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Projects: 7-Metre-Wide High Street Window LED Kicks Off New Boot

As seen on Linkedin

This is a nice temporary installation in a high street window, in central London, using a one metre tall by seven metres wide fine pitch LED wall to highlight the launch of a new boot by Clarks Shoes.

I like how the design team used print graphics to frame the digital stuff and fill the whole street-level window, which would be expensive and probably overkill if the whole window was filled with LED to showcase a single boot on a pedestal.

The install is by London-based Esprit Digital and is using Infiled LED.

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Columbus Convention Center Expansion Includes 7 by 60 Wide LED Wall

Turns out that 14-foot LED selfie head isn’t the only big digital feature turned on at the convention center in Columbus, Ohio.

There’s also a 7-foot tall by 60 wide fine pitch LED wall in the building, put together by solutions provider Coffman Media and running Signagelive’s CMS. It’s part of a $140 million upgrade to the facility, that also involved digital meeting room signage.

We've unveiled The 7'x60' #DirectViewLED and ready for the public's eye. #Columbus #Ohio @LGCommDisplays #asseenincolumbus #digitalsignage http://pic.twitter.com/jwzWj73xhf

— Coffman Media (@CoffmanMedia) September 2, 2017

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Eyes Open For Giant 14-Foot LED Selfie Head At Columbus, OH Convention Center

I like how fine pitch, flexible LED is making for some highly creative displays – like this giant head that opened its eyes last night at the Greater Columbus Convention Center, in Columbus, Ohio.

The LED head electronics were manufactured by SNA Displays, and the structure and integration was by Design Communications Ltd.

This is a custom 5mm pitch LED display formed in layered strips to the shape of a human head, with a radius as tight as eight inches. There is a custom photo booth with over 30 cameras that allow someone to put their image on the display.

It’s an art piece – 14-feet high and using 850,000 LEDs. The local business newspaper says the project cost $1.5 million, but its proponents say it will be a tourism magnet – as we know how much people love selfies. There’s a video with the online news story.

Kind of amazing, particularly the idea that people can walk up and scare the hell out a crowd with their giant head. … Well, at least my head would.

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Who Says Digital Signage Can’t Be Gorgeous?

Guest Post: Jeff Doud, MaxMedia

Jeff Doud

The bar is set so low. Everywhere you go, we are assaulted by clutter or what I would call “environmental hubbub.”

Public spaces, retailers, malls, and lobbies often assume that their messaging or offers are the single most important component of their content strategy. I argue that this is the last thing that consumers, visitors, or guests want. They are there to complete a mission or enjoy the welcoming environment. They don’t want to be sold something.

Our focus group testing proves this out. They are on board with relevant lifestyle with usable chunks of information.

Being transparent about this is key. Your consumers are smarter than you think, and can smell a sales pitch a mile away.

In the example above, the signage installation signals what the financial markets are doing – with facts and figures coming from the RSS feed, but also in the color and mood created by the abstract painting come to life. The soothing feeling brought on by watching the painting in progress, brush stroke by brush stroke, is enhanced by the color of the painting itself – green when the market is hot, and red when it is taking a dive.

This is an effect that can be seen from the street, and at a glance drivers get an idea what the markets are doing. Informative, yet soothing and peaceful – nothing to get your anxiety level up over your investments. It’s relevant, serves a purpose, and offers information in a gentle, conceptual fashion. This beats a scrolling ticker any day.

Let’s take the customer experience offer first, and play the ROI for a long-term win with your clients. Your customers will love you more for it.

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Video Download: Post This Hurricane Harvey Fundraiser Spot On Your Network

Brian Nutt and his team at Louisville, KY software and solutions shop Codigo have put together a video available for any network operator to download and run on their own screens, as a Hurricane Harvey fundraiser.

The 20-second video clip encourages donations to the American Red Cross. You can preview it on this page. To grab the video, just select your preferred format below and start the download.

MP4 Video (20 seconds)

WebM Video (20 seconds)

Thanks for doing this folks, and if there are other videos that companies have produced and want to share, make me aware and I will get the word out through 16:9.

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Despite All The Gloomy Stories, U.S. Bricks and Mortar Retail Growing

If your company chases business in retail, you’ll know it’s a tough slog for a bunch of reasons, and you’ll also have heard and read no end of stories about how brick and mortar retail is in a death spiral.

