Friday, 23 October 2026

Relationships drive success in Latin America

AV Magazine

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Close relationships with local suppliers, distributors and contractors can save a project from catastrophic failures in Latin America

Stretching from Tijuana in Mexico to Ushuaia in the southern tip of Argentina, Latin America is a huge region for which there is no ‘one size fits all’. The entire region is dynamic but exhibits different potential and characteristics depending on where you look. The clearest signal is the industry’s own, the first InfoComm América Latina, held in Mexico City in 2025, sold out. This October’s edition has expanded floor space by around 60%.

“Brazil and Mexico have a large volume of projects with very high demands and requirements,” offers Adi Neves at DPA Microphones. “Argentina, Chile and Colombia exhibit the same demands, among fewer projects. Central America is growing; Panama leads the corporate market and Guatemala benefits from a strong Houses of Worship vertical as it has some of the Americas’ largest sanctuaries. Colombia and Chile drive some of the largest growth in the area, supported by progressive business outlook and foreign investments.”

AVIXA analysis
AVIXA’s 2025 analysis forecasts Latin America CAGR at 4.3% through to 2030, against 3.9% globally and 3.6% for North America, for a market worth around $14bn. Demand concentrates in conferencing and collaboration, the largest category; security and surveillance, the fastest-growing; live events and digital signage.

“Two things hold it back: tariff and currency complexity, and the fact that AV and IT expertise have historically sat in separate organisations,” says Moises Montano, sales director, Netgear Enterprise. “I would not put that second one on the integrators. Our job as manufacturers is to make configuration simple enough that networked AV behaves correctly without deep networking knowledge.”

Camila Otero for Lightware judges Latin America as “demanding, price-sensitive and highly competitive, but increasingly strategic,” adding, “Mexico leads in scale; Brazil offers major potential despite import complexity; Colombia, Chile, Peru and Costa Rica continue to create strong opportunities.”

Speaking for Renkus-Heinz, western regional sales manager, Garrison Parkin reckons the region is in a “rebuilding phase” with a significant number of AV projects underway. “The market is more competitive than ever, with more integrators and manufacturers chasing these opportunities.”

Keeping pace with North America
North America leads the world in almost all areas of technology and how it is deployed across applications. “What we’re seeing now is Latin American countries working to keep pace with these developments,” adds Parkin. “In some of the smaller markets, we’re seeing strong activity in the corporate sectors. Local and regional government also represents an important area of opportunity.”

“What really resonates with AV project teams in LatAm are IP/IT-specific education and proofs of concept that demonstrate the potential and resilience of networked solutions,” finds Chris Scheck, head of marketing content at Lawo. “We are in talks with customers in Paraguay and Venezuela whose junior engineers are eager to learn as much as they can [to] promote IP networking internally. Like elsewhere in the world, the younger generation is ready for IP.”

Mexico
As the most North America-adjacent market, integrators in Mexico work to US timelines and procurement norms. AVIXA estimates the size of the Mexico market at roughly $3bn, growing at above 5% a year through to 2028.

The country hosted 13 World Cup matches across venues in Mexico City, Guadalajara, and Monterrey this summer. “The Estadio Azteca came out of an 18-month rebuild that touched almost everything an AV integrator cares about,” Montano says, citing a superior wi-fi footprint, exterior screens and a 340-speaker sound system.

Guadalajara took on an extensive upgrade of its own, though Monterrey needed comparatively little. “All of it was specified for the highest-pressure broadcast month in world sport, and those venues will run league football and concerts on the same systems for years.”

Mexican AV culture is “mature”, according to Lightware which has strengthened relationships with Tecso Pro, Meitec Led and Centro de Conectividad across ProAV and IT channels.

From Leyard’s perspective, AV is undergoing a process of expansion and maturation. “Although each country has different levels of maturity, we are seeing a common trend,” says LatAm CEO, Odair Tremante.

“Customers, integrators, and specifiers are becoming more discerning. Hybrid collaboration, virtual production, retail media, real-time monitoring, and immersive experiences are already driving investment in countries such as Brazil, Chile, Colombia, Peru, and Argentina.”

He believes a significant share of future AV investment will be connected to the modernisation of infrastructure and experience-driven spaces across airports, stadia, arenas, museums and corporate environments.

“We expect increasing integration of LED with architecture, data, management systems, and AI,” he says. “This comprehensive approach will enable the development of more functional and intelligent spaces – and even cities – in which technology responds to the real needs of both operations and
people.”

Live experiences culture
Jorge Sobenes, sales director, Ross Video confirms the rapid shift to experience-driven environments. “Live experiences have always been central to Latin American culture. Today, organisations are investing in higher-quality, immersive environments while still demanding simple-to-operate solutions that deliver long-term value within local budgets.

Following the World Cup, “which highlighted the importance of world-class venue technology,” Ross expects continued investment across sports venues, museums, shopping centres, and entertainment destinations.

“Organisations are looking to create more immersive experiences, making integrated AV, production and control technologies key differentiators.”

Bogotá, Santiago, and São Paulo are scaling electric bus fleets and modernising metro and terminal infrastructure. “Each programme carries digital signage, passenger information, and command-and-control requirements,” says Montano.

