The largest systems are being installed by utilities. Washington’s Wild Horse Wind and Solar Facility, located in Kittitas County, has the capacity to generate up to 273 megawatts of electricity from its 149 wind turbines — enough to power nearly 80,000 homes. With 2,723 solar panels, it is one of the largest utility-scale solar demonstration projects in the Pacific Northwest, rated at 500 kilowatts. It also provides much of the facility’s on-site energy needs.
The Teanaway Solar Reserve received a permit for a 75-megawatt PV plant 90 miles east of Seattle and is the largest Washington project in planning that has been made public.
Public entities — low-income housing facilities, schools, defense installations and other public buildings — often receive grants to install solar systems. State-funded new construction projects, especially schools, have LEED, Built-Green or similar sustainability commitments.
State regulations require that all major facility projects of public agencies that receive any state funding in their capital budgets pursue LEED certification. Thus, efforts to improve green construction are motivating the installation of some commercial renewable systems in Washington.
The state-funded Community Solar program is also generating some systems up to 75 kilowatts.
In states like California and New Jersey, private commercial building owners are installing solar systems because the cost of electricity is high and there are government incentives that make the installation of these systems a financial slam dunk. As the commercial real estate market recovers, building owners should be looking at solar power options, as the market continues to evolve rapidly and it becomes more cost-effective to install those systems.
The largest market segment in Western Washington is residential. The reasons individual homeowners install solar or wind turbine systems range from the belief that “it’s the right thing to do,” or they are tired of paying money to a utility when they can produce their own power and receive credits for excess production. This program is called Net Metering and customers can zero out their electrical bill annually.
Others look at it as a “cool technology” that differentiates their property from others. Some see it as a definite added value for their home; others are hurrying to buy before incentives run out. The most recent reason is to supply additional power for a car-charging station.
What’s in the future?
We expect to see at least three new manufacturers of modules and/or grid-tied inverters in Washington by the end of 2012. That increased production and competition will drive prices down, making the state’s Made in Washington Production Incentive easier to attain and make PV systems even more affordable.
Western Washington is a good solar resource and as the market changes — electricity costs continue to rise and solar systems become more cost-effective — many old assumptions about the costs and benefits of alternative energy will no longer be valid. When they take the time to review it, commercial building owners, public entities and homeowners will likely find many benefits for installing clean renewable energy systems.
2011年4月28日 星期四
Time to change your perception of alternative energy
Solar and wind power are not the only answers to our need for new energy sources, but they are an important part of the equation. Ultimately, the solution may lay in smaller power plants located closer to energy consumers.
Although reports vary slightly, the general consensus is that the photovoltaic market grew 139 percent in 2010, with 18.2 gigawatts of new solar PV capacity installed globally during the year. Europe accounts for 81 percent of 2010 PV demand, while the U.S. accounts for only 5 percent.
California, New Jersey, Nevada, Arizona and Colorado led the states in 2010 installations. Because reporting is voluntary, it is difficult to determine where Washington ranks.
The U.S. wind industry had 40,181 megawatts of wind power capacity installed at the end of 2010, with 5,116 megawatts installed last year alone. The U.S. wind industry has added more than 35 percent of all new generating capacity over the past four years, second only to natural gas, and more than nuclear and coal combined.
Today, U.S. wind power capacity represents more than 20 percent of the world’s installed wind power.
The small wind industry is still in its infancy. Western Washington is not an ideal area to generate wind power but Eastern Washington has a growing number of wind farms and individual installations that are rated for 2,105 megawatts, ranking it fifth in the states producing electricity from wind.
Unlikely as it may seem, Western Washington is a viable climate for solar power generation. On an annual basis, we receive 70 percent as much solar energy as many of the best locations in the U.S. With no limitations on the types of systems that can be installed here, property owners can choose systems based on their overall goals and the physical characteristics of where the system will be located.
In the Seattle area, we see that the amount of electricity produced annually by a PV system is about equal to the system size. For example, if you had a 4-kilowatt system on your home or business, you could expect to produce approximately 4,000 to 4,500 kilowatt hours of electricity per year.
The evolution of the solar industry is in some ways predictable and in other ways not.
Predictably, module prices have declined substantially over the past two years — in large part due to both increased competition in the marketplace and efficiencies in the manufacturing process. New types of systems including thin-film have been developed and are constantly being refined to increase efficiency.
General Electric recently announced that it will invest $600 million to build the largest solar panel production facility in the U.S. The company says that its full-sized thin-film solar panel has been independently certified to be the world’s most efficient thin-film solar panel at 12.8 percent aperture area efficiency. This compares to approximately 16 percent efficiency found in most traditional silicon modules.
The development of micro-inverters, while obvious in hindsight, was not so evident a few years ago. This significant development improves PV system performance in situations where there is some marginal shading. It is odd that more manufacturers have not yet begun production in Washington. With increased local production, costs would go down and make solar more affordable here.
Although reports vary slightly, the general consensus is that the photovoltaic market grew 139 percent in 2010, with 18.2 gigawatts of new solar PV capacity installed globally during the year. Europe accounts for 81 percent of 2010 PV demand, while the U.S. accounts for only 5 percent.
California, New Jersey, Nevada, Arizona and Colorado led the states in 2010 installations. Because reporting is voluntary, it is difficult to determine where Washington ranks.
The U.S. wind industry had 40,181 megawatts of wind power capacity installed at the end of 2010, with 5,116 megawatts installed last year alone. The U.S. wind industry has added more than 35 percent of all new generating capacity over the past four years, second only to natural gas, and more than nuclear and coal combined.
Today, U.S. wind power capacity represents more than 20 percent of the world’s installed wind power.
The small wind industry is still in its infancy. Western Washington is not an ideal area to generate wind power but Eastern Washington has a growing number of wind farms and individual installations that are rated for 2,105 megawatts, ranking it fifth in the states producing electricity from wind.
Unlikely as it may seem, Western Washington is a viable climate for solar power generation. On an annual basis, we receive 70 percent as much solar energy as many of the best locations in the U.S. With no limitations on the types of systems that can be installed here, property owners can choose systems based on their overall goals and the physical characteristics of where the system will be located.
In the Seattle area, we see that the amount of electricity produced annually by a PV system is about equal to the system size. For example, if you had a 4-kilowatt system on your home or business, you could expect to produce approximately 4,000 to 4,500 kilowatt hours of electricity per year.
The evolution of the solar industry is in some ways predictable and in other ways not.
Predictably, module prices have declined substantially over the past two years — in large part due to both increased competition in the marketplace and efficiencies in the manufacturing process. New types of systems including thin-film have been developed and are constantly being refined to increase efficiency.
General Electric recently announced that it will invest $600 million to build the largest solar panel production facility in the U.S. The company says that its full-sized thin-film solar panel has been independently certified to be the world’s most efficient thin-film solar panel at 12.8 percent aperture area efficiency. This compares to approximately 16 percent efficiency found in most traditional silicon modules.
The development of micro-inverters, while obvious in hindsight, was not so evident a few years ago. This significant development improves PV system performance in situations where there is some marginal shading. It is odd that more manufacturers have not yet begun production in Washington. With increased local production, costs would go down and make solar more affordable here.
2011年4月26日 星期二
PICO Technology Takes the Projector Lamp to a Smaller and More Mobile Scale
Projectors are a great tool to use in any interactive environment, but taking them on the road is not always an option – at least not without the PICO. This innovation is the latest generation of projectors that have been released on the market. PICO is actually just a generic name that is given to these projectors that are lightweight, portable and micro-sized to ensure your projector lamp can easily go where you go.
A number of different well-known and proven brands have been focused on developing this technology, including Optoma, Aiptek and Samsung (News - Alert). In addition to the portability of this projector lamp technology, users can also connect with data storage devices such as iPods and smartphones, changing the way we use projectors.
A key focus in projector lamps has been to change the way in which they can be used. Smaller and more portable projectors are coupled with more reasonably priced platforms to provide multigenerational use of this technology. Any user can easily slide a PICO into their pocket to use it to play a music video on the bus for the high school student, or a big presentation on a train for the marketing manager practicing before meeting with a client.
The PICO projector lamps that are currently available on the market tend to come with a 1GB to 4GB built-in memory and will project images in varying sizes, depending upon the unit. Most projector lamps devices in the $300 - $400 range will produce an image of 10-15 inches, and most units will offer a SVGA (800x600) resolution and roughly 35 ANSI lumens. Some PICO devices will have a microSD card slot with wireless possibilities. Built-in speakers are common, although high quality sound is not.
According to most projector lamp reviews, the PICO will not blow your mind in relation to other technologies that are available. Instead, it will satisfy the convenience factor. Users will likely have to turn to headphones to hear any sound given off by a video. Even with its shortcomings, those techies who have to have the latest and greatest in technological devices are sure to grab this one right away.
It is suggested by industry experts that teachers and other traveling professionals should stick with the LCD and DLP projector lamp units that continue to dominate the market as they do justice to the material being displayed. After all, while the PICO projector can easily wow the person in the next seat, it is likely to completely escape notice for the person in the next row back.
A number of different well-known and proven brands have been focused on developing this technology, including Optoma, Aiptek and Samsung (News - Alert). In addition to the portability of this projector lamp technology, users can also connect with data storage devices such as iPods and smartphones, changing the way we use projectors.
A key focus in projector lamps has been to change the way in which they can be used. Smaller and more portable projectors are coupled with more reasonably priced platforms to provide multigenerational use of this technology. Any user can easily slide a PICO into their pocket to use it to play a music video on the bus for the high school student, or a big presentation on a train for the marketing manager practicing before meeting with a client.