Turns out that’s not really true.

The National Retail Federation says the industry may indeed be evolving, but it’s also growing. The NRF in a post on its own site notes new reporting from the research firm IHL Group that shows a net increase in store openings of more than 4,000 in 2017. In fact, says the NRF, for each company closing a store, 2.7 companies are opening stores.

The NRF, which of course has reasons to paint a rosy picture of the industry it represents, nonetheless also has other data to back up the assertion. “The most recent retail sales figures released by the Census Bureau were up a robust 4.2 percent year-on-year in July,” the NRF story notes. “Every month this year has seen a steady increase in sales over the same period last year.”

There is more data in this recent webinar, called Debunking the Retail Apocalypse.

Certainly, the US in particular is insanely oversupplied with commercial retail space. And there are certainly retailers cratering. But for solutions providers going after that vertical market, the oft-seen media doom and gloom about retail can benefit from some perspective, like real numbers.

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New InterContinental Uses E-Paper Counter Displays To Greet Guests

Putting tablets as small digital signs on hotel reception counters is not new, but the Slovenian tech firm Visionect has added some nice twists to the offer.

This is the new five-star InterContinental Hotel in Ljubljana, Slovenia’s capital. The operators are using Visionect’s Place & Play wireless e-paper display, which shows arriving guests information on the loyalty programs, as well as hotel features and area weather.

The main pitch here is that the displays will run on their onboard battery for as long as a year before needing to be charged. They’re also e-paper, so they like daylight’s glare, as opposed to LCD screens that have to battle direct sunlight to be viewable.

What I like here, and have long liked about Visionect’s product design and creative eye, is the minimalist look and feel. In the wrong hands, black and white-only would be a serious deficiency. But these guys somehow make it seem like a benefit.

Also, pro tip for marketers in this industry: taking the time and spending some money on good photography is worth it. The Visionect people “get it” in terms of pushing out polished, easily digested product marketing pieces with good visuals and crisp layouts that reflect the design sensibilities of the company and brand.

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Tampa’s NFL Stadium Adds Fine-Pitch LED Ribbon Board For VIP Fan Area

LED ribbon boards are very commonplace inside stadium and arena seating bowls, and along soccer pitch sidelines, but I’m not sure they are often seen inside the sports venues, along the concourses. And not at a fine pitch normally reserved for video walls.

This is the concourse at Raymond James Stadium, home to the NFL’s Tampa Bay Buccaneers. Salt Lake City-based Quality Systems Technology North America, or QST, has just finished installing a curving 121-foot wide by 3.15-foot tall 2.5mm pitch LED banner in the “Ray Jay” – in time for the new season.

Senior Partner John Hu posted on Linkedin:

The stadium video team had provided 4×1920 feeds and 8 screens into our control system. With 384×14720 pixels, the curved screen boasts over 5.5 million pixels. The width of each panel was customized to 12.6″ (320mm vs. 480mm typical) to conform to the curved wall. The front service screen was installed only 3/8″ (<10mm) from the back of the wall! The fans were very pleased with the result and we thank everyone’s dedication to making this a success!

The banner is in the West Stadium Club, a 60,000 sq ft addition to the stadium aimed at premium ticketholders and VIPs. The new area is part of a $150 million renovation project, done in part because the 2021 Super Bowl will be played there.

Looks good and has the kind of visual impact that’s hard to match using LCDs.

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A Robotic 3D Video Wall … From 1990

Hat Tip @johnbirchman

We told you yesterday about a 1967 robotic video wall (well, sorta … it was photo slides, not videos).  Here’s another example of a big video wall doing the robotic three-dimensional thing Coca-Cola has unveiled in Times Square. This one is from 1990, at the Epcot (Disney) theme park in Orlando.

The “kinetic mosaic” was developed by another Czech, filmmaker Emil Radok, for an attraction built around energy.

Like Emil Radok's "Kinetic Mosaic" that was the Pre-Show to Universe of Energy at Epcot from 82 to 96.https://t.co/nozZYUeFJk

— John Birchman (@johnbirchman) August 30, 2017

90 foot wide with 100 rotating triangles, each with 3-1/2 foot square surfaces – 2 white and 1 matte black, and five 35mm film projectors.