AWS has committed more than $4bn to a data centre in Chile and Google has opened one in Mexico. “These are IT projects, but each comes with a network operations centre and ProAV control rooms,” says Montano.

No single formula
Outside the larger markets, opportunities abound. “Some of the most significant opportunities in my career have come from countries that competitors chose to overlook,” Montano shares. “That has always struck me as a gift to whoever is willing to show up.”

Guatemala “works as a regional gateway,” he notes, with integrators there often covering several Central American countries from one office. Ecuador is “early stage but structurally ready,” (the Smart City Ecuador initiative to deploy smart technologies across municipalities, is endorsed by the Ecuadorian Municipal Association and the Inter-American Development Bank). Paraguay may be a “modest economy”, but Asunción hosted an edition of the ALOOH LATAM Forum in 2025, and a local industry that “is organised well beyond its size.”

Montano concludes, “In all three, one well-executed reference project can define a brand’s reputation for years, and the right distributor relationship in a neighbouring hub can open several countries at once.”

There is no single formula for Latin America, Karim Galib, Barco’s sales director emphasises; “Successful strategies need to be localised.

“In markets such as Mexico, Brazil and Colombia, AV is becoming increasingly strategic. The conversation is moving beyond hardware and individual meeting rooms toward user experience, interoperability, standardisation, business outcomes and employee satisfaction and retention.

“Central America markets can be surprisingly attractive. Although smaller in scale, they have sophisticated enterprise, financial services and hospitality customers. These markets are highly relationship-driven and channel-led, making strong local partnerships particularly important.”

Jay Wallace, who handles sales for Clear-Com, has seen increased business in practically all regional markets. The company provided an Eclipse matrix for a broadcast client in Paraguay and is working on a large industrial intercom system in Ecuador.

“We’re installing multiple FreeSpeak II wireless systems for a nuclear power plant service in Argentina, a large matrix intercom for a HoW in Brazil, and solutions for a corporate client in Mexico.”

Higher education is a strengthening vertical for Lightware, especially in Colombia. “Our proof-of-concept deployments have helped universities validate interoperability, reduce technical uncertainty and turn ideas into real projects,” explains Otero. “This approach has contributed to several opportunities within Colombian higher education. We are also seeing momentum in Brazilian universities around AV-over-IP and more flexible learning environments.”

Brazil
All user interfaces and codes must be rewritten in Portuguese for devices operating in Brazil, notes Neves, but Portuguese-speaking in a sea of Spanish language markets is the least of the territory’s distinctions.

“Brazil is a world unto itself,” affirms Montano. “The language barrier only exists for companies that refuse to learn the market and hire locally. The channel is large, sophisticated, and self-contained, and operationally it is the most complex.”

AVIXA ranks it the region’s largest, so the prize is proportional to the effort. “The scale of its projects often match mature markets,” reports Sobenes.

Respondents insist Brazil should be treated as a distinct market within Latin America. “The country has continental dimensions, a specific tax structure, its own import processes, and regulations that can vary between states and municipalities,” notes Tremante.

Sao Paulo’s Clean City Law, for example, establishes specific rules for outdoor advertising and directly affects DOOH projects.

“In addition, serving such a vast territory requires access to technical support, spare parts, and qualified partners across different regions.”

The level of tariffs applied to goods entering the country means excessive bureaucracy and high import taxes.

“This can make US-manufactured technology significantly more expensive,” says Parkin. “As a result, our activity there is currently more limited than in some other Latin American markets.”

Tariffs can “push customers toward cloud or locally assembled COTS [commercial off the shelf] solutions, driving manufacturers to shift focus toward software-based, recurring-licencing models,” reports Jason Barden, Riedel Communications’ sales director.

That said, the Brazilian market is also the most diverse, “with projects from corporate buildings to higher education facilities, and a healthy HoW segment,” says Neves.

The first Latin America country to complete an analogue shutoff by 2016, Brazil is now redesigning its terrestrial transmission system for deployment of TV3.0 (DTV+), for 4K transmission, immersive audio, and broadband-integrated interactivity.

“Expect demand for native UHD and HDR content, plus more advertising production as broadcasters personalise delivery,” Barden says. Ahead of the 2027 FIFA Women’s World Cup, hosted across eight Brazilian cities, expect deployments spanning broadcast centres, LED displays, security command centres and 5G infrastructure.

“The Women’s World Cup will almost certainly drive important investments in and around stadiums, public-viewing areas and in broadcast,” confirms Scheck. “Without doubt, Brazil has the highest adoption rate of ST2110 technology. In other Latin America countries, usually for budget reasons, clients prefer to evolve their infrastructure in small steps.”

Don’t view 33 as one
The reality, Scheck warns, is Latin American countries “tend to differ quite significantly, and the political and economic climate in the region is often unpredictable, with sometimes stark currency fluctuations against the dollar and the Euro. Carefully tailoring the solutions to your potential customers is therefore of the utmost importance.”

It’s self-evident that Latin America should never be approached as a single market but as 33. “Success depends on understanding each country’s business culture, procurement process, and regulations,” says Barden.

Aside from Brazil’s taxation regime, Argentina recently eliminated its SEDI import licensing scheme which means advance import declarations are no longer required, but Mexico requires NOM [compliance and safety marking] certification for importers.

“Local partners help manage these differences, but cultural understanding matters more,” Barden says.

