Epson has introduced the EB-1880, EB-1860 and EB-1840W; a series of affordable, compact projectors designed to deliver high-quality presentations quickly and easily, with a range of helpful features. Powered by Epson’s 3LCD technology, the projectors provide a vibrant, high-quality picture, thanks to an equally high White and Colour Light Output of up to 4,000 lumens and a contrast ratio of 2,500:1. The new projectors have been launched in response to market demand.
Setting up and using the series couldn’t be easier. The projectors automatically search for the video source, so the user doesn’t need to do anything after connecting. Sound is provided by a built-in speaker, with the EB-1880 delivering up to 10W and the EB-1860 and EB-1840W providing 5W; while the 3-in-1 USB display feature means a single cable is all that’s needed for audio, visual and mouse control. For further ease-of-use, aligning the picture takes just seconds. Vertical keystone correction is automatic and horizontal keystone can be adjusted using an intuitive slider or dedicated button.
The series is also versatile. The EB-1880 has a wide range of inputs, including HDMI. In addition, all the models in the series have a direct connection for Epson’s ELP-DC06 USB document camera to give a close-up view of documents or even 3D objects.
Kelvin Reynolds, general manager, Epson Southern Africa, said: “Not only does this new projector series offer high brightness and a range of helpful features at an affordable price, the total cost of ownership is extremely low, as the projectors offer low power consumption combined with a long lamp life.
“Another advantage is the capability for remote network management. This helps keep maintenance costs down by allowing it to be monitored from a single point on the network, removing the need for physical checks.”
2011年10月31日 星期一
2011年10月30日 星期日
Optoma ML500
The Optoma ML500 ($650 street) doesn't fit in any of the usual projector categories. Like pico and palmtop projectors, it uses LEDs rather than a traditional lamp, and it's only a little heavier than a large palmtop. On the other hand, it's brighter than any palmtop, offers much higher resolution, and it plugs in with a power cord like standard projectors rather than an external power block. However you classify it, though, it's a capable business projector that's small and light enough to carry with you without a second thought.
In some ways, the ML500 is similar to the ViewSonic PJD2121 ($450 street, 4 stars), another projector that's hard to classify. Both weigh less than 3 pounds but the rated brightness for both is modest by traditional sub-3 pound micro projector standards. The 1,700-lumen rating for the ViewSonic PJ260D ($999 street, 3.5 stars), for example, is far higher than the PJD2121's 400 lumens or the ML500's 500 lumens. On the other hand, traditional micro projectors tend to cost more as well, so you might think of the ML500 and PJD2121 as budget-priced micro projectors.
The ML500 is built around a WXGA (1280 by 800) DLP engine that uses red, green, and blue LEDs rather than a color wheel for its primary colors. It weighs in at 2.5 pounds and measures just 1.7 by 8.7 by 6.7 inches (HWD). Optoma even supplies a soft carrying case to help make it even more portable
Setup is standard, with the projector offering a surprisingly large number of connectors for its size, including a VGA port for a computer or component video source, an HDMI port for a computer or video source, and both S-video and composite video ports. In addition, there's a miniplug jack for audio input or audio plus composite video with an appropriate adaptor, a USB Type A port for reading files from a USB memory key, a mini USB port for sending a data image from the computer as well as transferring files to the 2GB internal memory, and an SD card slot.
As you might guess from the memory options, the ML500 offers a menu similar to the ones you'll find on some pico and palmtop models for opening files directly, whether from built-in memory, a USB key, or a memory card. More important, it can read most common image, video, and audio file formats, plus PDF files and Microsoft PowerPoint, Word, and Excel files. Load the files you need in memory, and there's no need to bring a computer or video source with you, a neat trick that makes the ML500 that much more portable.
With even lightweight projectors like the Editors' Choice Optoma GT750E ($800 street, 4 stars) offering brightness ratings at 3,000 lumens and higher, the ML500's 500 lumen rating doesn't sound like a lot. But keep in mind that perception of brightness is logarithmic, so that for any given size image, you'll perceive a 500 lumen image as much more than one sixth as bright as a 3,000 lumen image. What that translates to is that I was able to run my tests with our usual 2-meter (78-inch) wide image without problems. Even at that size, the image can stand up to moderate ambient light.
The projector also scored reasonably well for data image quality on our standard suite of DisplayMate tests. One issue that stood out, however, was scaling artifacts (unwanted extra patterns added to repeating patterns, like an area filled with dots) at the ML500's claimed native resolution. These artifacts come from a projector adding or dropping pixels, so it can scale an image in one resolution to fit the number of pixels in its LCD or DLP chip. By definition, a projector shouldn't have to scale an image that's already in its native resolution, so the artifacts suggest that the ML500's true native resolution isn't 1,280 by 800.