— John Birchman (@johnbirchman) August 30, 2017

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Coca-Cola’s Crazy Robotic 3D LED Wall In Times Square Had A Forerunner … In 1967!

Scala’s Chief Product Officer Peter Cherna had a first-hand look recently at that robotic three-dimensional LED board that Coca-Cola bankrolled and installed in Times Square earlier this month, and it reminded him of something he saw as a kid some 50 years ago.

“As someone who grew up in Montreal, Expo 67 was a part of my DNA (OK I was two at the time, but still …)  The Czech pavilion had a fabulous installation called Diapolyecran.”

“One entered a large room,” he recalled, “and sat on the carpeted floor, where you watched a wall of 112 cubes, whose ever-shifting and changing images moved backwards and forwards. Inside each cube were two Kodak Carousel slide projectors, which projected still photos onto the front of the cubes.”

“In all, there were 15,000 slides in the 11-minute show. Since each cube could slide into three separate positions within a two-foot range, they gave the effect of a flat surface turning into a three-dimensional surface and back again. It was completely controlled by 240 miles of memory circuitry, which was encoded onto a filmstrip with 756,000 separate instructions.”

It’s mind-blowing to even think about trying to sync up a wall of carousel slide projectors, and get blocks the size of microwaves on drawer sliders, to shift on comands. Check out the control panel for all this, which is a bunch of knobs.

Crazy stuff.

Note – The video is in Czech or Slovak or something that’s definitely not anything I can decode, but you can see from about 11 minutes in what’s up.

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We’re Partnering On International Digital Signage Awards Program

I’m a big believer in industry awards programs and always baffled by how few companies in this industry go after them.

There are many, many reasons to be skeptical and jaded about awards. They can be political. Pay to play. Slanted to favorites. Or just plain stupid.

But they can also be very good – genuinely reflecting and celebrating excellent work. For company marketers, “award-winning” always has a nice ring.  Award wins and honors look very good on resumes, and they can raise spirits around a company when a team effort gets recognized. Clients also like it when the decisions they made are validated.

Doing awards well is not easy, and one of the biggest challenges is getting to top of mind awareness in an industry, so that companies know about the awards and sense the value in submitting entries. So when I was approached by a UK company that does something called the Digital Signage Awards, my first thought was, “Hmmmm …”

I was only vaguely aware of the awards, but learned through subsequent conversations the awards have been active for five years.  This past year, the awards had a pile of entries from serious, tier 1 agencies like Second Story and SapientNitro, as well as well-known media companies like JC Decaux and Cineplex Digital Media.

The awards company was looking for a media partner, and Sixteen:Nine has agreed to take on that role.

Here’s why and what it means:

Media partners often don’t mean much more than bartering – with the presenting organization trading things like event tickets or profile at an event in exchange for advertising space.

Sixteen:Nine will certainly try to raise the profile and entry volume through promotion here, but me getting involved means taking an active role in entry review and selection, along with the judging panel.

There is nothing wrong with the awards out there, but I do think there is room for these awards in the mix, and ways to make them distinct, coveted and worth the price and effort of entry.

That last bit is important.  There are a lot of brilliant technical and business people in this industry, but engineers and MBAs aren’t typically all that good, as well, at marketing. Their companies issue incomprehensibly technical or buzzword-riddled, self-congratulatory press releases, or more often, don’t let anyone know what they’ve done.

Sometimes, that’s because clients won’t let them. But often, it’s because no one was assigned to put the marketing and press material together, or had the skills to do so.

One of the best ways a company can drive new business is by showing, highlighting and celebrating work already done. If you want to attract new customers, making them aware of your “award-winning” work is a good start.

You can read more about the program and categories here. Entries close at the end of October.

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Flash Is Done; Time For Digital Signage To Fully Adopt HTML5

Guest Post: Paul Vincent, Neuranet

Most computer technologies come and go quickly, with few people outside of software engineering noticing. But Adobe’s Flash was a major technology that lasted 20 years, and was familiar to just about any consumer with a laptop or smartphone. Consumers knew about the frequent updates needed for the Flash player plug-in, and were conditioned and resigned to ending up on websites that just didn’t work without the latest Flash.

Paul Vincent

Flash isn’t quite dead, but it’s dying quickly. It’s now rare to run into websites needing Flash players. Creative developers and programmers have largely moved on, but one of the holdover industries is digital signage.