“Companies investing in partner enablement and ongoing customer engagement will outperform those relying on occasional visits.”

“Don’t treat [Latin America] as one market,” urges Galib. “Technology matters, but trust, relationships and long-term commitment remain fundamental to doing business successfully across the region.”

The most important advice from Parkin is “be present. It’s important to spend time with customers, integrators and distributors while building direct relationships rather than simply taking orders from a distance.”

“This requires a long-term commitment,” says Tremante, “understanding the particularities of each country, developing partners, training teams, and maintaining technical support and component availability after delivery. It means taking responsibility for the outcome, supporting the customer’s evolution, and remaining accessible throughout the project’s entire lifecycle.”

Patience is the key for Wallace. “Expect long sales cycles. Be prepared to spend time on the ground to listen to the client and learn their workflow. This is an exciting and interesting part of the world. Anticipate complications and embrace the challenge.”

Montano advises, “Learn the market before you try to sell into it. In a relationship-driven market, reputation is the whole business, and nothing damages it faster than being visibly behind.”

Finally, don’t be afraid to push high-end solutions. Neves advises, “Even a small portion of a large population can prove to be a valuable revenue generator.”

 


Regions: AV UK’s cautious optimism

AV Magazine

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While the UK has baked under multiple heatwaves, the AV business environment of ‘cautious optimism’ is defining the temperature in a country where building and venue upgrades and refurbishments are driving investment. 

Bryan Davies, regional sales manager for Ross Video, effectively sums up the consensus: “The UK ProAV climate feels cautiously positive.”

“People are spending, but they’re being more considered with it,” agrees Craig Storey, CEO at Lightware Visual Engineering. “Projects still need to show a clear return, whether that’s improving collaboration, making offices work harder, or helping education spaces stay relevant and attractive.”

Pufferfish CEO Stephen Patterson dubs the market cautious but creative. “UK budgets are being scrutinised more closely, but there is still a strong appetite for AV that genuinely earns its place.”

Opportunities for growth
Both Anthony Hammond, consultant at Jigsaw24, and Arthur Brockhoff, regional sales, PlexusAV, say the current climate feels challenging.

“Where I see growth is in the crossover between professional video production and ProAV as well as in building solutions that prioritise low ecological impact,” Hammond says.
Brockhoff highlights “strong opportunities, particularly around projects where organisations are growing, consolidating, or investing in new environments.”

Ferdinand Van de Blaak, sales at Matrox Video, welcomes the UK’s “resilience” with organisations “increasingly focused on future-proofing their AV infrastructure,” as does Riedel’s local sales manager, Jamie Buckley. He says, “While the past couple of years have been impacted by inflation and supply chain pressures, we’re now seeing greater stability and renewed confidence in long-term investment.”

Nonetheless the cost of services is rising constantly. “This has a significant impact on smaller opportunities and support service costs,” reports Hammond. “There are pockets of prosperity in the corporate market, particularly in tech, fintech and startups, where I see the most opportunity. This is largely in the overhaul of meeting rooms and event spaces.”

Davies finds cost awareness part of every AV conversation, but the tone is constructive. “Customers are planning carefully, seeking long-term value and choosing systems that are scalable, efficient and easier to operate,” he says. “In many cases, that is strengthening the business case for ProAV.”

A major factor is the increased global demand for chipsets which is putting pressure on supply chains. “For AV this means vendors need to take a more strategic approach to forecasting and stock planning, ensuring they can support product roadmaps and customer requirements as technology continues to evolve,” Brockhoff says.

Value above cost
Guy Phelps of LED manufacturer Leyard Europe notes UK customers increasingly asking about European-made solutions to support shorter lead times, sustainability objectives and reduced project risk.

“The UK market remains highly focused on value rather than simply lowest cost,” he adds. “While economic pressures are increasing competition, customers continue to consider the long-term impact and return on investment of their technology decisions.”

There are more positive outlooks. Storey says inflation has eased recently, and supply chains are better than they were, “but labour, shipping, energy and specialist components still put pressure on margins and timelines”.

Patterson finds pricing “relatively stable”, although component supply remains something to watch. “Freight costs continue to fluctuate, but we are not currently seeing significant pressure there. With the broader cost of doing business continuing to rise, we would expect wage pressures to become a bigger consideration over the next 12 to 24 months.”

Strength in depth
Respondents are far more positive about the UK’s strength in depth of its creative and content ecosystem. “We have world-class capability across broadcast, live events, theatre, museums and heritage, and that influences how clients approach AV,” says Patterson. “The starting point is often the story and the audience experience, with technology following to bring that vision to life. Rather than beginning with a specification, clients are typically asking how they can create impact and engagement.”

Storey agrees; “What stands out in the UK is how mature and relationship-led the market is. Buyers tend to be knowledgeable, expectations are high, and there’s a strong focus on reliability, service and long-term support rather than just buying technology for the sake of it.”

Davies thinks the UK has achieved balance. He says the country “combines a great understanding of broadcast with live-event pragmatism” and that there is a general focus “on resilient, multi-use spaces, lean crews and fast content turnaround.”

Taking an early lead
As one of the most densely populated AV markets in the world, the UK’s domestic culture of early adoption sets it apart from other European regions, says Richard McLean, commercial manager, d&b UK. “It’s a highly professionalised, fast moving environment where new technologies are tested, integrated and scaled quickly.”