The PICO projector lamps that are currently available on the market tend to come with a 1GB to 4GB built-in memory and will project images in varying sizes, depending upon the unit. Most projector lamps devices in the $300 - $400 range will produce an image of 10-15 inches, and most units will offer a SVGA (800x600) resolution and roughly 35 ANSI lumens. Some PICO devices will have a microSD card slot with wireless possibilities. Built-in speakers are common, although high quality sound is not.
According to most projector lamp reviews, the PICO will not blow your mind in relation to other technologies that are available. Instead, it will satisfy the convenience factor. Users will likely have to turn to headphones to hear any sound given off by a video. Even with its shortcomings, those techies who have to have the latest and greatest in technological devices are sure to grab this one right away.
It is suggested by industry experts that teachers and other traveling professionals should stick with the LCD and DLP projector lamp units that continue to dominate the market as they do justice to the material being displayed. After all, while the PICO projector can easily wow the person in the next seat, it is likely to completely escape notice for the person in the next row back.
Fujitsu unveils laptops with integrated pico projectors
Computer giant Fujitsu has launched two new laptops with a difference - both contain built-in pico projectors.
The 13.3-inch LifeBook S761/C and 12.1-inch P771/C fill their optical disc drive slots with an integrated projector.
Optical disc drives in laptops may become virtually obsolete soon so fitting an integrated pico projector into the empty slot is an interesting use of the space.
Although the projector lamp consumes more power than a DVD writer would, this problem is easily overcome by plugging the system in to the mains.
Fujitsu has not yet released specific details of the pico projectors only the make-up of the laptops. Both are equipped with second-generation Core i3 or i5 processors, a 160GB hard drive, and 1GB of RAM. The S761 has a 13.3-inch (1366 by 768 pixel) HD display, while the P771's screen is a 12.1-inch WXGA (1280 by 800 pixel display).
Laptops with pico projectors are primarily aimed at the Japanese market, with the company planning to start selling the notebook in Japan next month. However similar models could arrive in Europe in the next year or so.
Reviewers have suggested these notebooks will appeal to a niche market. For example, sales people who might prefer to have an all-in-one slide out projector in their laptop instead of having to carry around both an external projector and a laptop.
The 13.3-inch LifeBook S761/C and 12.1-inch P771/C fill their optical disc drive slots with an integrated projector.
Optical disc drives in laptops may become virtually obsolete soon so fitting an integrated pico projector into the empty slot is an interesting use of the space.
Although the projector lamp consumes more power than a DVD writer would, this problem is easily overcome by plugging the system in to the mains.
Fujitsu has not yet released specific details of the pico projectors only the make-up of the laptops. Both are equipped with second-generation Core i3 or i5 processors, a 160GB hard drive, and 1GB of RAM. The S761 has a 13.3-inch (1366 by 768 pixel) HD display, while the P771's screen is a 12.1-inch WXGA (1280 by 800 pixel display).
Laptops with pico projectors are primarily aimed at the Japanese market, with the company planning to start selling the notebook in Japan next month. However similar models could arrive in Europe in the next year or so.
Reviewers have suggested these notebooks will appeal to a niche market. For example, sales people who might prefer to have an all-in-one slide out projector in their laptop instead of having to carry around both an external projector and a laptop.
Metro-friendly proportions, now with an even greater panoramic view
The new 2012 Fiat 500c combines city-friendly proportions, iconic Cinquecento cues and a fully power-operated cloth top — all wrapped in modern Italian styling that conveys simplicity and joy.
At the front, the new Fiat 500c model’s signature “whiskers and logo” face features circular projector headlamps and lower park lamps that resemble the latest Fiat models while paying homage to the distinctive elements of the original Cinquecento in stylistic harmony. To show its road-holding stance, the cabrio’s front fascia features chromed trim and tapers outward toward its large wheel arches, while a horizontal cooling duct adds design character and additional engine cooling.
Differentiating the Fiat 500c from the hatchback model is a slightly longer windshield that is designed to provide passengers with a maximized outward view. In addition, the windshield elegantly conceals the reinforced upper-cross member that ensures the cabrio’s rigid body structure during spirited driving.
From the side, the Fiat 500c’s pillars stand out and present strong arches, while the shape of the soft top provides a more slender silhouette compared with the hatchback version. Below, the black or available chromed belt molding, the signature body-side A-line slopes forward for a dynamic look, while its lateral section features clean surfaces and flared wheel arches to deliver a modern interpretation of the historic Cinquecento. To keep its design simple and modern, the hood-to-fender seam is elegantly cut at the A-line. Filling the wheel wells are four unique wheel designs, all with the “500” logo on the center caps. For more design character, bi-halogen projector headlamps and clear-lens taillamps are visible from the side profile thanks to the way the cabrio’s rounded sides link up to the front and rear. Providing enhanced durability, new lower-sill spats protect the body-side from stone chips.
At the rear of the new Fiat 500c, a roof-mounted and color-matched spoiler improves aerodynamics, while elegantly integrating the center high-mounted stop lamp that cleverly functions with the roof up or down. Separating the premium cloth top from the liftgate is a chrome trim accent that also highlights the cabrio’s width. To keep the rear design clean, the lighting functions are divided vertically following the liftgate’s cutline. Finishing off the iconic styling of the Fiat 500c is a chromed license plate brow, a motif from the original Cinquecento that was inspired by a bicycle saddle.
At the front, the new Fiat 500c model’s signature “whiskers and logo” face features circular projector headlamps and lower park lamps that resemble the latest Fiat models while paying homage to the distinctive elements of the original Cinquecento in stylistic harmony. To show its road-holding stance, the cabrio’s front fascia features chromed trim and tapers outward toward its large wheel arches, while a horizontal cooling duct adds design character and additional engine cooling.
Differentiating the Fiat 500c from the hatchback model is a slightly longer windshield that is designed to provide passengers with a maximized outward view. In addition, the windshield elegantly conceals the reinforced upper-cross member that ensures the cabrio’s rigid body structure during spirited driving.
From the side, the Fiat 500c’s pillars stand out and present strong arches, while the shape of the soft top provides a more slender silhouette compared with the hatchback version. Below, the black or available chromed belt molding, the signature body-side A-line slopes forward for a dynamic look, while its lateral section features clean surfaces and flared wheel arches to deliver a modern interpretation of the historic Cinquecento. To keep its design simple and modern, the hood-to-fender seam is elegantly cut at the A-line. Filling the wheel wells are four unique wheel designs, all with the “500” logo on the center caps. For more design character, bi-halogen projector headlamps and clear-lens taillamps are visible from the side profile thanks to the way the cabrio’s rounded sides link up to the front and rear. Providing enhanced durability, new lower-sill spats protect the body-side from stone chips.
At the rear of the new Fiat 500c, a roof-mounted and color-matched spoiler improves aerodynamics, while elegantly integrating the center high-mounted stop lamp that cleverly functions with the roof up or down. Separating the premium cloth top from the liftgate is a chrome trim accent that also highlights the cabrio’s width. To keep the rear design clean, the lighting functions are divided vertically following the liftgate’s cutline. Finishing off the iconic styling of the Fiat 500c is a chromed license plate brow, a motif from the original Cinquecento that was inspired by a bicycle saddle.
2011年4月24日 星期日
Solar shines on East Lycoming School District
HUGHESVILLE - Earlier this year the task of installing approximately 2500 solar cell panels became part of an energy performance project through PP&L's Renewable Energy contract authorized by the state of Pennsylvania. Installed by Millenium Construction from Connecticut, the energy project took until mid-March to be completed. PP&L will guarantee its performance over a period of time according to David Maciejewski, East Lycoming School District's Business Manager. Currently the solar field will supply fifty percent of the school district's electric power over a course of one year. "This is a huge savings. The solar system will generate a savings of $150,000 over the year to offset expenses. It has a payback of 9.1 years," said Maciejewski.
One of the largest so far in Lycoming County, the project sits on approximately three acres of school property sandwiched between hybrid willows and the Hughesville Borough Water Authority's well field. Comprised of several individual solar cells, the panels collect solar radiation from the sun and actively convert that energy to electricity.
Solar field possibilities came when a million dollar grant was offered from the Commonwealth Financing Authority through a grant awarded in 2010. The entire project totaled 3.9 million dollars. PP&L contributed 1.4 million and East Lycoming School District paid 2.5 million with one million of it coming from the American Recovery Reinvestment Act, a one time federal fund.
Mr. William Carroll Industrial Arts teacher at Hughesville High School is teaching two sections in alternative energy courses for both juniors and seniors. Currently 50 students are enrolled in the science curriculum and are learning not only about the solar panels, but other sources of alternative energy. "It is an exploratory course with hands-on applications of all energy sources with segments on both traditional and alternative," said Carroll.
"The life expectancy for these panels is 25 years with a performance guarantee based on a 15 year life span," Maciejewski said. After about 25 years, the solar panels do decrease in deficiency. "Twenty-five years from now they will still be functioning, but will produce less electricity for the district," he added. "After that panels will remain in place, but will change some out to be more efficient."
PP&L will be servicing the equipment over the course of time and the school district will maintain the property.
One of the largest so far in Lycoming County, the project sits on approximately three acres of school property sandwiched between hybrid willows and the Hughesville Borough Water Authority's well field. Comprised of several individual solar cells, the panels collect solar radiation from the sun and actively convert that energy to electricity.