One reason for this could be due to the way some signage management platforms were built, to create, update and manage content and schedules. Another reason, I’m guessing, is the cost of upgrading a network and customers to newer devices that support newer operating systems, and the technology that has supplanted Flash – HTML5. Consumer devices are generally updated faster than devices in the commercial space.

Adobe recently announced that by 2020, it will not support the Flash player. That may have you asking, “I thought Flash was already killed off years ago?”

Nope. While usage has significantly dropped, Adobe has still been updating the player. A good analogy is when analog TV was replaced with digital TV distribution. While most consumers had already transitioned to digital TV, the analog signal continued to be broadcast for many years, until networks finally pulled the plug.

So why did such a widely-used technology like Flash, that was once installed on over a billion devices, nosedive to obscurity so quickly?

A Brief Flash History

Flash was originally created by FutureWave Software in the early 1990’s, which was acquired by Macromedia, a company that focused on media and web design tools including Dreamweaver. In 2005, Adobe then acquired Macromedia for $3.4b in stock.

In the early 2000’s, web usability was very static, with simple text and images. Flash provided a leap in usability with advanced animation and interactive capabilities. The Flash player’s installation base grew very quickly, because as soon as someone loaded a page that had Flash content or ads on it somewhere, they would be prompted to install the Flash plugin.

Some designers started building content and even entire websites using Flash, but this quickly faded due to the cost and complexity of maintaining the content. Because Flash required users to install the Flash player and keep it updated, website designers were forced to create a non-flash experience when the player wasn’t detected, so creating two versions and maintaining both wasn’t efficient. There was also an end-user issue where Flash files couldn’t be seen or indexed by search engines.

The main use of Flash evolved towards online advertising campaigns that usually had a 3-6 month life span, or online games that required rich interaction and were more evergreen.

Rise Of HTML5

By 2010, an open source replacement for Flash had been in the works by the W3C, it was simply called HTML5 and it was an advancement on the HTML markup language that the entire web was based on. It leveraged other popular languages, such as Javascript, and included more advanced CSS that helped scale styling of HTML, making it easier to add effects and animation.

In April 2010, around the time of the original iPad launch, Steve Jobs’ wrote an open letter explaining why Apple decided to not support Flash in iOS. He suggested that HTML5 and related technologies were going to replace Flash and result in a better experience for users both on the web and devices by improving battery life, security, and of course, touch capabilities that were not possible in Flash.

With no Flash support on iPhone or iPad and limited support on Android devices, all with rapidly growing user bases, and with the HTML5 spec still somewhat embryonic, content and ads on iOS and Android regressed to the point that they were mostly simple text, static images or animated gifs. Apple essentially ended up promoting its own languages to build apps with, rather than pushing HTML5.

But by the end of 2014, the W3C released the final HTML5 spec, and a new era began. Due to HTML5’s responsive design capabilities, more developers were building cross device web apps that could work within the browser, or in native app environments. For many companies developing apps, especially in media or retail, this approach was far more efficient than having to maintain multiple codebases and teams for the web and native apps.

By 2015, the writing was on the wall for Flash – HTML5 is open source, while Flash was proprietary technology owned by one company. Open meant it could be built directly into all browsers, and didn’t require a plugin. All updates would come with the browser update.

A series of security issues that plagued Flash in 2015 and 2016 resulted in each of the major browsers announcing that they would be dropping support for not only Flash, but other plugins such as Quicktime, which was an Apple video technology. Flash had also helped bring mass market video to the web via thousands of major publishers.

Some publishers were still working hard to transition from their Flash video players to HTML5 until recently – a difficult transition due to the systems and partners they had integrated over years, and often internal concern of a possible revenue impact or DRM (Digital Rights Management) issues.

Shifting Content

While the online advertising industry has already made the shift to HTML5 leveraging animation and interactive capabilities, the content world is yet to fully embrace animation and interactivity, as most content is still being produced as simple text and images. Many companies are struggling to create HTML5 content and ads efficiently.

The association for the online ad industry – the Interactive Advertising Bureau (IAB) quickly embraced HTML5 and its responsive and adaptive design capabilities to help improve the ad experience. The recent IAB launch of Flexible Ad Units are set to replace the old fixed size ad placements like 300×250 and 728×90, that we had all become used to in the world of Flash. The new Flexible Ads are based on aspect ratios like 16:9, 1:1, 1:2 etc., and adapt to different devices and screen resolutions.