Utelogy’s EMEA MD Jonathan Mangnall reckons the UK has “a distinct AV personality… combining a mature, engineering-led integrator culture with one of Europe’s fastest shifts toward IT-centric, software-defined AV. “Organisations are early adopters of open standards, data-driven operations, and managed services, with little appetite for proprietary lock-in,” he adds.

Stephen Rhead at Sonos points out that the UK has a strong custom integration channel, “whereas in parts of Northern Europe installation in these environments is more often handled by electricians.”This can influence both system design and the extent to which professional solutions are specified, he says.

Hospitality is the standout vertical for Sonos and operators report sustained demand for refurbishments. “Although compared with France or Germany, the UK has less emphasis on outdoor hospitality spaces, which reduces the demand for external audio solutions,” he says. “Retail activity remains more limited, with some projects paused or reduced in scope due to tough trading conditions, whereas hospitality continues to generate consistent AV opportunities.”

Reimagining the workplace
It’s apparent that significant activity stems from the workplace as organisations balance hybrid models with renewed focus on office engagement. “This is driving investment in collaboration spaces, digital signage and technologies that improve the workplace experience,” notes Phelps.

Emphasising “flexibility” Danielle Myburgh, sales director, Pixel Global AV says, “The office is no longer competing with home working by simply offering desks. It needs to offer collaboration, creativity, mentoring and connection. That is driving investment in better meeting spaces, improved hybrid experiences and more adaptable environments.

“The UK market has always had a strong focus on user experience and integration. There is a real appreciation that AV is not just about installing equipment; it’s about creating spaces that work for the people using them.”

The ‘light commercial’ market presents a “mixed picture” for Sonos, as rising costs and reduced spend put retail shops, small offices, cafes and restaurants under pressure. “We’ve actually been seeing increased investment from operators who are refurbishing and upgrading venues,” Rhead says.

Refurb and return to work
The strongest activity at Lightware is around workplace change and education. “A lot of businesses are using office moves, refurbs and return-to-work plans as a chance to rethink how teams actually use the workplace,” Storey reports.

In the mid-term he thinks investment will be driven by “corporate real estate changes, hybrid working, campus upgrades, sustainability targets” and the need to make physical spaces more valuable.Certain areas of legislation and regulatory mandates such as the Cyber Resilience Act (CRA) and Martyn’s Law (Terrorism Protection of Premises Act) are driving substantial budgets across many sectors which partially pertain to AV solutions.

“I believe the continued growth and demand for EN54 certified systems for life safety, CRA and Martyn’s Law will together forge monumental spending in AV across many sectors ensuring security and safety for public buildings and spaces for many years to come,” assures James Kennedy, operations manager, Peavey Commercial Audio. The MoD budget “will certainly” see increased injection of funds within the next two years resulting in “plenty of facilities and projects that involve elements of AV.”

The proposed 100,000-seat Manchester United ‘New Trafford’ stadium which is estimated at an eye watering £2bn will encompass all of these disciplines at great scale.

Ross’ Davies also spies strong activity in corporate spaces, sports and education. A recent London financial-services project turned an
under-used auditorium into a revenue-generating events space. Ongoing investment at Principality Stadium in Cardiff reflects the sports trend towards synchronised graphics, LED and data-rich matchday presentation. Confetti X in Nottingham shows universities investing in world-class esports production.

Multi-operational venues
Beyond these Ross projects, the major UK drivers are creative-economy policy and destination venues. The Creative Industries Sector Plan, London Olympia’s £1.3bn redevelopment and Bristol’s 20,000-capacity Aviva Arena all point to demand for production, display, control, networking and content systems, Davies says.

The appetite for upgrading arena and sports stadia is picked up elsewhere. Kennedy thinks the “high concentration of elite-level sports stadia sets the UK apart from anywhere else in Europe. “There is a real competition and demand for sports clubs to outdo each other on stadium spec and size and the budgets are getting bigger!”

The Tottenham Hotspur stadium is among those to have set the benchmark for large entertainment spaces. “There’s a real surge in embracing AV technology in the sports and entertainment sectors in the UK mostly driven by private funding,” Kennedy says.

Use multiple spaces
Sound is a crucial component of any venue, especially in house systems capable of supporting diverse programming.

“The shift toward multi-purpose operation is a necessity as running costs rise and revenue models broaden,” says McLean who identifies fixed installation as the strongest growth area for d&b. It recently equipped Venue Cymru’s (Llandudno) multiple spaces with a range of kit.

We’re also seeing notable activity in the small to mid scale venue segment. These spaces are increasingly opting for premium audio to attract higher calibre creatives and encourage repeat audiences.”

Netgear’s sale director Jordan Hobday is most upbeat. He sees the UK leading in the convergence of AV, IT, and broadcast systems onto shared IP infrastructure. “What was once a discussion is now being written into project specifications, driving a new wave of networked AV deployments. Demand is holding up well, and the pipeline going forward looks solid, particularly in live events and education, where projects that stretched post-pandemic are now completing or moving into the next phase.”

He goes further, “London and Manchester together represent a density of production facilities, touring companies, and iconic venues that have no real equivalent elsewhere in Europe.”

