Case 2.0
- name:
- Case 2.0
- project-owner:
- Sophie
- git-url:
- https://pad.c3voc.de/MOmd3mvsRbi8y8IdJl1xYA
- project-description:
- Rework of the Lecture Room Cases
- project-member:
- Bix, jtbx, Kunsi, Thorti, ...
- project-status:
- in progress
The c3voc currently has six lecture room cases which contain everything that's needed to stream and record lectures in some kind of venue. The venue only has to provide a projector and some kind of speakers besides power and internet access.
As the requirements have changed over the years, all the stuff we carry for every eventuality does only barely fit into the road case and the two additional boxes we but on top. As one of the boxes is wider than the others, they tend to break during shipping. Another pain point of the current setup is the vast amount of items (about 240). We need to be prepared for different ways to connect our setup to the lecture hall (PA and projector), but most of the items are always connected in the same way.
Goals
High-level goals of the project are:
Optimize buildup and tear-down time by reducing the number of indivdiual items
Items should be grouped into modules in which the devices are pre-connected
This reduces wear and tear on connectors, the chance to loose things and the amount of items to track
The focus should be on the “small” events like FrOSCon, MRMCD, Jugend Hackt and even GPN
Big events like Congress and Camp are special, so don't optimize for that!
Requirements
The main purpose of the VOC case is to provide a video stream and recording of lectures:
Inputs:
Slides and speaker laptop audio (stereo)
1-3 cameras
3-4 microphones for native language
(optional) 1 translation track (mono)
(optional) additional video sources on stage
(Infobeamer)
Outputs:
Finished video signal on disk and stream
Signal for the projector (slides/ Infobeamer/ additional camera)
Audio-mix for the hall (native audio)
So the recommended signal flow looks like this:
Additional requirements include:
Building Blocks
With the usual setup and the cabling plan in mind, there are a some basic building blocks:
These modules are like the modules offered by ProCase, see their catalogue: https://www.procase.de/fileadmin/media/_kataloge/19-Zoll-Racks_DE.pdf
Additional crates are needed to store:
TODO:
The following lists does not include ethernet ports for a possible ethernet-based intercom!
Should be be prepared for SMPTE 2110 (10G switches (at least some ports), PTP)?
Lectern Module
This module will be placed at the stage near the lectern and contains the interface to “slide” input(s) as well as the connection to the hall's infrastructure (projector and speakers).
Goals
Switch “slides” signal between speaker laptop, Infobeamer and additional sources
Convert asymmetric stereo audio input to symmetric signal
Output symmetric signal to hall PA
(Network for all devices in this module + “uplink” + debugging ports)
Design
FOH Module
This module will be placed at the FOH and includes the audio mixer and microphone receivers as well as additional infrastructure needed at the mixer's position.
Goals
Provide at least 3-4 audio mixes (from sources listed bewlo)
Native for recording (just more compression than hall)
Native for hall (might need additional output EQ)
n-1 mix to remote speaker(s)
translation
Have audio inputs for:
3-4 wireless microphones
2 handheld microphones and at least 2 beltpacks (one receiver could have 2 transmitter to use whatever is needed more)
max. 4 antennas (use antenna combiner, if necessary)
Frequency band shall be usable in EU and not be the 800
MHz band already used by the c3voc
Stereo-input for “slides” audio
(Stereo-)input for remote speaker(s)
Mono-input for translation
Provide VPN access to VOC-equipment in the hall
Provide enough network ports for all device on this module, the encoder, tally lights, mixer laptop and a SIP phone
Design
Devices:
Audio mixer Allen&Heath CQ-12
Router (Hardware TBD)
Network switch (14 ports, 4 with PoE)
2 ports trunk for module interconnect
1 port internal for router (VLAN trunk)
1 port internal for audio mixer
2 ports for encoder PC and mixer laptop
3 PoE ports for tally lights
1 PoE port for SIP phone
2 ports public
LAN (1 “input”, 1 for debugging)
2 ports VOC
LAN (1 “input”, 1 for debugging)
“Rack-mounted” battery charger for wireless microphones (depends on microphone model!)
I/O-Panel top-side (TODO ports)
2-4 BNC-connectors for receiver antennas
(if not well accessible: Headphone jack from audio- mixer)
(if not well accessible: USB port of audio- mixer)
I/O-Panel front-side (11 ports)
2x XLR out with recording mix
2x XLR out with n-1 mix
2x XLR in for remote speakers
1x XLR out with translation mix
2x XLR out with hall mix (to stage module)
1x PowerCON in
1x PowerCON out
(network ports are used directly on the network switch?)
2x CEE 7/3 (Schuko) sockets externally accessible (for mixer laptop, camera)
Internal connections:
Encoder Module
The encoder can either be placed at the FOH or at the stage and is therfore contained in a separate module.
Goals
Contain the encoder PC in a portable enclosure
Provide a patch-panel for all inputs, so that the connectors on the decklink card are protected against excessive mechanical force
Design
Microphone Crate/ Box
To reduce the weight of the FOH/ Audio module, the microhones are stored in a separate crate.