The digital signage industry has had a somewhat slow movement to using HTML5 tech with most screens still displaying static images or video files – and still has a lot to gain from adopting HTML5its adoption. The responsive and adaptive design capabilities of HTML5 allows hundreds of different screen sizes and resolutions like 4k to be served by a single adaptive creative. Connecting page components dynamically, via the web, can enable instant updating of content such as new product images or pricing instantly across thousands of signage screens.

My Flexitive team works specifically on HTML5, on a platform designed to enable flexible, adaptive creative. We’re envisioning a world where teams can streamline production of richer, interactive experiences that will unlock a new era of enhanced web usability across both personal screens, and digital out of home devices and screens.

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Sixteen:Nine Podcasts: Zach Klima, WaitTime

If your digital signage screens are there to make something faster, better or easier for the people who are looking at them, you are doing good things.

That’s the idea behind a Detroit start-up called WaitTime – a digital signage and smartphone app solution that uses cameras and artificial intelligence software to give  people at sports and entertainment venues mission critical information like which washroom lineups are shortest, and where to go to get intermission beer and drinks quickly.

The data that comes out of those camera feeds and software informs game and concert-goers where lines are shortest, which is great for fans – but also for venue operators. The screens load-balance lines and reduced the number of times people abandon lines at concessions. That means more sales.

CEO and founder Zach Klima says the systems tend to pay for themselves at arena and stadiums in less than a year.

In our chat, we talk about the roots of the platform, how it works, who’s backing it, and how it can play nicely with the digital signage companies who already service the sports and entertainment venue market.

Subscribe to this podcast: iTunes * Google Play * RSS

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McDonald’s Does Multi-Year Digital Innovation Deal With Consulting Giant

McDonald’s has done a multi-year deal with a couple of monster consulting companies, Capgemini Group  and Publicis.Sapient, to be the QSR giant’s global IT strategic provider for restaurant and digital capabilities.

The press release is a lot of buzzword bingo, back-patting blah-blah-blah but the Chicago Tribune has decoded it and reports the deal will speed up digital innovation and boost customer experience. It will also, says the Trib, bring as many as 600 new jobs to Chicago.

The Tribune reports:

McDonald’s has put technology at the top of its priority list over the past year, investing in its “Experience of the Future” model, which includes installing order kiosks and Bluetooth-enabled table service. The fast-food giant also is rolling out mobile ordering, curbside check-in and a delivery partnership with UberEats.

A curious part of the deal sees some 100 McD’s tech people become CapGemini people.

I don’t know what, if anything, this means for companies like STRATACACHE that service McDonald’s US, or companies like Coates that are going after the business. I don’t believe either is involved in the self-service order kiosks that have been rolling out.

Here’s the release:

“McDonald’s has launched an assertive strategy to transform its business through innovation; we embrace the opportunity to put digital innovation at the core of their business,” said Paul Hermelin, Chairman and Chief Executive Officer, Capgemini Group. “As we continue from the foundation of our strategic relationship that goes back 10 years through our IGATE heritage, we appreciate McDonald’s vision and trust. We look forward to supporting their growth plan by developing new ways to dramatically enhance the customer and employee experience, and restaurant operations.”

With this agreement, McDonald’s is bringing its industry-leading talent to Capgemini in order to leverage the companies’ combined expertise to accelerate digital technology innovation and transform the restaurant experience for customers. Capgemini plans to open a new Global Digital Retail Center in Chicago to support the relationship, develop and showcase industry-applied business innovation, and attract talent to its growing North American operations.

“As a strategic provider, Capgemini enhances our ability to bring speed, scalability and disruptive innovation across our restaurant and digital technologies as McDonald’s continues to transform the customer experience through greater convenience and personalization,” said Jim Sappington, Executive Vice President – Operations, Digital, & Technology Systems, McDonald’s Corporation. “Capgemini has proven its ability to understand our business, our industry and our customers, and has the ability to deliver the highest levels of scalable technology innovation.”