Couple that with continued inbound studio and streaming platform investments and major venue and facility modernisation programs and it all points to sustained infrastructure spend. Increasingly, that infrastructure is converged.

Devolution in AV
As the country welcomes a new PM promising to prioritise regions and cities outside the capital it’s worth mentioning that AV UK does not mean London.

“Absolutely not!” exclaims Kennedy. “There are many examples of marquee AV projects across the UK that significantly contribute to the overall nationwide spend.”

The planned Universal United Kingdom Resort in Bedfordshire is a prime example of major private capex spend outside of Greater London.

 


Why does pixel pitch matter?

ISE

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Pixel pitch directly affects how an LED display looks, how close people can stand to it, and how much the installation costs. It is one of the most important specifications when selecting an LED video wall, influencing image quality, viewing comfort, resolution and budget.

According to industry forecasts, the global video wall market, valued at US$12.16 billion in 2025, is expected to reach $38.45 billion by 2035, driven by digital signage, corporate communications and smart-city initiatives. As LED displays become increasingly common, understanding pixel pitch is essential.

“Pixel pitch is ultimately about what the audience sees,” says Mike Bernhardt, Director of Product Management, Christie. “Because it influences image sharpness, resolution and how close viewers can get before individual pixels become visible, it's a key decision in ensuring an LED display delivers the experience that both its environment and content demands.”

What is pixel pitch?

Pixel pitch is the distance between the centres of adjacent LED pixels, measured in millimetres. A display with a 1.2mm pitch places pixels much closer together than one with a 3.9mm pitch. Closer spacing creates greater pixel density, allowing the display to reproduce finer detail.

Smaller pitches produce smoother images because individual pixels are harder to distinguish. Larger pitches offer fewer pixels per square metre but can perform perfectly well when viewers stand further away.

Fine-pitch LED video walls are generally considered to fall between 0.7mm and approximately 2.9mm, while standard pitches are typically 3mm and above.

Viewing distance is the key factor

The nearest viewer is often the most important consideration when choosing an LED display. If someone stands too close to a display with a wide pixel pitch, individual pixels may become visible, making the image appear coarse. Fine-pitch displays maintain image integrity at shorter distances.

A boardroom screen viewed from two metres away typically needs a finer pitch than a display in an atrium, arena or transport hub, where audiences stand further back. Likewise, a home cinema LED wall generally requires a finer pitch than a screen in a large entertainment space.

Once you understand how far away the viewers will be, you can easily calculate the pixel pitch, as this AVIXA ready reckoner explains.

However, the content being displayed matters too. A restaurant showing moving video can often use a wider pitch than a control room where operators must read detailed information throughout the day. Similarly, digital artwork in a hotel lobby places different demands on a display than financial data on a trading floor.

Considerations of cost and performance

Don’t assume that the smallest available pixel pitch is necessarily best. Finer pitches produce more detailed images but can increase system complexity and cost because they require a much higher density of LEDs. In many installations, audiences cannot perceive the additional detail, making the extra investment difficult to justify.

For example, an LED wall suspended above spectators in a large venue may perform perfectly with a wider pitch because viewers are far enough away that individual pixels remain indistinguishable. Paying significantly more for a finer pitch would offer little practical benefit.

The advice is to match performance to the intended application, viewing distance and content.

Pixel pitch in virtual production

Pixel pitch becomes especially important when LED walls are used in virtual production. Here, digital cameras capture the LED volume, which serves as both a filmed backdrop and a lighting source. If the pitch is too large (as seen by the camera, not the naked eye), individual LEDs may become visible on camera, creating a distracting grid effect (known as moiré).

Fine pitches help preserve image realism, allowing cameras to move closer to the wall without revealing its structure. However, this a highly technical area and matters are rarely that simple. The rendering engine and LED processing chain, the wall’s refresh rate and camera colour science all contribute to the final image. INFiLED warns against specifying the finest pixel pitch to the exclusion of other variables.

“A production running a 1.2mm LED wall though an under-powered render pipeline will produce worse results than one running a 2.0mm wall through a well-engineered properly calibrated system with adequate GPU resources.”

In practice, it advises, “overbuying” pixel pitch in virtual production wastes budget from components that have a more direct effect on final image quality.

Choosing the right pitch

Whether the application is a boardroom, retail space, hotel reception, control room or virtual production studio, pixel pitch is a key ingredient in determining how effectively an LED display performs in practice.

The right choice balances viewing distance, content requirements, image quality and budget. When these factors are carefully matched, viewers never need to think about pixel pitch. They simply see a clear and engaging image, which is the goal of every successful display project

What is a digital twin?

ISE

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A digital twin is a live virtual model of a real‑world space, system or workflow, continuously updated with data so it behaves like its physical counterpart. For AV end‑users, this means a digital twin is a functional, data‑driven environment that mirrors how a venue, campus, building, city, immersive installation or product actually performs, and how it will respond under future conditions.

Understanding the digital twin

A digital twin blends spatial information, sensor inputs, control data and operational behaviour into one coherent model. A digital twin gives users the power to run simulated experiments repeatedly under real-world conditions, while testing subtle refinements to each and every test parameter. As the physical environment changes (such as lighting levels, occupancy, acoustics, device status) the twin updates in real time, allowing users to observe, test and optimise without interrupting live operations.