Solar field possibilities came when a million dollar grant was offered from the Commonwealth Financing Authority through a grant awarded in 2010. The entire project totaled 3.9 million dollars. PP&L contributed 1.4 million and East Lycoming School District paid 2.5 million with one million of it coming from the American Recovery Reinvestment Act, a one time federal fund.
Mr. William Carroll Industrial Arts teacher at Hughesville High School is teaching two sections in alternative energy courses for both juniors and seniors. Currently 50 students are enrolled in the science curriculum and are learning not only about the solar panels, but other sources of alternative energy. "It is an exploratory course with hands-on applications of all energy sources with segments on both traditional and alternative," said Carroll.
"The life expectancy for these panels is 25 years with a performance guarantee based on a 15 year life span," Maciejewski said. After about 25 years, the solar panels do decrease in deficiency. "Twenty-five years from now they will still be functioning, but will produce less electricity for the district," he added. "After that panels will remain in place, but will change some out to be more efficient."
PP&L will be servicing the equipment over the course of time and the school district will maintain the property.
Solar: California's new gold rushIt's been called California's second gold rush: the clamor by large solar companies to stake a claim in southern California's open deserts and capture one of its most abundant resources — sunlight. While many cheer the cleaner energy and economic possibilities utility-scale solar development may bring to a job-starved region, some environmentalists, Native Americans and others are critical of the process, saying it's running roughshod over threatened plant and animal species and culturally sensitive areas. The California Energy Commission and federal Department of the Interior have approved eight major solar projects in Southern California since last year, including seven projects in the deserts north and east of the Coachella Valley. All but two of the approved plans utilize largely undeveloped public land managed by the federal Bureau of Land Management. The projects are expected to generate: • Nearly 3,600 megawatts of non-carbon-emitting electricity, enough to power almost 1.8 million homes. • Some 5,500 jobs during construction of the projects, and nearly 1,000 long-term operational jobs. • More than $15.2 million in annual property taxes, and hundreds of millions more in sales taxes as the projects are built. Another eight utility-scale solar projects are also in the permitting pipeline for Riverside and Imperial counties, promising an additional 2,173 megawatts of renewable energy generation. And long-range plans are in the works that could open up millions more public acres to solar development in six western states, with the largest proposed solar energy zone in Riverside County. “California is the national leader in clean energy, and our great state is poised to become the world leader in renewable energy generation,” Gov.Jerry Brown said Monday. Brown earlier this month signed a bipartisan bill to further increase California's renewable energy portfolio standard, now requiring that utilities get one-third of their electricity from renewable sources by 2020, up from 20percent.
It's been called California's second gold rush: the clamor by large solar companies to stake a claim in southern California's open deserts and capture one of its most abundant resources — sunlight.
While many cheer the cleaner energy and economic possibilities utility-scale solar development may bring to a job-starved region, some environmentalists, Native Americans and others are critical of the process, saying it's running roughshod over threatened plant and animal species and culturally sensitive areas.
The California Energy Commission and federal Department of the Interior have approved eight major solar projects in Southern California since last year, including seven projects in the deserts north and east of the Coachella Valley. All but two of the approved plans utilize largely undeveloped public land managed by the federal Bureau of Land Management. The projects are expected to generate:
• Nearly 3,600 megawatts of non-carbon-emitting electricity, enough to power almost 1.8 million homes.
• Some 5,500 jobs during construction of the projects, and nearly 1,000 long-term operational jobs.
• More than $15.2 million in annual property taxes, and hundreds of millions more in sales taxes as the projects are built.
Another eight utility-scale solar projects are also in the permitting pipeline for Riverside and Imperial counties, promising an additional 2,173 megawatts of renewable energy generation. And long-range plans are in the works that could open up millions more public acres to solar development in six western states, with the largest proposed solar energy zone in Riverside County.
“California is the national leader in clean energy, and our great state is poised to become the world leader in renewable energy generation,” Gov.Jerry Brown said Monday.
Brown earlier this month signed a bipartisan bill to further increase California's renewable energy portfolio standard, now requiring that utilities get one-third of their electricity from renewable sources by 2020, up from 20percent.
While many cheer the cleaner energy and economic possibilities utility-scale solar development may bring to a job-starved region, some environmentalists, Native Americans and others are critical of the process, saying it's running roughshod over threatened plant and animal species and culturally sensitive areas.
The California Energy Commission and federal Department of the Interior have approved eight major solar projects in Southern California since last year, including seven projects in the deserts north and east of the Coachella Valley. All but two of the approved plans utilize largely undeveloped public land managed by the federal Bureau of Land Management. The projects are expected to generate:
• Nearly 3,600 megawatts of non-carbon-emitting electricity, enough to power almost 1.8 million homes.
• Some 5,500 jobs during construction of the projects, and nearly 1,000 long-term operational jobs.
• More than $15.2 million in annual property taxes, and hundreds of millions more in sales taxes as the projects are built.
Another eight utility-scale solar projects are also in the permitting pipeline for Riverside and Imperial counties, promising an additional 2,173 megawatts of renewable energy generation. And long-range plans are in the works that could open up millions more public acres to solar development in six western states, with the largest proposed solar energy zone in Riverside County.
“California is the national leader in clean energy, and our great state is poised to become the world leader in renewable energy generation,” Gov.Jerry Brown said Monday.
Brown earlier this month signed a bipartisan bill to further increase California's renewable energy portfolio standard, now requiring that utilities get one-third of their electricity from renewable sources by 2020, up from 20percent.
Solar Panels – Wings of the 'Tonbo' (Dragonfly) Boat
"We are confident we can build everything up to ocean liners and in fifty years time people will look back at boats of the 20th Century and they'll say – where are the wings?" says Dr Robert Dane, CEO of Australia-based Solar Sailor Holdings, which is collaborating with Japanese company Eco Marine Power and others in the development of concept Hybrid Marine Power (HMP) solar ferry or solar tourist boat Tonbo.
Unique Design
Tonbo in Japanese means ‘dragonfly’ and a glance at the sketches of its folding solar-panel modular ‘wings’ and ‘dragonfly-eye’ forward control station structure will convince how very apt was this choice of name. The solar panel ‘wings’ can be raised or lowered by Eco Marine’s control system: raised to optimise absorption of prevailing sunlight or to increase the field of view from the passenger cabin; lowered flat in bad weather or for transit under low bridges.
Eco Marine’s design philosophy was founded on the notion that solar-electric technology, as it is today, would be ideal for boats operating inshore, in ecologically sensitive bays, lakes and rivers. A detailed design emerged in January 2011 that specified:
* LOA: 10 m
* Beam: 8 m
* Height: 4 m
* Draft: 2 m
* Build: marine-grade aluminium
* Passenger capacity: 150 to 200 depending on interior layout
Propulsion
Tonbo will run on a computer-optimised HMP system (developed by Solar Sailor) which uses electric motors powered by Lithium batteries that are charged by the solar panels in conjunction with a bio-fueled generator-set to give a maximum cruising speed of 10 kts; for speeds of less than 8 kts Tonbo may run silently on battery power alone. Back at home base the batteries would be recharged by means of shore electrical power.
Related Breaking News
Dr. Paul Braun, project research-group leader at the University of Illinois at Urbana-Champaign, has announced the successful development of a prototype Lithium-ion battery that can recharge 100 times faster than is presently possible. In the long-term, Tonbo as well as many other related initiatives, including the hybrid electric powered automobile, will surely benefit from this breakthrough.
Unique Design
Tonbo in Japanese means ‘dragonfly’ and a glance at the sketches of its folding solar-panel modular ‘wings’ and ‘dragonfly-eye’ forward control station structure will convince how very apt was this choice of name. The solar panel ‘wings’ can be raised or lowered by Eco Marine’s control system: raised to optimise absorption of prevailing sunlight or to increase the field of view from the passenger cabin; lowered flat in bad weather or for transit under low bridges.
Eco Marine’s design philosophy was founded on the notion that solar-electric technology, as it is today, would be ideal for boats operating inshore, in ecologically sensitive bays, lakes and rivers. A detailed design emerged in January 2011 that specified:
* LOA: 10 m
* Beam: 8 m
* Height: 4 m
* Draft: 2 m
* Build: marine-grade aluminium
* Passenger capacity: 150 to 200 depending on interior layout
Propulsion
Tonbo will run on a computer-optimised HMP system (developed by Solar Sailor) which uses electric motors powered by Lithium batteries that are charged by the solar panels in conjunction with a bio-fueled generator-set to give a maximum cruising speed of 10 kts; for speeds of less than 8 kts Tonbo may run silently on battery power alone. Back at home base the batteries would be recharged by means of shore electrical power.
Related Breaking News
Dr. Paul Braun, project research-group leader at the University of Illinois at Urbana-Champaign, has announced the successful development of a prototype Lithium-ion battery that can recharge 100 times faster than is presently possible. In the long-term, Tonbo as well as many other related initiatives, including the hybrid electric powered automobile, will surely benefit from this breakthrough.
2011年4月21日 星期四
One Installer's Opinion - You Want It To Last HOW LONG?
I recently got an E-mail from a regular WSR reader (Greg) who, apparently satisfied with our product reviews in other areas, complained that we fell short in commenting on "serviceable life expectancy". Although Greg's comments were aimed at front projectors, I want to expand his Q and attempt to answer for all display devices.
So on these "service" topics, here's the thing.
First for some definitions. Often the terms "Serviceability" and "Useful life expectancy" get interchanged and confused.
