you won't always know who is saying what, but the content is worth any confusion you might experience.

TRANSCRIPT - skipping this episode ... too many voices to sort out who said what. Anything particularly brilliant was not me.

Advocates For Connected Experiences: Industry Panel - Re-opening For Business

Advocates For Connected Experiences: Industry Panel - Re-opening For Business

June 10, 2020

This is a special version of the 16:9 podcast - the audio from a recent online call put on by the new Advocates For Connected Experiences, focused on the challenges of getting people back to work, and what that means for connected experiences and technology.

The chat, done on a Zoom video call, features senior folks from several organizations, talking about what's changed, what's going on now, and how technologies are being applied. I was the moderator.

On the call, you'll hear from:
- Kim Sarubbi, ACE
- Joe' Lloyd, AVIXA
- Trent Oliver, Themed Entertainment Association
- Debbie Hauss, Retail Touchpoints
- Cybelle Jones, SEGD
- Bryan Meszaros, SEGD
- Kym Frank, Geopath
- David Drain, ICX Association
- Beth Warren from CRI

I didn't have time to buff this up with the audio leveled, etc, etc, so you may have to monkey with your volume controls. But it is a good chat that's well worth a listen. 

Warning - it is 60 minutes or so, but you can always listen to half and come back to it later.

 

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Panel: AVIXA Digital Signage Power Hour On Access Controls In Pandemic Times

Panel: AVIXA Digital Signage Power Hour On Access Controls In Pandemic Times

May 27, 2020

The trade association AVIXA is running a series of digital signage "Power Hours" that are designed much more as roundtable discussions than webinars.

I've been moderating them, and while they are available for playback on demand via AVIXA's YouTube channel, it's a conversation that works well as just audio.

This session was on the new demands out there for technology-driven access controls, and messaging for retailers and other venue operators who are slowly re-opening to a new normal.

I stripped out the presentation the guys from Invidis did at the front end of the hour, since they do refer to visuals. This is the conversation, which featured:

  • Beth Warren from CRI
  • Jay Leedy from Diversified
  • Ben Reynolds from Stratacache
  • Chuck Lewis from Palmer Digital Group
  • Florian Rotberg and Stefan Schieker from invidis.

 

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Kim Sarubbi, Advocates For Connected Experiences (ACE)

Kim Sarubbi, Advocates For Connected Experiences (ACE)

April 21, 2020

There are a lot of special interest member organizations out there, all focused on the things they do as businesses, but also on the trends and market forces that affect them.

There is a hell of a lot of crossover when it comes to things like customer experience, but historically, there's been very little crossover between these special interest organizations.

In simple terms, an issue that's important to a digital signage network operator can be important, as well, to an advertising company and to a location-based marketer. Privacy issues is a prime example of that.

A new organization called Advocates for Connected Experiences - or ACE - has bubbled up in recent weeks with the goal of getting different organizations collaborating on these kinds of common interests. It's not a member organization you'd join, but more of a working group.

I spoke with Kim Sarubbi, who stuck up her hand and said she'd pull ACE together. She gives the back-story, and tells me what ACE is doing, and where she could use help in what is, right now, totally a volunteer effort. 

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Sean Wargo, AVIXA

Sean Wargo, AVIXA

April 8, 2020

AVIXA, the trade association for the pro AV industry, has started doing a weekly impact survey with members in North America and internationally - as a way of understanding how hard the pandemic is hitting business, and the collective point of view on what is happening, and will happen.

As you might imagine, things don't look so hot. Sales are down, and revenues with them. Jobs are being furloughed or ended. And even businesses that would, in theory, be rocking - like video conferencing - are struggling with supply chain issues.

But it's not all doom and gloom, and even in rough times, good things can happen.

Sean Wargo, AVIXA's Senior Director of Market Intelligence, runs the impact surveys. He was kind enough to take some time the other day to walk through what he is hearing, and also what AVIXA is doing with and for its members.

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Gordon Feller, Meeting Of The Minds (Smart Cities)

Gordon Feller, Meeting Of The Minds (Smart Cities)

July 18, 2018

I can't say I've been all the enthralled by what I've seen so far with smart cities initiatives that involve digital out of home media companies. For the most part, they're just digital posters with some wifi and maybe some sensors tossed in so the things can be called "smart."

Those things exist to run ads, and the "smart" thing is largely a veneer to get the ad concession, and for city governments to get free stuff that purports to make their burg seem somehow innovative.

BUT ... there's a lot of potential there, and when you talk to someone who spends all his time thinking about and working on smart city initiatives, you learn there are some good things happening not only with broader smart initiatives, but also with efforts that DO involve media companies.

I wrote a mildly snarky piece recently about this stuff, and Gordon Feller sent me a note suggesting I have a look at a report he did for the Outdoor Advertising Association of America. He's a longtime Silicon Valley tech exec and founder of Meeting Of The Minds, a non-profit public-private partnership that's all about creating smarter cities.

We had a frank talk about what's happened to date, where it really works, and what he sees as the vast potential for smart cities that work with media companies and digital signage technologies.

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Sheldon Silverman, Smartbomb Media

Sheldon Silverman, Smartbomb Media

May 23, 2018

If you deal with companies over in Europe, you've probably been carpet-bombed lately by email requests to update your subscription settings for things like product announcements.

That all owes to something called GPDR, the General Data Protection Regulation that goes into effect in the European Union at the end of this week.

You can count me in as someone who barely has the acronyms correct, never mind a grip on what it means. The short story is that it is a law on data protection and privacy for all individuals within the European Union, and it also addresses the export of personal data outside the EU.

So if you are in digital signage or digital out of home, in particular, you should care about this. GDPR is a problem for a lot of digital media companies, but an opportunity for those that use anonymous data, like a lot of place-based media operators.

Sheldon Silverman, the CEO of Chicago-based SmartBomb Media Group, has his head around all this. So I asked Silverman, who also heads the Digital Signage Federation's Global Digital OOH Council, if we could do a podcast to fill the rest of us in. Get a pen and paper. This is worth taking notes ...

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Megan Dutta, Women Of Digital Signage

Megan Dutta, Women Of Digital Signage

April 17, 2018

Megan Dutta and Andrea Varrone have been longtime friends in AV circles, and spoken often about putting together an organization that represented the interests and aspirations of woman in this industry.

They finally saw time open up last summer and started organizing what turned into Women of Digital Signage. The group had its first gathering - a breakfast at Digital Signage Expo - and it went over so well extra tables had to be added.

Though only around since right after the new year, the breakfast attracted almost 100 women and the group already has some 200 members.

Sometimes these kinds of things have a lot of energy at the start, but never really come together. But this isn't one of those times. They have a board, website, social media feeds, an active blog and on and on. This is a going concern.

Dutta and I have been trying and failing to get a call together for weeks, but we finally pulled it off. In this podcast, we talk about the thinking behind the group, its aspirations and how to get involved.

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