Digital twins are used across sectors such as corporate estates, education,  industrial parks, smart cities, themed entertainment, and product design. They help organisations understand how spaces evolve, how people use them, and how systems behave under different conditions.

“Extended reality (XR), volumetric media, and digital twin visualisation are converging with AV systems to create shared spaces that span physical and virtual worlds,” states Craig Park, Director of Digital Experience Design at engineering and architecture firm Clark & Enersen, in an AVIXA Xchange post. “In these environments, audiovisual infrastructure does not simply support experience – it becomes the medium of experience itself.”

Key AV uses of digital twins

Digital twins support a wide range of AV workflows:

  • R&D and prototyping – Engineers can trial new concepts, test environmental responses and refine designs before any physical build.
  • Modelling and simulation – Sightlines, acoustics, lighting, projection, content playback and spatial media can all be tested virtually.
  • Workflow testing – Teams can rehearse show sequences, control logic, sensor interactions and user journeys inside the twin.
  • Monitoring and diagnostics – Device health, environmental conditions and system performance can be tracked continuously.
  • Optimisation – Spaces can be tuned for energy efficiency, crowd flow, media behaviour and operational resilience.
  • Design and planning – Integrators can validate layouts, test equipment positions and demonstrate concepts to stakeholders.

These capabilities make digital twins a powerful tool for reducing risk, improving accuracy and shortening project timelines.

Applications across AV environments

Education campuses

Universities and colleges use digital twins to model room utilisation, test AV upgrades, plan hybrid-learning environments and optimise energy use. A campus?wide twin becomes a shared reference point for AV, IT and facilities teams.

Corporate and industrial spaces

Digital twins help organisations understand how meeting rooms, collaboration zones and control rooms are actually used. They support predictive maintenance, workflow optimisation and long?term lifecycle planning.

Smart cities

City-scale twins integrate transport, public screens, wayfinding, civic communication and environmental data. AV systems become part of a wider digital ecosystem that adapts to crowd movement, events and changing conditions.

Urban design

On one of ISE 2026's Tech Tours, architectural consultant Nate Robert-Eze explained how a digital twin of luxury residential Antares Barcelona was created using VR and AI to help customers explore the facility, from anywhere in the world.

Product development

Manufacturers and designers use digital twins to model material choices, energy consumption, thermal behaviour and lifecycle impact. This supports more sustainable product development and helps organisations meet environmental targets.

Immersive and themed environments

Digital twins allow teams to choreograph show sequences, test interactive elements, model audio behaviour and preview media changes long before installation.

Automotive design

Digital twins are being widely adopted throughout the automated vehicle industry. Digital twins allow complex systems to be modelled, tested and refined in secure, interactive and immersive environments.

Why digital twins matter

AV systems are now deeply interconnected with networked media, sensors, building systems and user behaviour which require deeper planning and continuous optimisation. Digital twins give end-users a clearer, more predictable way to manage this complexity.

Growing system complexity is one factor accelerating adoption. Another factor is sustainability and lifecycle expectations. Twins help organisations reduce waste, energy use and travel while supporting long?term asset planning.

As a result, the digital twin market is expanding rapidly. A Fortune Business Insights report expects global value to reach to reach US$384.79bn by 2034, with smart cities, aerospace, healthcare and manufacturing driving growth.

AVIXA also forecasts adoption to grow steadily over the next decade with control systems leading the way in early digital twin integration, followed by visual and audio systems as hardware becomes more networked and cloud-friendly. By the early 2030s, AVIXA predicts that most Tier 1 immersive installations will maintain some form of operational digital twin.

For AV end-users, digital twins offer clarity, confidence and control. They make it possible to preview experiences, optimise performance, and ensure systems behave exactly as intended - regardless of scale, dynamism and complexity.

What is an immersive experience?

ISE 

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An immersive experience is one that surrounds a person so completely – visually, physically, or emotionally – that they feel present inside a different reality. It replaces passive watching with active involvement, drawing people into a world that responds to their movement, choices, and senses. In other words, an immersive experience makes you feel part of the story rather than simply observing it.

Understanding immersion

Immersive experiences work by engaging multiple senses at once. Instead of relying on a single screen or static display, they can combine sound, light, movement, and interaction to create environments that feel alive. This can happen in digital spaces, physical rooms, or hybrid environments that blend both. The aim is always the same: to create a strong sense of presence and emotional connection.

Key technologies behind immersive experiences

Modern immersion is powered by a range of technologies that help build responsive, multi-sensory environments:

  • Spatial audio – Sound placed in three-dimensional space so it appears to come from specific directions, creating a lifelike acoustic environment.
  • Haptics – Tactile feedback such as vibration or pressure that adds a physical dimension to digital experiences.
  • Projection mapping – Turning walls, floors, or objects into dynamic visual surfaces.
  • Mixed, augmented, and virtual reality – Tools that overlay or replace the physical world with digital content.
  • LiDAR and motion tracking – Systems that detect movement and position, allowing environments to react to audience behaviour.

Any mix of these technologies allow creators to build spaces that shift, respond, and evolve in real time.

Key pro AV applications

Immersive experiences are now central to many professional AV environments, transforming how audiences learn, explore, and connect. AVIXA expects immersive experiences to outperform the entire Venues and Events market, which is already growing by as much as 4.6% CAGR.