Indeed, they are quite different things. Serviceability used to mean "how many screws do I have to take out of the chassis cage to get at that leaky filter capacitor in the power supply".
Forget serviceability. We don't do that anymore. There is precious little we can do inside any modern day "box", other than bridge a high voltage terminal to ground with a forefinger and discover that our vocabulary was far more colorful than we had previously imagined. I confess that once, while chasing a "chassis buzz" I removed a back panel from a PDP (mostly because I hadn't done it before and was curious). Miraculously, I avoided electrocution.
Even "Authorized Repair Centers" do little in the way of repair today, at least for flat panels. About six months ago I contacted one such service center regarding a potential repair of a 37 " plasma that suddenly died. I'd bet my mortgage it was the power supply. After providing make and serial# of said panel, the answer quickly came back "There are no replaceable parts for that unit". The panel was less than 4 years old. I think that's shameful, and it's just one more beef I have with a manufacturer who should remain nameless - they should, but their name starts with "S" and ends with "G".
The days of pulling out the vacuum tubes and heading down to the drug store for testing are over! (opps, I think I just lost about 2/3 of the readership ...)
So to me, "Serviceability" simply means "How long will the manufacturer commit to any attempt at repair" and "What's the backlog at the nearest Service Center". For front projectors, specifically, I would add to that, where did they put the lamp compartment - or, what kind of contortions do I have to go through, while standing on a ladder, to replace the lamp? ... or, do I have to take the damn projector and mount down off the ceiling, remove the mount to get at the lamp door, replace the lamp, re-assemble the mount, put it all back on the ceiling and then readjust the screen geometry. In case you couldn't tell, that sequence was fresh in my mind!
The question Greg (and the rest of us) would love to know the answer to is, "What is the MTBF ............ (mean time between failure)", which gets us to the other issue, product Life Expectancy.
Useful Life Expectancy is a whole other kettle of fish. Publish data? ... oh, would that we could. First of all, no manufacture that I know of would actually release that data if they knew it, unless, of course, like all marketing data, they thought they could justify the largest number.
...and why wouldn't they know it? Consider the case of a display device used primarily as a TV. Most people's expectations (grounded in ancient time - CRTs) are that a "set" should provide a useful life of 10 to 12 years. Reasonable. If the average "on cycle" is 6 hours/day (less during the week, more on weekends and holidays), then to life test such endurance you would have to run a display 24/7 for 3 years to get a "pass" and be able publish hard data. By that time, any particular model would be 4 to 6 generations old. Nobody would care. If any manufactures are still life testing it's probably to compare actuals with design goals and thereby "calibrate" the design team for future products.
Unfortunately, Greg cited unusually bad luck with successive front projector purchases from Sony, Hitachi and Sanyo, never getting beyond 2,000 hours with any of them. No wonder he wants more data!
Having installed nearly 1,000 displays in Home Theatres and having visibility to thousands more through calibrations, I can assure you that the industry is much, much better than that. They are not building "throw away" projectors. In most projectors, the "temporary limiter" is the lamp - often spec'ed at 2,000 hours, twice that in economy mode. I have dozens of front projectors that I installed 10+ years ago and have only had to do lamp replacement since. The number of projectors that have failed inside of 5 years I can count on one hand and all of those were repairable. I suppose it should be noted that "judicious selection" played a hand in all that. I will concede that returning a front projector to the manufacturer is not a happy task.
So here's what I believe. Although there are several variables involved (REAL on time, calibrated or not, cleanliness of the environment, etc.), on average, most front projectors you would buy today will last at least 10 years.
I also believe it doesn't matter.
We are at a point in the evolution of the underlying technology that you are certain to want something else long before your last purchase dies. Admittedly, I haven't done the exact accounting, but as I think about all the past projector/screen installs I can recall, I believe they have all "turned over" on something closer to a 5 year cycle. Most people who invest in front projection are truly seeking a quality movie experience, so when the state-of-the-art advances, they want to "keep up".
Greg, I don't know where you live, but if you are anywhere in the western 13, I'd be happy to change your luck. I hereby offer to specify, install, calibrate and warranty a 10 year happy life with your next front projector. Sounds like you deserve it!
So on these "service" topics, here's the thing.
First for some definitions. Often the terms "Serviceability" and "Useful life expectancy" get interchanged and confused.
Indeed, they are quite different things. Serviceability used to mean "how many screws do I have to take out of the chassis cage to get at that leaky filter capacitor in the power supply".
Forget serviceability. We don't do that anymore. There is precious little we can do inside any modern day "box", other than bridge a high voltage terminal to ground with a forefinger and discover that our vocabulary was far more colorful than we had previously imagined. I confess that once, while chasing a "chassis buzz" I removed a back panel from a PDP (mostly because I hadn't done it before and was curious). Miraculously, I avoided electrocution.
Even "Authorized Repair Centers" do little in the way of repair today, at least for flat panels. About six months ago I contacted one such service center regarding a potential repair of a 37 " plasma that suddenly died. I'd bet my mortgage it was the power supply. After providing make and serial# of said panel, the answer quickly came back "There are no replaceable parts for that unit". The panel was less than 4 years old. I think that's shameful, and it's just one more beef I have with a manufacturer who should remain nameless - they should, but their name starts with "S" and ends with "G".
The days of pulling out the vacuum tubes and heading down to the drug store for testing are over! (opps, I think I just lost about 2/3 of the readership ...)
So to me, "Serviceability" simply means "How long will the manufacturer commit to any attempt at repair" and "What's the backlog at the nearest Service Center". For front projectors, specifically, I would add to that, where did they put the lamp compartment - or, what kind of contortions do I have to go through, while standing on a ladder, to replace the lamp? ... or, do I have to take the damn projector and mount down off the ceiling, remove the mount to get at the lamp door, replace the lamp, re-assemble the mount, put it all back on the ceiling and then readjust the screen geometry. In case you couldn't tell, that sequence was fresh in my mind!
The question Greg (and the rest of us) would love to know the answer to is, "What is the MTBF ............ (mean time between failure)", which gets us to the other issue, product Life Expectancy.
Useful Life Expectancy is a whole other kettle of fish. Publish data? ... oh, would that we could. First of all, no manufacture that I know of would actually release that data if they knew it, unless, of course, like all marketing data, they thought they could justify the largest number.
...and why wouldn't they know it? Consider the case of a display device used primarily as a TV. Most people's expectations (grounded in ancient time - CRTs) are that a "set" should provide a useful life of 10 to 12 years. Reasonable. If the average "on cycle" is 6 hours/day (less during the week, more on weekends and holidays), then to life test such endurance you would have to run a display 24/7 for 3 years to get a "pass" and be able publish hard data. By that time, any particular model would be 4 to 6 generations old. Nobody would care. If any manufactures are still life testing it's probably to compare actuals with design goals and thereby "calibrate" the design team for future products.
Unfortunately, Greg cited unusually bad luck with successive front projector purchases from Sony, Hitachi and Sanyo, never getting beyond 2,000 hours with any of them. No wonder he wants more data!
Having installed nearly 1,000 displays in Home Theatres and having visibility to thousands more through calibrations, I can assure you that the industry is much, much better than that. They are not building "throw away" projectors. In most projectors, the "temporary limiter" is the lamp - often spec'ed at 2,000 hours, twice that in economy mode. I have dozens of front projectors that I installed 10+ years ago and have only had to do lamp replacement since. The number of projectors that have failed inside of 5 years I can count on one hand and all of those were repairable. I suppose it should be noted that "judicious selection" played a hand in all that. I will concede that returning a front projector to the manufacturer is not a happy task.
So here's what I believe. Although there are several variables involved (REAL on time, calibrated or not, cleanliness of the environment, etc.), on average, most front projectors you would buy today will last at least 10 years.
I also believe it doesn't matter.
We are at a point in the evolution of the underlying technology that you are certain to want something else long before your last purchase dies. Admittedly, I haven't done the exact accounting, but as I think about all the past projector/screen installs I can recall, I believe they have all "turned over" on something closer to a 5 year cycle. Most people who invest in front projection are truly seeking a quality movie experience, so when the state-of-the-art advances, they want to "keep up".
Greg, I don't know where you live, but if you are anywhere in the western 13, I'd be happy to change your luck. I hereby offer to specify, install, calibrate and warranty a 10 year happy life with your next front projector. Sounds like you deserve it!
2011年4月20日 星期三
2012 Chrysler 300 SRT8
The Street and Racing Technology (SRT) performance engineering team builds upon the all-new 2011 Chrysler 300 sedan already executed for a world-class luxury experience, to deliver Chrysler's most powerful and best handling model ever.
Projected performance numbers include 0-60 mph acceleration in the high 4-second range; quarter mile in high 12 second range; 0-100-0 mph in less than 16 seconds, top speed of 175 mph and stopping power from 60-0 mph in 120 feet.
Owners of any Chrysler Group SRT vehicle receive one day of professional driving instruction from the Richard Petty Racing School as part of the SRT Track Experience, designed to maximize their driving knowledge and skills on the street or track. Sessions are held throughout the year at selected tracks.
The return of the 300 SRT8 to the Chrysler lineup in 2012 evokes a strong comparison to the original high-performance production car of its time – the 1955 Chrysler 300. Known for simple, strong lines, excellent engineering, high levels of luxury and outstanding performance with the first modern American V-8 engine to produce 300 horsepower, the first Chrysler 300 (C-300) was styled by Virgil Exner, who radically redesigned the entire Chrysler line and created what they called "The Forward Look" in 1955. Without much chrome on the sides, his designs were simple, but strong. Exner is credited with creating the illusion of fast, forward movement.