Goals/ Design
Camera Crate/ Box
This crate shall contain all devices usually attached to the camera or tripod. Every item shall have a fixed place, e.g. in a foam cutout.
Goals/ Design
Camera requirements:
SDI output 1080p25
HDMI output usable at the same time as SDI
Zoom range of 15-25x (current Panasonic camcorders: 22x 3,9-86mm (28-616mm KB) at f1.6-3.2)
Motorized zoom
2x SD card slots
2x XLR inputs (full size!)
FOH Crate/ Box
It does not make sense to put all items needed at the FOH inside the FOH module. So the mixer laptop, etc. shall be in a separate box.
Goals/ Design
Devices:
Mixer laptop
Power supply for mixer laptop
Computer mouse
1x Ethernet 3m (for mixer laptop)
(optionally: Intercom-station with headset)
Cables
We need several cables to connect the different modules and the camera, which weren't already placed in a module/ box. Each cable type shall have a separate box or compartment and all cables shall be marked with their length.
To Be Sorted
Additional items in need for a fixed place are:
Winkekatze
3 rolls for gaffer's Tape (black, white, yellow/black striped)
SD card reader
Intercom (if not placed elsewhere)
“Kabelbindertüte” + Pens
Spare batteries?
Additional network switch?
Minion + power supply
DI-Box passive
DI-Box stereo active (e.g. to connect to hall via 3.5 mm jack or Cinch)
2m 2x Cinch to 3.5 mm jack cable
2m 2x Cinch to 2x Cinch cable
Remaining stuff from “Meshbag Audio kurz”
Stuff from “Meshbag Audio/ BNC Adapter”
Remote speaker setup (audio interface, HDMI grabber)?
Tally 2+3 (if not in camera box)
Presentation clicker?
Discussions
This section contains information why certain aspects of the setup are defined as described above.
Phones in each Case/ Intercom
At first we wanted to include a second phone in each case, so that we can have a VOC office even when the “regie box” was not shipped to the event. But we identified some issues with this concept:
Telephones only provide a benefit, if somebody is near the office phone all the time
This is probably not the case on small events with only 1-2 lecture rooms and the VOC people will be around in the venue
An alternative would be to have some DECTs and an RFP in each case. But the handsets would need to arrive charged, somebody has to set it up, etc.
So this is a lot of effort for diminishing returns and on bigger events there'll be a POC and/or we can bring our office setup and have enough people to staff a helpdesk
Intercom will be much more useful even on small events
Cameras
See above for requirements (most notable a decent motorized zoom range).
Something like a BMD Studio Camera would remove the need for a preview monitor
But this would need a separate lens, which needs to be transported properly
BMD Studio Camera: Has MFT mount with limited choice of suitable lenses
BMD Ursa: Quite big, transport with lens attached is probably a bad idea → not suitable for “untrained” users
So we're at a camcorder again b/c:
Decision: JVC GY-HC500E
Research
Cameras
Prosumer Cameras
There's basically just Sony, Panasonic and JVC. Sony only has camcorders with 1/3 inch sensor, which is not beneficial for low-light performance.
Broadcast Cameras
For compatison, here are some featurs of the Blackmagic Design cameras:
Wireless Microphones
Requirements:
Comparisons based upon 4 channel receiver(s), 2 handsets and 1 headset and antenna splitter where necessary. Per brand similar hand/headset/capsule etc.
Sennheiser (prices are MSRP incl. VAT):
EW-D:
only single-channel receivers available
90 simultaneous transmitters
2x AA battery or proprietary battery pack
EW-DX:
dual or quad-channel receivers available
1099€ per dual-channel receiver (1/2 width, + 300€ for Dante)
~3000€ per quad-channel receiver (full width, with Dante)
~469 per transmitter (handheld + microphone capsule)
(dual-channel beltpack set: 2700€)
(dual-channel handheld set: 2200€)
149 simultaneous transmitters
2x AA battery or proprietary battery pack
Comparison dual channel receiver
-
-
-
-
EW-D ASA Splitter €649
Total €4511
2HE
Comparison quad channel receiver
Sennheiser (NL) recommends EW-DX for our use case, mainly because of the large number of available channels within the various bands. Analogue was highly discouraged for the same reason. I (Bix) couldn't get a firm recommendation for frequency band from them, but in NL bands R1-9 (520-607.8MHz) and S2-10 (614-693MHz) were sold the most, in DE Q1-9 (470.2-550 MHz).
Shure:
Audio Mixers
-
10x XLR in (5 combo jacks) + 1x Stereo in
2x XLR out (main mix) + 6x 6.3 mm jack out
auto mic mixer
16×16 channel USB interface
no hardware faders/ “touchmix form-factor”
stereo-linking possible
EQ (GEQ or PEQ + feedback-assist) and dynamics on all outputs
-
16x XLR in (4 combo jacks)
8x XLR out (busses: 1 Stereo, 6 Mix, 2 FX, 2 Matrix)
18×18 channel USB interface
8+1 faders, 140 mm high/ thick, 320 mm wide, 455 mm deep
stereo-linking possible
EQ and dynamics on all busses
available with or without Dante