Exhibitions use interactive displays, spatial audio, and projection to turn static collections into living narratives. Visitors can explore history, art, or science through multi-sensory storytelling.

Artists (including Coldplay) and music festivals (such as Tomorrowland) increasingly use responsive environments, dynamic lighting, and spatial sound to create live performances where audiences feel part of the action.

Immersive rooms support training, presentations, brand and education experiences. They help audiences retain information by engaging them physically and emotionally.

“Immersive technology is rapidly becoming one of the most exciting formats for corporate events,” says Richard Watkins, founder of Immersive Studio, citing free-roam VR experiences, interactive escape rooms and treasure hunts. “Today’s audiences are increasingly looking for experiences rather than presentations. Instead of simply unveiling a product on stage, brands are creating immersive environments where attendees can interact directly with products and services.”

Across these sectors, immersion is used to deepen engagement, improve understanding, and create memorable experiences.

The evolution of immersive experiences

One recent report valued the global immersive entertainment market at $168.5 billion in 2026 and on course to reach over $1000bn by 2033. It found that consumers are moving from passive viewing to active participation and are willing to pay more for interactive, sensory-rich experiences.

What was once expensive, complex, and limited to high-end film or television is now accessible to a wide range of creators and venues.  At the same time, new technologies are evolving immersive experiences to include active audience participation.

An example is MASS, a research-led live performance developed through the CoSTAR National Lab. In this project, audiences moved freely through the space, triggering sound and visual effects as they walked. LiDAR sensors tracked their position, while real-time systems translated their behaviour into changes in the environment. As a result, every performance was unique – shaped directly by audience interaction.

This shift – from fixed staging to responsive environments – marks a new phase in immersive design. Experiences are no longer simply shown to audiences; they are co-created with them.


What's the difference between IPMX and ST 2110?

ISE

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IPMX and ST 2110 both transport professional media over IP networks but differ mainly in who they serve: ST 2110 is engineered for broadcast facilities, while IPMX adapts the same core technology for pro AV environments such as corporate AV, education, and control rooms. Here’s how they diverge and where each fits.

By Adrian Pennington

Broadcast and pro AV: Two worlds, one foundation

ST 2110 is a broadcast grade media transport standard designed for environments where every device runs in lockstep. It moves video, audio, and metadata as separate IP streams, all synchronised using PTP (Precision Time Protocol) for frame accurate switching, multi camera alignment, and deterministic behaviour in studios, OB trucks, and live galleries.

IPMX uses the same foundation but reshapes it for pro AV, where networks are less uniform, devices frequently change modes, and sources behave more like everyday HDMI/DisplayPort equipment. It retains the ST 2110 packet structure but adds flexibility, discovery tools, and content?protection features broadcast systems never needed.

Rob Moodey, Manager, Strategic Partnerships at Matrox Video (an ISE 2027 exhibitor), explains: “IPMX extends ST 2110 beyond broadcast into live events and wider AV. It supports uncompressed and lightly compressed video, adds profiles for highly compressed AV workflows, incorporates HDCP, and offers simpler timing.”

What is ST2110 exactly?

ST 2110 is a suite of SMPTE standards for transporting professional media over IP, covering uncompressed and compressed video, audio, and ancillary data. Broadcast deployments typically use a subset defined by JT TR-1001-1R which ensures device interoperability – the version most broadcasters mean when they say “we run 2110.”

ST 2110 assumes:

  • A PTP synchronised environment
  • Static video formats
  • High bandwidth networks (10–25 GbE)
  • Uncompressed or lightly compressed video
  • Predictable, engineered behaviour

This makes it ideal for control rooms, master control, sports production, and any workflow requiring frame accuracy.

What IPMX adds

Developed by AIMS Alliance (which exhibits at ISE) with SMPTE, AMWA and the EBU, IPMX adapts ST 2110 for pro AV and introduces:

Flexible timing models

IPMX supports synchronous and asynchronous sources, with or without PTP. Cases that are normal in pro AV but would break a traditional ST 2110 workflow include a laptop unexpectedly changing resolution during a presentation, a display forcing the source to adopt its preferred video mode, or a device entering sleep state and stopping transmitting video even though it still appears connected.

IPMX uses RTCP sender reports to help receivers adapt quickly when formats change – something ST 2110 does not support because broadcast streams are expected to remain static.

HDCP support

Broadcast systems never handle protected content, but corporate AV does. IPMX adds HDCP equivalent protection so HDMI/DisplayPort sources can be transported securely.

Mandatory NMOS

IPMX requires NMOS, which is described by AMWA as the “special sauce” enabling connection, management, and control of IP devices from different manufacturers in a common, interoperable ecosystem. NMOS works with both ST 2110 and IPMX, locally or in the cloud.

Support for compressed video at practical bitrates

IPMX mandates JPEG XS, enabling visually lossless 4K over 1 GbE – the infrastructure most organisations already have.

Where each standard fits

ST 2110 is right for:

  • Broadcast studios
  • OB trucks
  • Live sports production
  • Master control rooms
  • High?end facilities needing deterministic timing and uncompressed video

These environments justify expenditure on PTP clocks, engineered networks, and 10–25 GbE switching.