Optoma says that the mirrors on the DLP chip are arranged in a way that's designed to produce higher brightness from a more compact design. However, the mirror arrangement also makes it impossible to have a true native resolution in the traditional sense, so the projector does indeed scale the image. Note too that scaling is also likely responsible for a slight sense of soft focus that I also noticed. The good news is that the obvious scaling artifacts show only on images with repeating patterns over a large area.
On the plus side, the projector delivers vibrant, fully saturated color, including yellow, which often turns into a mustard color on DLP projectors. And although I saw slight pixel jitter with an analog connection on screens that are designed to bring out the problem, it was so subtle I almost missed it even though I was looking for it.
I also saw very little rainbow effect with data images. Rainbow artifacts, with bright areas breaking up into red-green-blue rainbows, are always a concern for single chip DLP projectors because of the way they create color. With the ML500, however, they showed rarely enough with data images so that even if you're sensitive to them, as I am, it's unlikely you'll find them annoying.
Unfortunately, I can't say the same for video images, where the rainbows showed up often enough so to make them a potential issue for anyone in your audience who's sees the effect easily. That alone makes the ML500 best reserved for short video clips only. Beyond that, it's usable for video, but not particularly impressive. I saw some posterization (colors changing suddenly where they should change gradually) and a moderate problem handling shadow detail (losing detail based on shading in dark areas), but only in scenes that tend to cause these problems. Both issues are common in data projectors.
Also worth mention is that the ML500's audio is surprisingly good for such a small projector. The single 2-watt speaker puts out enough volume to fill a small conference room, and the quality is good enough to easily make out spoken words.
Finally, keep in mind that the LED light source, with its 20,000 hour expected lifetime, will last the life of the projector. That makes the ML500 less expensive in the long run than a similarly priced projector with a standard lamp that you'll have to replace.
In some ways, the ML500 is similar to the ViewSonic PJD2121 ($450 street, 4 stars), another projector that's hard to classify. Both weigh less than 3 pounds but the rated brightness for both is modest by traditional sub-3 pound micro projector standards. The 1,700-lumen rating for the ViewSonic PJ260D ($999 street, 3.5 stars), for example, is far higher than the PJD2121's 400 lumens or the ML500's 500 lumens. On the other hand, traditional micro projectors tend to cost more as well, so you might think of the ML500 and PJD2121 as budget-priced micro projectors.
The ML500 is built around a WXGA (1280 by 800) DLP engine that uses red, green, and blue LEDs rather than a color wheel for its primary colors. It weighs in at 2.5 pounds and measures just 1.7 by 8.7 by 6.7 inches (HWD). Optoma even supplies a soft carrying case to help make it even more portable
Setup is standard, with the projector offering a surprisingly large number of connectors for its size, including a VGA port for a computer or component video source, an HDMI port for a computer or video source, and both S-video and composite video ports. In addition, there's a miniplug jack for audio input or audio plus composite video with an appropriate adaptor, a USB Type A port for reading files from a USB memory key, a mini USB port for sending a data image from the computer as well as transferring files to the 2GB internal memory, and an SD card slot.
As you might guess from the memory options, the ML500 offers a menu similar to the ones you'll find on some pico and palmtop models for opening files directly, whether from built-in memory, a USB key, or a memory card. More important, it can read most common image, video, and audio file formats, plus PDF files and Microsoft PowerPoint, Word, and Excel files. Load the files you need in memory, and there's no need to bring a computer or video source with you, a neat trick that makes the ML500 that much more portable.
With even lightweight projectors like the Editors' Choice Optoma GT750E ($800 street, 4 stars) offering brightness ratings at 3,000 lumens and higher, the ML500's 500 lumen rating doesn't sound like a lot. But keep in mind that perception of brightness is logarithmic, so that for any given size image, you'll perceive a 500 lumen image as much more than one sixth as bright as a 3,000 lumen image. What that translates to is that I was able to run my tests with our usual 2-meter (78-inch) wide image without problems. Even at that size, the image can stand up to moderate ambient light.
The projector also scored reasonably well for data image quality on our standard suite of DisplayMate tests. One issue that stood out, however, was scaling artifacts (unwanted extra patterns added to repeating patterns, like an area filled with dots) at the ML500's claimed native resolution. These artifacts come from a projector adding or dropping pixels, so it can scale an image in one resolution to fit the number of pixels in its LCD or DLP chip. By definition, a projector shouldn't have to scale an image that's already in its native resolution, so the artifacts suggest that the ML500's true native resolution isn't 1,280 by 800.
Optoma says that the mirrors on the DLP chip are arranged in a way that's designed to produce higher brightness from a more compact design. However, the mirror arrangement also makes it impossible to have a true native resolution in the traditional sense, so the projector does indeed scale the image. Note too that scaling is also likely responsible for a slight sense of soft focus that I also noticed. The good news is that the obvious scaling artifacts show only on images with repeating patterns over a large area.