The Chrysler C-300 won on both the road course and the "flying mile" at Daytona in 1955. In 1956, the Chrysler 300B model won both events again. In fact, the Chrysler 300s dominated NASCAR competition in 1955 and 1956, taking the overall championship in both years. A legendary and luxurious performance car was born. The "letter cars" quickly became the most desirable of the Chrysler lineup and became known as the "Beautiful Brutes."
Projected performance numbers include 0-60 mph acceleration in the high 4-second range; quarter mile in high 12 second range; 0-100-0 mph in less than 16 seconds, top speed of 175 mph and stopping power from 60-0 mph in 120 feet.
Owners of any Chrysler Group SRT vehicle receive one day of professional driving instruction from the Richard Petty Racing School as part of the SRT Track Experience, designed to maximize their driving knowledge and skills on the street or track. Sessions are held throughout the year at selected tracks.
The return of the 300 SRT8 to the Chrysler lineup in 2012 evokes a strong comparison to the original high-performance production car of its time – the 1955 Chrysler 300. Known for simple, strong lines, excellent engineering, high levels of luxury and outstanding performance with the first modern American V-8 engine to produce 300 horsepower, the first Chrysler 300 (C-300) was styled by Virgil Exner, who radically redesigned the entire Chrysler line and created what they called "The Forward Look" in 1955. Without much chrome on the sides, his designs were simple, but strong. Exner is credited with creating the illusion of fast, forward movement.
The Chrysler C-300 won on both the road course and the "flying mile" at Daytona in 1955. In 1956, the Chrysler 300B model won both events again. In fact, the Chrysler 300s dominated NASCAR competition in 1955 and 1956, taking the overall championship in both years. A legendary and luxurious performance car was born. The "letter cars" quickly became the most desirable of the Chrysler lineup and became known as the "Beautiful Brutes."
2011年4月19日 星期二
Vivitek Launches Projector, Warranty Program for Education Market
Visual display and presentation products manufacturer Vivetek has launched a short-throw projector designed for the education market, giving it a nice five-year warranty on products and three years on projector lamp life.
According to company officials, the D855ST powers a 77in screen image at 1-meter projection distance (0.65:1 throw ratio). It offers XGA resolution and 4:3 aspect ratio to fit most interactive whiteboards.
With the launch of this new education projector, Vivitek is debuting a five-year Education Warranty program, allowing purchasers acting on behalf of education establishments to “increase the product warranty from the standard 3-year warranty to 5-years product parts/labor and 3-year lamp warranty (or expected lamp life hours – whichever is first).”
That nice warranty program is available for education establishments only, and to qualify, company officials say, the Vivitek projector must have been purchased from an authorized Vivitek reseller on or after the first of April. It’s valid only in respect of the Vivitek range of projectors, which includes the D855ST and some projectors.
TMCnet recently reported that Vivitek introduced 2D to 3D conversion technology to its offerings, with three new digital projectors, the D512-3D, D536-3D and the D538-3D. The new projectors take existing 2D content and convert images into 3D pictures, without the use of an external conversion box.
The first projectors using this built-in conversion technology, part of Vivitek's D5 series, can take standard DVD and BluRay player content (via HDMI) and switch it from 2D to 3D (via DLP Link from Texas Instruments (News - Alert)). The three projectors can also display 3D content from 720p/1080i at 50/60Hz and 1080p at 24Hz from 3D BluRay players or other 3D sources, such as cable or satellite boxes.
The D512-3D, D536-3D and D538-3D feature DLP and BrilliantColor technologies for bright, digital images.
According to company officials, the D855ST powers a 77in screen image at 1-meter projection distance (0.65:1 throw ratio). It offers XGA resolution and 4:3 aspect ratio to fit most interactive whiteboards.
With the launch of this new education projector, Vivitek is debuting a five-year Education Warranty program, allowing purchasers acting on behalf of education establishments to “increase the product warranty from the standard 3-year warranty to 5-years product parts/labor and 3-year lamp warranty (or expected lamp life hours – whichever is first).”
That nice warranty program is available for education establishments only, and to qualify, company officials say, the Vivitek projector must have been purchased from an authorized Vivitek reseller on or after the first of April. It’s valid only in respect of the Vivitek range of projectors, which includes the D855ST and some projectors.
TMCnet recently reported that Vivitek introduced 2D to 3D conversion technology to its offerings, with three new digital projectors, the D512-3D, D536-3D and the D538-3D. The new projectors take existing 2D content and convert images into 3D pictures, without the use of an external conversion box.
The first projectors using this built-in conversion technology, part of Vivitek's D5 series, can take standard DVD and BluRay player content (via HDMI) and switch it from 2D to 3D (via DLP Link from Texas Instruments (News - Alert)). The three projectors can also display 3D content from 720p/1080i at 50/60Hz and 1080p at 24Hz from 3D BluRay players or other 3D sources, such as cable or satellite boxes.
The D512-3D, D536-3D and D538-3D feature DLP and BrilliantColor technologies for bright, digital images.
2011年4月18日 星期一
2013 Chevrolet Malibu Revealed on Facebook
General Motors has just unveiled the all-new 2013 Chevrolet Malibu in a “Live Reveal” on Facebook. With heavy styling influence from the Chevy Camaro, the 2013 Chevrolet Malibu will make its debut across 100 markets worldwide by early 2012.
The 2013 Chevrolet Malibu will come a “sporty, sophisticated and easy to live with” interior, that will feature an all-new dual cockpit, intuitively located controls and ample storage space. With luxurious use of leather, chrome and wood accents on the interior, the 2013 Malibu offers one of the most impressive interiors on any mid-size sedan. The vehicle meanwhile offers a more spacious cabin that comes with almost 4 cubic feet of additional interior space, while also providing more shoulder and hip room.
The 2013 Malibu will also feature a high-resolution seven-inch touch screen radio display with impressive UI controls. The touch screen display on the Malibu can make way to a six-inch deep storage behind it – a feature that will be seen in the U.S. for the first time. The 2013 Chevrolet Malibu will also come equipped with Chevrolet’s new MyLink infotainment package that comes with OnStar security, while also allowing users to integrate their smartphone’s music services like Pandora Internet Radio and Stitcher SmartRadio with the it.
The 2013 Chevrolet Malibu will feature an all-new 2.5L four-cylinder direct injection engine in North America. The engine will be mated to a Hydra-Matic 6T40 six-speed automatic transmission, and can generate up to 190 hp and 180 lb.-ft. of torque. The 2013 Malibu is expected to deliver class leading mileage at up to 35 mpg on the highway. While no performance numbers have been specified as of now, Chevrolet representatives promise that it will beat the figures of the current generation Malibu.
The “Camaro Influence” on the 2013 Chevrolet Malibu cannot be over stated – from the low-profile head lamps to the optional projector HID lamps, the dual-element tail lamp frames, the Chevrolet bow-tie badges on the front and rear, and a range of 17, 18 and 19 inch wheels all brings out the sporty side that its Camaro counterpart made a standard. “The exterior design of the all-new Malibu carries DNA from its sister vehicles, the Camaro and Corvette, to bring a sporty sensibility to the family sedan segment,” said Bryan Nesbitt, executive director for General Motors exterior design.
While the 2013 Chevrolet Malibu is slated to make its debut at the Shanghai Auto Show today, it will make its U.S. debut at the upcoming New York International Auto Show on Wednesday, April 20th. Although we will get to know more about the 2013 Malibu in the next week or so, Chevrolet announced that it wont hit dealerships until some time in early 2012.
2011年4月17日 星期日
GE equips cameras with projectors
MANILA, Philippines—With the new GE PJ1 digital camera, a lot of shutterbugs can now easily view and share their favorite photos or videos with relatives and friends anytime by projecting the images on a white wall or surface.
The GE PJ1 is actually the first point-and-shoot digital camera from GE Imaging that is equipped with a Pico projector using the Digital Light Processing (DLP) technology developed by Texas Instruments.
The built-in Pico projector features a 15 ANSI lumens and an image projection distance of 70 inches or 5.83 feet with a WVGA (848 x 480) resolution.
This camera is equipped with a 14.1-megapixel charged couple device (CCD) sensor for sharp and high image quality.
It is also equipped with an image stabilization feature and 7X optical zoom (equivalent to 28-196mm, f/3.9-f5.8), allowing the photographer to shoot pictures from various distances and even at awkward angles.
This camera is also capable of capturing HD video quality at 720-pixel resolution. This camera accepts both SD and SDHC memory cards. It has a suggested retail price of P14,995.
The GE PJ1 is also ideal for business use as it can be linked to a laptop. It may be used as a handy and portable projector for small group sales presentations.
The new GE DV1 digital HD video camera is ideal for those who love the the outdoor life.
The GE DV1 isn’t just dustproof, it is shockproof as well. It can survive a drop of up to 1.5 meters and can operate underwater by 5 meters.
It has the ability to capture still images and videos simultaneously. It is fitted with a built-in USB plug for easy transfer of photos or videos to a PC. It can also accept both SD and SDHC memory cards of up to 32 GB.
This camcorder can capture videos in three movie modes. A user can record in 1080p, 720p or 640x480 at 30fps. It also has a high frame rate mode of 720p at 60 frames per second. The DV1 can take still images at 5 megapixels. It is equipped with image stabilization and 4X optical zoom.