“We’re grateful for the opportunity to put our brand behind McDonald’s to set the bar together for customer experience in the industry for many years to come, through our client-centric approaches to business and shared obsession with creating the best possible customer experience,” said Tim Bridges, Head of the Global Consumer Products, Retail and Distribution Sector at Capgemini. “We look forward to delivering McDonald’s digital and restaurant technologies to locations worldwide through our Chicago Global Digital Retail Center and other centers of excellence. This will allow us to consistently innovate and design new customer-focused technologies while demonstrating leadership in platform thinking.”

“The McDonald��s brand has been a household name for generations and has continued to lead in its category by introducing new products that are uniquely informed by the needs and wants of its customers,” said Arthur Sadoun, Chairman and CEO of Publicis Groupe. “We’re honored to join Capgemini in reimagining ways the McDonald’s experience can be a source of competitive advantage on the journey of enterprise transformation.”

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Data Call Weathers Harvey, Thanks To Elevation, And The Good Kind Of Cloud Right Now

A couple of industry friends in Houston have managed to so far make it through the ceaseless storm dubbed Harvey with minimal impacts.

Tim Vance, CEO of subscription content provider Data Call Technologies, sent a note out on Linkedin letting people know business has not been disrupted, despite the immediate area around his street-level office space in suburban Houston getting drenched with somewhere between 10 and 16 inches of rain … so far.

Based on some elevation maps, and some eyewitness reports, we are confident that as this passes, our offices will remain unharmed. We thank everyone for their concerns of our well being, writes Vance.

Through the company’s experiences over the years of past Texas storms, a decision mandated that our data center was to be removed from our corporate spaces. By the time hurricane Rita came to Texas in 2005, all of the company’s production servers were co-located off site. This proved to be quite prudent as we survived Hurricane Ike in 2008. By 2014, all production servers, test servers, web servers, digital assets, as well as company email servers, were sent to the cloud with strong redundancy in place. This architecture has enabled the company to proudly guarantee it’s solid SLA’s and endure such a catastrophic event as we are experiencing today.

We are blessed with all of our staff members, their families, and their homes being safely accounted for. At this time, all staff spared by the flooding. Most of Friendswood and the surrounding areas are underwater. Entire families are being rescued from their flooded homes by so many great people by boat and brought to shelter. We thank not only our first responders – We thank every person out there helping their neighbors. Houston, we have a problem.

We're proud to see our community coming together. #HoustonStrong

— Data Call (@Data_Call_Tech) August 28, 2017

Brad Parler, the guy behind the brilliant corporate communications content at Blinds.com, told me by email he and his family are lucky to live in an area of the city that’s built up like a mini island (some developer was smart!) and remains high and dry. Lights are on and bandwidth is fine, though he notes many colleagues at his company are wet and probably under  water now financially.

Terrible situation down there. You can help by donating money to the American Red Cross.

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DSF Opens Up Nominations For Two-Year Board Seats

The Digital Signage Federation has started accepting nominations for two-year seats on the volunteer organization’s Board of Directors, with the terms starting in the new year.

DSF members can be nominated by other members, or just go ahead and nominate themselves, which sounds much easier.

Candidates must be:

Employed by a DSF Member;

Willing to serve for a term from January 1, 2018 – December 31, 2019;

Capable of active involvement on the board and in leading initiatives with other volunteers;

Able to attend three board meetings per year;

Committed to the growth of our industry, people, and the effectiveness of the DSF;

Able to handle snakes and speak in tongues.

Candidates will be subject to extreme vetting by the Nominating Committee, and a slate of remaining nominees will be presented to the membership in November 2017 for election.

Questions? Ask Brian Gorg, Executive Director, at bgorg@digitalsignagefederation.org.

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Outcome Health Hires Away Twitter’s Engineering Head

Hat tip @davidweinfeld

The woman who ran Twitter’s engineering division has joined Chicago-based Outcome Health as its chief engineering officer.

Nandini Ramani, Twitter’s former vice president of engineering, told CNBC she loves the “mission-driven aspects of health care and also the re-energizing of an industry.”

Ramani told CNBC she was also intrigued by the digital OOH network, for years known as Context Media, because it has a female co-founder, Shradha Agarwal. She and Rishi Shah started the company in 2006, putting education-oriented screens – supported by big pharma advertising – in diabetes clinics.

This is a heavy-hitter hire. Ramani ran the 1,300 person technical team at Twitter and before that Java business unit for Oracle.

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