WorldStage Provides 4K and 12G AV Support for Massive Video Projection Canvas at Adobe MAX 2018
For the seventh consecutive year, WorldStage partnered with event producer PIX Productions to provide AV support for Adobe MAX 2018, this time at the Los Angeles Convention Center. The event featured all-4K content feeding a massive canvas of 4K blended projection screens that dazzled an audience accustomed to seeing jaw-dropping content at Adobe shows.
Billed as the world’s leading creativity conference, Adobe MAX 2018 drew more than 20,000 to the new venue. Adobe executives shared the stage with product leads and special guests to showcase the latest Adobe innovations.
“Adobe is known as an industry leader for its events and graphical displays,” says WorldStage Account Manager Richard Bevan. “We supported two general sessions and, on the second day, a series of ‘Sneaks,’ the Adobe product previews that the audience loves.”
Four main widescreens spanned the stage at the LA Convention Center. They varied in height and width, were angled and offset and had wedge-shaped forced perspectives. Concealed panels of LEDs separated the screens and added to their dimensionality.
“WorldStage is a frequent partner of ours for Adobe, a client known for pushing the envelope and challenging vendors with each new project,” says PIX Productions’ Executive Producer Jeremy Nichols. “We count on WorldStage’s technical expertise and innovative problem solving to help us deliver dazzling shows at each and every Adobe event.”
WorldStage provided 39 Christie Boxer 4K30K projectors for the 3:1 main screens, six more for the 3:1 delay screens, plus six Christie HD20K projectors for the 16:9 IMAG screens.
WorldStage also supplied six disguise 4x4pro media servers with VFC cards and a Christie Spyder X80 system to drive the main screens. “We chose Spyder X80 to handle the nine streams of 4K content to the screens,” says Bevan. “This would have been really complicated with the previous generation of Spyder processors. Now multiple 4K feeds out of each disguise media server were input into the Spyder x80 system for screen switching and blending, then the native 4K signals were distributed from the Spyder to the projectors on one 4K fiber line that fed our 12G fiber transmission system.”
“Before the introduction of the Spyder X80 we would have needed eight Spyder X20s to handle the multiple 4K feeds,” estimates WorldStage Spyder Operator Jason Spencer. “In addition, the X80 offers multiple 4K multi-viewers to provide viewing capabilities to the staff, which was essential for a complex project like this. This key feature was not available in older technology.”
For the first time at Adobe MAX “signal distribution was 12G SDI rather than HDMI,” he adds. “The power of the X80 made this upgrade possible.” The WorldStage system includes HDMI 2.0 and 12G routing to effectively handle the 4K signal management on large shows. “This was our first usage of these routers, and the integration with the X80 was very smooth,” Spencer reports. “Christie wrote some custom protocol to control the routers. We usually have requests for Christie that they’ve never dealt with before. But their engineers are great at building new protocol and wrapping it up in a new bundle of software.”
WorldStage also furnished nine Hitachi and Panasonic cameras for the show: five production cameras, two broadcast robotic cameras and two smaller robotic cameras.
“Adobe MAX is always an opportunity to push boundaries on the technical side,” Spencer says. “Everything worked great – just as expected.”
Adobe’s Nicole Williams was the Executive Producer. At PIX Productions, Shawn Boyle was the Producer and Peter Crawford was the Scenic Designer.
At WorldStage Jack Dussault was the Project Manager, Mike Alboher the EIC, Alex Bright the Lead disguise Programmer, Terry Nakamura the Lead Projectionist, and Patrick DelaCruz the Demo Tech.