The DV1 has a built-in accelerometer, and flips to landscape automatically when you turn the camcorder on its side.
The DV1 comes in orange, grey, blue and green. It has a suggested retail price of P5,995. Outdoor lovers will now be able to capture every exciting moment of their adventure with the new GE DV1 digital camcorder without too spending much.
The GE PJ1 is actually the first point-and-shoot digital camera from GE Imaging that is equipped with a Pico projector using the Digital Light Processing (DLP) technology developed by Texas Instruments.
The built-in Pico projector features a 15 ANSI lumens and an image projection distance of 70 inches or 5.83 feet with a WVGA (848 x 480) resolution.
This camera is equipped with a 14.1-megapixel charged couple device (CCD) sensor for sharp and high image quality.
It is also equipped with an image stabilization feature and 7X optical zoom (equivalent to 28-196mm, f/3.9-f5.8), allowing the photographer to shoot pictures from various distances and even at awkward angles.
This camera is also capable of capturing HD video quality at 720-pixel resolution. This camera accepts both SD and SDHC memory cards. It has a suggested retail price of P14,995.
The GE PJ1 is also ideal for business use as it can be linked to a laptop. It may be used as a handy and portable projector for small group sales presentations.
The new GE DV1 digital HD video camera is ideal for those who love the the outdoor life.
The GE DV1 isn’t just dustproof, it is shockproof as well. It can survive a drop of up to 1.5 meters and can operate underwater by 5 meters.
It has the ability to capture still images and videos simultaneously. It is fitted with a built-in USB plug for easy transfer of photos or videos to a PC. It can also accept both SD and SDHC memory cards of up to 32 GB.
This camcorder can capture videos in three movie modes. A user can record in 1080p, 720p or 640x480 at 30fps. It also has a high frame rate mode of 720p at 60 frames per second. The DV1 can take still images at 5 megapixels. It is equipped with image stabilization and 4X optical zoom.
The DV1 has a built-in accelerometer, and flips to landscape automatically when you turn the camcorder on its side.
The DV1 comes in orange, grey, blue and green. It has a suggested retail price of P5,995. Outdoor lovers will now be able to capture every exciting moment of their adventure with the new GE DV1 digital camcorder without too spending much.
2011年4月14日 星期四
How to interpret LED lamp data
To make the best lighting product choice, consumers must understand how to interpret lamp performance data. Jeanine Chrobak-Kando explains what kind of data is available, and how to use that data to make the best LED lighting choice.
LED lamps are now rapidly replacing conventional incandescent lamps and compact fluorescent lamps (CFLs) in domestic and commercial lighting. Understanding the data that is presented with respect to lamp performance and operating life is the key to making informed product choices.
Data on LED lamps is to be found on their packaging, or in data sheets. Some of the information is based on verifiable facts but some marketing claims may not be based on sound engineering principles. A number of major global brands are now competing for a share of the general LED lighting market. Prices are falling as the technology matures, manufacturing process become more refined and the economics of high volume manufacturing and supply chain management come into play. For a given product, prices from these reputable suppliers will be found to be within a range of perhaps ±20%. Products from lesser-known brands, or even those of unbranded LED lamps, may at first appear to be significantly lower. However, to be able to sell at these lower prices, compromises will have been made in the quality of materials and components employed - it is unlikely that significant cost advantages in manufacturing can be realized. The quality of components in the electronic circuits inside LED lamps are critical in determining product life, so you can expect early failures in cheap lamps and a poor return on capital outlay. The reputation of the whole LED lamp industry is dependent upon consumers understanding this argument.
A typical LED lamp specification will include mandatory information, as demanded by EU or FTC legislation, including its power rating, the equivalent incandescent lamp rating, the operating voltage and frequency, the light colour emitted, its colour rendering index (CRI), luminous flux, operating life time, fitting type and whether the lamp is dimmable. In the case of directional lamps, the luminous intensity and beam angle may also be quoted, although this is not a legal requirement.
LED lamps are now rapidly replacing conventional incandescent lamps and compact fluorescent lamps (CFLs) in domestic and commercial lighting. Understanding the data that is presented with respect to lamp performance and operating life is the key to making informed product choices.
Data on LED lamps is to be found on their packaging, or in data sheets. Some of the information is based on verifiable facts but some marketing claims may not be based on sound engineering principles. A number of major global brands are now competing for a share of the general LED lighting market. Prices are falling as the technology matures, manufacturing process become more refined and the economics of high volume manufacturing and supply chain management come into play. For a given product, prices from these reputable suppliers will be found to be within a range of perhaps ±20%. Products from lesser-known brands, or even those of unbranded LED lamps, may at first appear to be significantly lower. However, to be able to sell at these lower prices, compromises will have been made in the quality of materials and components employed - it is unlikely that significant cost advantages in manufacturing can be realized. The quality of components in the electronic circuits inside LED lamps are critical in determining product life, so you can expect early failures in cheap lamps and a poor return on capital outlay. The reputation of the whole LED lamp industry is dependent upon consumers understanding this argument.
A typical LED lamp specification will include mandatory information, as demanded by EU or FTC legislation, including its power rating, the equivalent incandescent lamp rating, the operating voltage and frequency, the light colour emitted, its colour rendering index (CRI), luminous flux, operating life time, fitting type and whether the lamp is dimmable. In the case of directional lamps, the luminous intensity and beam angle may also be quoted, although this is not a legal requirement.
2011年4月13日 星期三
BenQ W1100 en W1200 Full HD projectoren
Met de W1100 en W1200 breidt BenQ zijn assortiment van DLP-projectoren voor thuisgebruik uit. Beide modellen bieden volgens de fabrikant een Full HD bioscoopervaring waar de entertainment-liefhebber en AV-fanaticus voor warm zal moeten lopen. De adviesprijzen variëren van €999 tot €1299.
De W1100 is, zoals de nummering al doet vermoeden, de goedkopere van de twee. Desondanks is de projector eenvoudig te installeren en bestaat het optische systeem uit twaalf lenselementen teneinde een haarscherp beeld met een diagonaal van 24- tot 300-inch te produceren. De lamp heeft een lichtopbrengst van 2000 ANSI lumens en een opgegeven contrastverhouding van 4500:1. De levensduur varieert naar gelang de normale of spaarmodus van 2500 tot 4000 branduren.
De projector kan overweg met alle gangbare resoluties tussen 480i en 1080p, zowel in NTSC, PAL als SECAM indeling. Beeld doorgeven aan de W1100 is mogelijk via D-sub, twee HDMI-ingangen, S-video en zowel component als composiet. Ook zijn er analoge audioconnectors van de partij waarmee geluid via de twee ingebouwde 10 watt speakers met SRS WOW HDT technologie afgespeeld kan worden. Uitgangen zijn aanwezig in de vorm van D-sub en een stereo mini-jack voor audio.
BenQ's W1100 meet net als de W1200 139 x 139 x 260 mm, weegt zo'n 3,9 kilogram en verstookt maximaal 290 watt. Het verschil tussen de twee zit hem dan ook primair in het binnenwerk, want ook de aansluitmogelijkheden zijn identiek. De projectielamp moet met een opgegeven helderheid van 1800 ANSI lumens iets toegeven, maar het contrast is verhoogd tot 5000:1. Verder herbergt de W1200 volgens BenQ meer geavanceerde functies om een scherper en levendiger beeld te realiseren, waaronder frame-interpolatie en een uitgebreid kleurbeheer.
Op het moment van schrijven zijn de twee thuisprojectoren van BenQ is onze prijsvergelijker terug te vinden voor bedragen vanaf respectievelijk €971 en €1299.
De W1100 is, zoals de nummering al doet vermoeden, de goedkopere van de twee. Desondanks is de projector eenvoudig te installeren en bestaat het optische systeem uit twaalf lenselementen teneinde een haarscherp beeld met een diagonaal van 24- tot 300-inch te produceren. De lamp heeft een lichtopbrengst van 2000 ANSI lumens en een opgegeven contrastverhouding van 4500:1. De levensduur varieert naar gelang de normale of spaarmodus van 2500 tot 4000 branduren.
De projector kan overweg met alle gangbare resoluties tussen 480i en 1080p, zowel in NTSC, PAL als SECAM indeling. Beeld doorgeven aan de W1100 is mogelijk via D-sub, twee HDMI-ingangen, S-video en zowel component als composiet. Ook zijn er analoge audioconnectors van de partij waarmee geluid via de twee ingebouwde 10 watt speakers met SRS WOW HDT technologie afgespeeld kan worden. Uitgangen zijn aanwezig in de vorm van D-sub en een stereo mini-jack voor audio.
BenQ's W1100 meet net als de W1200 139 x 139 x 260 mm, weegt zo'n 3,9 kilogram en verstookt maximaal 290 watt. Het verschil tussen de twee zit hem dan ook primair in het binnenwerk, want ook de aansluitmogelijkheden zijn identiek. De projectielamp moet met een opgegeven helderheid van 1800 ANSI lumens iets toegeven, maar het contrast is verhoogd tot 5000:1. Verder herbergt de W1200 volgens BenQ meer geavanceerde functies om een scherper en levendiger beeld te realiseren, waaronder frame-interpolatie en een uitgebreid kleurbeheer.
Op het moment van schrijven zijn de twee thuisprojectoren van BenQ is onze prijsvergelijker terug te vinden voor bedragen vanaf respectievelijk €971 en €1299.
2011年4月11日 星期一
What is Page 2?