IPMX is primed for:

  • Corporate AV
  • Higher?education lecture theatres
  • Control rooms and operations centres
  • Government and enterprise environments
  • Mixed IT/AV networks using standard 1 GbE switches

These spaces need flexibility, HDCP support, and plug and play behaviour – not broadcast?grade rigidity.

Interoperability between them

Because IPMX is built on ST 2110, the two can interoperate:

  • IPMX devices can send ST 2110 compatible flows
  • ST 2110 receivers can accept IPMX streams when formats match
  • NMOS provides a shared control plane
  • Asynchronous IPMX sources carry timing data that can be re-aligned in strict ST 2110 environments

This allows broadcast facilities to run ST 2110 in production areas and IPMX in adjacent spaces such as meeting rooms, briefing centres, or control?room extensions.

The ISE takeaway

A growing number of IPMX Certified solutions (there's a full list here) are now coming to market, so look out for them at ISE! These span the complete signal chain from encoders to LED processing platforms. IPMX Certification gives integrators and end-users confidence of verified compliance.

In summary, ST 2110 is the broadcast standard: precise, rigid, and built for engineered networks. IPMX is the pro AV adaptation: flexible, discoverable, and designed for everyday IT infrastructure. Both share the same DNA but serve different worlds.

What is human centric lighting?

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Human centric lighting (HCL) is an approach to lighting design that considers how light affects human health, comfort, mood and performance, rather than simply providing visibility. By adjusting brightness and colour throughout the day to reflect natural daylight patterns, it aims to support the body’s internal clock and create more comfortable indoor environments.

HCL is not about pure illumination. It’s a design process that considers the environment and how people inhabit it to provide a smart, integrated lighting plan that promotes concentration, creativity and well-being.

How does human centric lighting work?

Natural daylight changes in brightness and colour from morning to evening, providing signals that help regulate our daily biological rhythms. However, modern lifestyles often involve spending long periods indoors (the commonly accepted figure is 90% of our time) under artificial lighting that remains largely unchanged throughout the day.

HCL uses adjustable LED lighting and intelligent controls to automatically vary brightness, colour temperature and, where appropriate, the spectral composition of light. These changes can be tailored to the time of day, available daylight and the needs of people using a space. The aim is to complement natural daylight and bring some of its beneficial qualities into indoor spaces.

Why does lighting matter to wellbeing?

Light influences more than what we see. It affects biological processes associated with sleep, alertness, hormone production and mood, making lighting an important consideration in spaces where people work, relax and recover.

As CEDIA explains in an introduction to a recent white paper on the subject, “We're well adapted psychologically to artificial light, harnessing it to elongate our days and to enhance convenience, productivity, and entertainment. But it comes at some cost to human health and wellbeing.”

A well-planned HCL scheme considers both visual comfort and the body's response to light. Appropriate illumination can help reduce glare and visual fatigue, while carefully timed changes in brightness and colour may support daytime alertness and evening relaxation. Outcomes depend on factors such as light intensity, timing, duration and individual needs, so HCL should be seen as a way to support wellbeing, not a guarantee of specific health benefits.

Where is human centric lighting used?

HCL, also known as circadian or biodynamic lighting, can be applied in many settings, with lighting customised to how each space is used.

Smart homes: Bedrooms can use gradual morning brightening and softer, warmer light at night. Living rooms can create a relaxed atmosphere for socialising or watching television, while kitchens and home offices can provide brighter illumination to encourage alertness and concentration for cooking, reading and focused work.

Offices: Adaptable lighting can help create comfortable working conditions, providing brighter, cooler light when concentration is important and adjusting illumination as the day progresses. Good design also considers natural daylight, glare and the tasks people perform.

Hospitality: Lighting shapes the atmosphere as well as visibility. Warmer, softer illumination can make evening dining feel inviting, while brighter lighting may suit breakfast areas and daytime service. Adjustable systems allow venues to balance ambience, comfort and practical needs.

Schools and healthcare: In classrooms, adaptable lighting can support comfortable learning environments and alertness. In hospitals and care settings, lighting that reflects day and night patterns may help support sleep routines while providing staff with suitable visibility.

Science and standards

The science behind HCL centres on the circadian system, the body's internal timing mechanism, which helps coordinate processes including the sleep-wake cycle and hormone levels.

The standards for determining circadian illuminance in the smart home are primarily based on the WELL Building Standard v2. This standard emphasises the importance of lighting design that aligns with human biological needs, particularly in relation to circadian rhythms.

The WELL Standard's guidance on circadian lighting design offers further context for considering biological responses when planning indoor illumination. Effective design must balance these considerations with visibility, comfort and the practical needs of occupants.

CEDIA takes a deep dive into the science of photobiology as the basis for why humancentric lighting is so important. Topics in its papers include the composition of light, how light affects human physiology, and guidance for how to optimise light round the clock.

A growing focus on human wellbeing

Interest in HCL reflects a wider shift towards designing indoor environments around the people who use them. According to Fortune Business Insights, the global market was valued at US$4.2 billion in 2025 and is projected to reach US$25 billion by 2034.

By combining thoughtful design, adaptable lighting and an understanding of human biology, human centric lighting can help make homes, workplaces and public spaces more comfortable and responsive to everyday needs.