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“Customers place greater value on investment protection,” Sadler observes. “They want platforms that can evolve with changing technologies and project requirements rather than being locked into fixed hardware architectures.” That flexibility is becoming especially important as productions continue to push pixel counts to unprecedented levels. No installation illustrates that better than the National Museum of Qatar, where HIVE’s distributed media server architecture uses more than 170 Beeblade media engines to deliver over 21 billion pixels across nine immersive galleries. It’s an example of how distributed processing is enabling experiences at a scale that might once have seemed almost unimaginable. AI WITHOUT THE HYPE As is often the case, artificial intelligence has inevitably inserted itself into the media server conversation, although perhaps with more restraint than some might expect. Though AI dominates headlines across countless industries (particularly in the arts!), media server manufacturers appear more interested in practical applications. For Kohn, AI succeeds only when it solves genuine production challenges. One example is real-time background removal, which arrived in Modulo Kinetic Version 7.1. As Kohn states: “It allows operators to isolate performers from live camera feeds instantly, opening up new creative possibilities without adding dedicated hardware or complex workflows.”
HIVE’s distributed media server architecture powers the National Museum of Qatar with more than 170 Beeblade media engines delivering over 21 billion pixels across nine immersive galleries.
Beyond that, he thinks that AI’s role is also likely to develop alongside generative workflows. “As these technologies continue to mature, we believe they will become valuable tools for both designers and operators alike.” Sadler also sees AI becoming part of a much broader shift, sitting alongside IP connectivity, distributed processing and software-defined infrastructure. “The next generation of media servers will be defined less by raw processing power and more by flexibility, connectivity and operational efficiency. “Performers will always matter, but more than ever, users expect systems that are modular, scalable and capable of integrating with rapidly evolving production technologies.” SERVER I NEED We’ve talked about the tech, but what about examples of how it’s being used right at this moment? Let’s dive behind the scenes of Olivia Dean’s sold-out The Art of Loving arena tour. Designed by FRAY Studio in collaboration with production and lighting designers 1826 Studio, the production demonstrates just how far live camera workflows have evolved. Rather than relying on conventional IMAG screens positioned either side
of the stage, the production projects live camera imagery directly onto large scenic drapes surrounding the performance, transforming soft fabric surfaces into an immersive visual canvas. “The aim was to integrate cameras seamlessly, create beautiful grading and ensure each audience member experienced the energy on stage, no matter their seat,” says Daniel Richardson, designer at 1826 Studio. At the heart of the system are three Disguise GX 3 media servers, supplied by Solotech, which process multiple live camera inputs while simultaneously applying real-time colour grading through Notch blocks and managing complex projection mapping across curved fabric surfaces.
Three Disguise GX 3s help power The Art of Loving tour (below); effects editing on Modulo Kinetic (above)
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