What is Page 2? Page 2 is a compilation of stories and news tidbits, which for whatever reason, didn’t make the front page of /Film. After the jump we’ve included 46 different items, fun images, videos, casting tidbits, articles of interest and more. It’s like a mystery grab bag of movie web related goodness. If you have any interesting items that we might’ve missed that you think should go in /Film’s Page 2 – email us!
The website Mantia offers some awesome computer/iphone/ipad desktop wallpapers, including the wallpaper from Andy’s room from the Toy Story films (pictured above), the carpet from the Overlook Hotel in The Shining, among many others.
Forbes Magazine has published their list of the 15 wealthiest fictional characters of 2011. Topping the list is Scrooge McDuck who is now worth $44.1 billion due to the 30% increase in gold prices over the last year.
The Walt Disney Imagineers are replacing the hitchhiking ghost animatronics in Walt Disney World’s Haunted Mansion with interactive computer generated counterparts. Before you get angry, watch the clip above, and be amazed.
Sony has introduced its first 4K digital video camera, the CineAlta F65, at NAB (National Association of Broadcasters). Sony executives claim that “It’s only a mater of time before 4K becomes a standard in cinema,” and they are probably right. The camera, which is being aimed to replace 35mm cameras in movie productions, has an 8K 20-megapixel CMOS image sensor, with approximately 20 megapixels and 16-bit RAW output. The camera’s 4K resolution is four times the size of the commonly used 2K cameras being used today (note: RED cameras can handle 4K), and it offers a “wide dynamic range, wide color reproduction and low light sensitivity.”
The website Mantia offers some awesome computer/iphone/ipad desktop wallpapers, including the wallpaper from Andy’s room from the Toy Story films (pictured above), the carpet from the Overlook Hotel in The Shining, among many others.
Forbes Magazine has published their list of the 15 wealthiest fictional characters of 2011. Topping the list is Scrooge McDuck who is now worth $44.1 billion due to the 30% increase in gold prices over the last year.
The Walt Disney Imagineers are replacing the hitchhiking ghost animatronics in Walt Disney World’s Haunted Mansion with interactive computer generated counterparts. Before you get angry, watch the clip above, and be amazed.
Sony has introduced its first 4K digital video camera, the CineAlta F65, at NAB (National Association of Broadcasters). Sony executives claim that “It’s only a mater of time before 4K becomes a standard in cinema,” and they are probably right. The camera, which is being aimed to replace 35mm cameras in movie productions, has an 8K 20-megapixel CMOS image sensor, with approximately 20 megapixels and 16-bit RAW output. The camera’s 4K resolution is four times the size of the commonly used 2K cameras being used today (note: RED cameras can handle 4K), and it offers a “wide dynamic range, wide color reproduction and low light sensitivity.”
EVITA wall lamp for Kundalini / Salone del Mobile 2011
Kundalini inaugurates the first collaboration with AquiliAlberg, presenting Evita, an innovative floor and wall lamps with an intense visual impact and strong poetic expression. As in a sartorial artwork, the metal is wrapped around the luminous body of Evita in a garment stitched together by a single continuous gesture, forming a spiral rotation of 90 degrees. It is characterized by a strong graphic style and a clean and refined image that easily becomes imprinted in one’s memory, as it unwinds in space and traces out curved lines and surfaces, lightness and dynamism.
With its fine lines, Evita clothes the light with its physical elusiveness, delicate elegance and stylistic cogency. Its name recalls the gracefulness and strength of far-reaching feminine figures such Evita Peron, whose character evoked the imagination of the whole world, inspiring writers, musicians and directors.
Similarly, the feminine image of delicate elegance of the luminous body stimulates the imagination and opens itself to multiple evocative interpretations. The result of a new poetic and dynamic quality that makes the produce versatile, original and geometrically complex, it diffuses light, thanks to its rotation, according to how it is placed. It is always in harmony with its environment, and generates unique atmospheres in any given space.
Evita is available as both a floor or wall version.
With its fine lines, Evita clothes the light with its physical elusiveness, delicate elegance and stylistic cogency. Its name recalls the gracefulness and strength of far-reaching feminine figures such Evita Peron, whose character evoked the imagination of the whole world, inspiring writers, musicians and directors.
Similarly, the feminine image of delicate elegance of the luminous body stimulates the imagination and opens itself to multiple evocative interpretations. The result of a new poetic and dynamic quality that makes the produce versatile, original and geometrically complex, it diffuses light, thanks to its rotation, according to how it is placed. It is always in harmony with its environment, and generates unique atmospheres in any given space.
Evita is available as both a floor or wall version.
2011年4月7日 星期四
Videowall and LED screens Buyer's Guide analysis: Applications call the tune
Things used to be simpler. Indoors, events producers stacked videowall 'cubes' – long boxes with a projector at one end and a screen at the other – to create large displays. Outdoors, they used devices such as Sony Jumbotron or, later, LED displays made up from multiple panels. But that was at least a decade ago. Now, there are many more technical options available for use in the videowall/large screen display market.
Conventional, stackable videowall cubes (mostly with LCD or DLP projects and mirrors to fold the projection path and make them more compact) are still available. Rigs using multiple projectors and mirrors are in common use. Flat screen displays with very narrow bezels can be mounted together to form a large, but very thin, indoor videowall. Indoor LED panels using high resolution displays are becoming increasingly available and affordable, while very large screen LED displays at resolutions ranging from 4mm to 25mm or 35mm are being used everywhere – in shop windows, on transportation systems, in tv studios and at sporting events.
And development hasn't stopped. This year's ISE show saw the launch of cheaper and lighter indoor LED screens such as the Nanolumens offering and the first showing of production versions of genuinely new technology screens such as the Mitsubishi large screen OLED display and Prysm's laser phosphor display (LPD) technology. Christie's stackable MicroTiles system – in principle, a small videowall cube – was also much in evidence and, a year after launch, it is being used in serious commercial applications.
As well as changes in technology, different application sectors now have clear requirements of their own. For example, the control room market, digital signage, public display, rock concerts and sports venues now have individual 'takes' on the technology that is right for them.
There's still a place for videowall cubes with a projector in the back and a screen on the front but the main market for such products in now in control rooms which require very high resolution displays (up to UXGA or above) and can be operated 24×7 with very low failure rates and long periods between lamp changes. Front access via a hinged screen is usually provided for maintenance purposes.
Rear projection (RP) cubes developed for the needs of the control room market also feature sophisticated electronic set-up software to manage colour balance and brightness across the videowall. They use image processing and switching to manage the supply of different information (such as the images from traffic or surveillance cameras) to different 'windows' on the wall.
RP systems are also extensively used as a tv news studio backdrop but the more sophisticated broadcasters usually use a multi-projector rig on a seamless screen, rather than cubes. In this application, key requirements include colour and brightness/contrast balance between screens as well as very accurate picture alignment.
Conventional, stackable videowall cubes (mostly with LCD or DLP projects and mirrors to fold the projection path and make them more compact) are still available. Rigs using multiple projectors and mirrors are in common use. Flat screen displays with very narrow bezels can be mounted together to form a large, but very thin, indoor videowall. Indoor LED panels using high resolution displays are becoming increasingly available and affordable, while very large screen LED displays at resolutions ranging from 4mm to 25mm or 35mm are being used everywhere – in shop windows, on transportation systems, in tv studios and at sporting events.
And development hasn't stopped. This year's ISE show saw the launch of cheaper and lighter indoor LED screens such as the Nanolumens offering and the first showing of production versions of genuinely new technology screens such as the Mitsubishi large screen OLED display and Prysm's laser phosphor display (LPD) technology. Christie's stackable MicroTiles system – in principle, a small videowall cube – was also much in evidence and, a year after launch, it is being used in serious commercial applications.
As well as changes in technology, different application sectors now have clear requirements of their own. For example, the control room market, digital signage, public display, rock concerts and sports venues now have individual 'takes' on the technology that is right for them.
There's still a place for videowall cubes with a projector in the back and a screen on the front but the main market for such products in now in control rooms which require very high resolution displays (up to UXGA or above) and can be operated 24×7 with very low failure rates and long periods between lamp changes. Front access via a hinged screen is usually provided for maintenance purposes.
Rear projection (RP) cubes developed for the needs of the control room market also feature sophisticated electronic set-up software to manage colour balance and brightness across the videowall. They use image processing and switching to manage the supply of different information (such as the images from traffic or surveillance cameras) to different 'windows' on the wall.
RP systems are also extensively used as a tv news studio backdrop but the more sophisticated broadcasters usually use a multi-projector rig on a seamless screen, rather than cubes. In this application, key requirements include colour and brightness/contrast balance between screens as well as very accurate picture alignment.
2011年4月6日 星期三
Where did all the projectionists go?
Think of a film projectionist, and what comes to mind? Is it an image of a dumpy,
bearded bloke in an old waistcoat and beret? Does he share a grubby attic space with
tatty old film posters? Does he wind a battered 35mm print on to a spool and monitor
his work through a shaft of light which cuts through the dust of the auditorium?
Think of Philippe Noiret in 'Cinema Paradiso', Buster Keaton in 'Sherlock Jr', or
Robert Prosky in 'Last Action Hero'… Well, in reality, the image you should have in
mind is of a giant USB stick.
Why? Because projectionists as we imagine them are on the verge of extinction. This
is down to big changes in the world of exhibition: hulking hard drives – to which
films are sent digitally – are being installed in cinemas, while tactile, scratchy,
buzzing celluloid film prints are being tossed on the scrapheap.
We spoke to a spokesperson for Odeon who explains that the chain is in the middle of
replacing 35mm projectors at all its 110 sites across the country with digital
projectors. At the Cineworld chain, a projectionist tells us that the switch-over is
just as rapid. Phil Clapp of the Cinema Exhibitors' Association explains the
difference: 'While a 35mm projector is a mechanical device with moving parts, a
digital projector – aside from the lamp – is very much a piece of IT.
Projectionists who have been able to strip down and reassemble a 35mm projector with
their eyes closed are suddenly being presented with a box and an on-off switch.'
The roots of the digital takeover can be traced back to 2005, when 240 digital
projectors were given to UK cinemas on the back of the UK Film Council's Digital
Screen Network initiative. The hope was that on the back of that initial flurry, the
training wheels could come off and cinemas would embrace the digital revolution.
They didn't. The momentum of change was slow. Now, though, the digital boom has
finally happened, partly fuelled by the spiralling number of 3D titles, which can't
be projected on old equipment.
David Hancock of industry website Screen Digest illustrates the speed of change. 'In
2009 there were 650 digital screens in the UK. By 2010, there were 1,400, with 1,080
of them enabled for 3D. In 2010, 416 films were released wholly or partly on digital
prints in the UK, which is 80 per cent of all releases. This is by far the highest
number in the world. It compares to 20 per cent in France and 35 per cent in the
Netherlands.'
This means that gone are the days when a tired old print starts to show up scratches
and other signs of wear and tear. Audiences will barely notice the difference: every
film will look like new. The real effect on film-going may be more long-term as
cinemas take advantage of cheaper technology to offer a more flexible, varied
programme or find it difficult to show certain films, mostly archive titles, which
have not been transferred to digital.
bearded bloke in an old waistcoat and beret? Does he share a grubby attic space with
tatty old film posters? Does he wind a battered 35mm print on to a spool and monitor
his work through a shaft of light which cuts through the dust of the auditorium?
Think of Philippe Noiret in 'Cinema Paradiso', Buster Keaton in 'Sherlock Jr', or
Robert Prosky in 'Last Action Hero'… Well, in reality, the image you should have in
mind is of a giant USB stick.
Why? Because projectionists as we imagine them are on the verge of extinction. This
is down to big changes in the world of exhibition: hulking hard drives – to which
films are sent digitally – are being installed in cinemas, while tactile, scratchy,
buzzing celluloid film prints are being tossed on the scrapheap.
We spoke to a spokesperson for Odeon who explains that the chain is in the middle of
replacing 35mm projectors at all its 110 sites across the country with digital
projectors. At the Cineworld chain, a projectionist tells us that the switch-over is
just as rapid. Phil Clapp of the Cinema Exhibitors' Association explains the
difference: 'While a 35mm projector is a mechanical device with moving parts, a
digital projector – aside from the lamp – is very much a piece of IT.
Projectionists who have been able to strip down and reassemble a 35mm projector with
their eyes closed are suddenly being presented with a box and an on-off switch.'
The roots of the digital takeover can be traced back to 2005, when 240 digital
projectors were given to UK cinemas on the back of the UK Film Council's Digital
Screen Network initiative. The hope was that on the back of that initial flurry, the
training wheels could come off and cinemas would embrace the digital revolution.
They didn't. The momentum of change was slow. Now, though, the digital boom has
finally happened, partly fuelled by the spiralling number of 3D titles, which can't
be projected on old equipment.
David Hancock of industry website Screen Digest illustrates the speed of change. 'In
2009 there were 650 digital screens in the UK. By 2010, there were 1,400, with 1,080
of them enabled for 3D. In 2010, 416 films were released wholly or partly on digital
prints in the UK, which is 80 per cent of all releases. This is by far the highest
number in the world. It compares to 20 per cent in France and 35 per cent in the
Netherlands.'
This means that gone are the days when a tired old print starts to show up scratches
and other signs of wear and tear. Audiences will barely notice the difference: every
film will look like new. The real effect on film-going may be more long-term as
cinemas take advantage of cheaper technology to offer a more flexible, varied
programme or find it difficult to show certain films, mostly archive titles, which
have not been transferred to digital.
2011年4月5日 星期二
InFocus ScreenPlay SP8604 Review
Underlining this apparently high value situation, moreover, is the standard warranty InFocus does for the SP8604: namely 5 years parts (excluding the fan, power supply, colour wheel and light tunnel, which get three years), 3 years labour, plus a 1 year lamp replacement warranty.
Our first clue to the SP8604's similarities with the Vivitek H5080 comes as soon as we look at it, for it's more or less identically designed. This means it's a quite large, chunky bit of kit, with a gently arced and glossy top edge, a centrally mounted lens, and ribbed side panels for letting out heat.
The only obvious difference is that while the Vivitek had a silver ring around the lens, the InFocus has a metallic blue one - a wry little nod, we guess, to the peculiar and certainly flawed decision to put a bright blue neon light circle around the lens of the SP8602.
Directly above the lens on the SP8604's top side is a slide-forward panel hiding two of our favourite projector things: simple knobs for optically shifting the image horizontally or vertically.
There really is no overstating the importance of such tools on a mid-level projector, since they let you get an image perfectly positioned on your screen - even in potentially quite awkwardly shaped rooms - without having to digitally distort the image via keystone correction.
The SP8604 isn't quite as generous with its optical zoom as we would ideally have liked, only offering 1.25x. But to be fair, you can buy the projector with short (fixed at 0.77), standard (1.54-1.93:1) and long-throw (1.93-2.89:1) lens options, so you should be able to get a configuration that works for you.
Our first clue to the SP8604's similarities with the Vivitek H5080 comes as soon as we look at it, for it's more or less identically designed. This means it's a quite large, chunky bit of kit, with a gently arced and glossy top edge, a centrally mounted lens, and ribbed side panels for letting out heat.
The only obvious difference is that while the Vivitek had a silver ring around the lens, the InFocus has a metallic blue one - a wry little nod, we guess, to the peculiar and certainly flawed decision to put a bright blue neon light circle around the lens of the SP8602.
Directly above the lens on the SP8604's top side is a slide-forward panel hiding two of our favourite projector things: simple knobs for optically shifting the image horizontally or vertically.
There really is no overstating the importance of such tools on a mid-level projector, since they let you get an image perfectly positioned on your screen - even in potentially quite awkwardly shaped rooms - without having to digitally distort the image via keystone correction.
The SP8604 isn't quite as generous with its optical zoom as we would ideally have liked, only offering 1.25x. But to be fair, you can buy the projector with short (fixed at 0.77), standard (1.54-1.93:1) and long-throw (1.93-2.89:1) lens options, so you should be able to get a configuration that works for you.
2011年4月1日 星期五
Understanding the Projector Lamp and Its Bulb System
The projector lamp: It's one of those things you know is critical, but you haven't really stopped to think about too much, right? As long as it's working, that's where your interest ends.
It's a good thing to understand, and it covers them well. Starting with the basics, the most important part of your projector is, as you might have guessed, the projector lamp. That's what takes the images or video signal coming into your projector and puts them onto a large screen.
And the bulb is the most important part of the lamp -- not synonymous with the lamp. As the site explains, "every projector lamp has several different parts... varying types of projectors will use and house the projector lamps in slightly different ways. However, they all use the bulb and projector lamp."
You might hear the system that the projector uses in order to project imagery referred to as the illumination system. Same thing -- "the bulb and projector lamp are housed together and usually located within the projector itself behind an access door, since the projector lamp's bulb will eventually have to be replaced."
There are many different types of bulbs for projector lamps, but the two most popular are halogen bulbs and metal halide bulbs. Halogen bulbs are cheaper, but don't last as long as metal halide bulbs -- the classic tradeoff. Halogen bulbs often produce a yellow tint on the imagery being projected, so metal halide bulbs are seen as worth the expense in many instances. And "some large projectors use bulbs that are referred to as Xenon lamps, which are used largely because of the incredible color reproduction they are able to achieve."
And remember that different projectors will use the projector lamps in various ways because of design. Some projectors may have varying placement of panels or mirrors and also might have different numbers of panels, compared to other projectors that all use the same projector lamps.
It's a good thing to understand, and it covers them well. Starting with the basics, the most important part of your projector is, as you might have guessed, the projector lamp. That's what takes the images or video signal coming into your projector and puts them onto a large screen.
And the bulb is the most important part of the lamp -- not synonymous with the lamp. As the site explains, "every projector lamp has several different parts... varying types of projectors will use and house the projector lamps in slightly different ways. However, they all use the bulb and projector lamp."
You might hear the system that the projector uses in order to project imagery referred to as the illumination system. Same thing -- "the bulb and projector lamp are housed together and usually located within the projector itself behind an access door, since the projector lamp's bulb will eventually have to be replaced."
There are many different types of bulbs for projector lamps, but the two most popular are halogen bulbs and metal halide bulbs. Halogen bulbs are cheaper, but don't last as long as metal halide bulbs -- the classic tradeoff. Halogen bulbs often produce a yellow tint on the imagery being projected, so metal halide bulbs are seen as worth the expense in many instances. And "some large projectors use bulbs that are referred to as Xenon lamps, which are used largely because of the incredible color reproduction they are able to achieve."
And remember that different projectors will use the projector lamps in various ways because of design. Some projectors may have varying placement of panels or mirrors and also might have different numbers of panels, compared to other projectors that all use the same projector lamps.
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