On the plus side, the projector delivers vibrant, fully saturated color, including yellow, which often turns into a mustard color on DLP projectors. And although I saw slight pixel jitter with an analog connection on screens that are designed to bring out the problem, it was so subtle I almost missed it even though I was looking for it.
I also saw very little rainbow effect with data images. Rainbow artifacts, with bright areas breaking up into red-green-blue rainbows, are always a concern for single chip DLP projectors because of the way they create color. With the ML500, however, they showed rarely enough with data images so that even if you're sensitive to them, as I am, it's unlikely you'll find them annoying.
Unfortunately, I can't say the same for video images, where the rainbows showed up often enough so to make them a potential issue for anyone in your audience who's sees the effect easily. That alone makes the ML500 best reserved for short video clips only. Beyond that, it's usable for video, but not particularly impressive. I saw some posterization (colors changing suddenly where they should change gradually) and a moderate problem handling shadow detail (losing detail based on shading in dark areas), but only in scenes that tend to cause these problems. Both issues are common in data projectors.
Also worth mention is that the ML500's audio is surprisingly good for such a small projector. The single 2-watt speaker puts out enough volume to fill a small conference room, and the quality is good enough to easily make out spoken words.
Finally, keep in mind that the LED light source, with its 20,000 hour expected lifetime, will last the life of the projector. That makes the ML500 less expensive in the long run than a similarly priced projector with a standard lamp that you'll have to replace.
2011年10月27日 星期四
Sony VPL-HW30ES review
Anyone wanting to take their home cinema setup to the next level should seriously consider a 3D projector – these have the power to transform your viewing experience, and Sony’s latest offering is no exception. The VPL-HW30ES has a massive three times the brightness of last year’s model, making it ideally suited to 3D as well as 2D content.
At almost half a meter long and weighing 10kg, you’ll struggle to fit the HW30ES on a bookshelf – it’s much more suited to a ceiling mount. With a bright enough lamp to project an image up to 14m, the projector is suitable for even the largest of living rooms. Only the biggest of walls will be large enough for its maximum 300in (25-foot) image, but you’ll still get a 58in picture from seven feet away.
Unlike other projectors we’ve seen, fan noise was almost non-existent – even after several hours’ use, it didn’t spin up to a level that became irritating, so it won’t matter if you’re sat directly underneath or in front of it when watching a film.
You should have no problems adding the HW30ES to an existing home cinema system – input options include two HDMI ports, a single VGA and component video. There aren’t any speakers, so you’ll need an AV amplifier for audio, but considering the price of the projector you’re unlikely to want to settle for anything less than a full surround sound system to accompany it.
At 1,300 lumens, a respectable brightness rating for a dedicated home cinema projector, the lamp is just bright enough that we could use it in a lit room and still make out plenty of detail. However, for the best experience, you’ll want to close the curtains and shut off the lights – in darkness, image quality is absolutely breathtaking, in both 2D and 3D.
High definition video playback was crisp and colourful, with Avatar’s blue Naa’vi warriors looking incredibly vivid. Darker images looked very accurate thanks to deep, if not entirely black, black levels and plenty of contrast, letting us pick out plenty of detail in Casino Royale’s monochrome opening scenes. Sony’s MotionFlow image-smoothing system did an excellent job of eliminating any visible stutter from our 24p Blu-ray movies.
At almost half a meter long and weighing 10kg, you’ll struggle to fit the HW30ES on a bookshelf – it’s much more suited to a ceiling mount. With a bright enough lamp to project an image up to 14m, the projector is suitable for even the largest of living rooms. Only the biggest of walls will be large enough for its maximum 300in (25-foot) image, but you’ll still get a 58in picture from seven feet away.
Unlike other projectors we’ve seen, fan noise was almost non-existent – even after several hours’ use, it didn’t spin up to a level that became irritating, so it won’t matter if you’re sat directly underneath or in front of it when watching a film.
You should have no problems adding the HW30ES to an existing home cinema system – input options include two HDMI ports, a single VGA and component video. There aren’t any speakers, so you’ll need an AV amplifier for audio, but considering the price of the projector you’re unlikely to want to settle for anything less than a full surround sound system to accompany it.
At 1,300 lumens, a respectable brightness rating for a dedicated home cinema projector, the lamp is just bright enough that we could use it in a lit room and still make out plenty of detail. However, for the best experience, you’ll want to close the curtains and shut off the lights – in darkness, image quality is absolutely breathtaking, in both 2D and 3D.
High definition video playback was crisp and colourful, with Avatar’s blue Naa’vi warriors looking incredibly vivid. Darker images looked very accurate thanks to deep, if not entirely black, black levels and plenty of contrast, letting us pick out plenty of detail in Casino Royale’s monochrome opening scenes. Sony’s MotionFlow image-smoothing system did an excellent job of eliminating any visible stutter from our 24p Blu-ray movies.
2011年10月26日 星期三
Canon Intros Ultra-Short-Throw Multimedia Projector
Canon has introduced the LV-8235 UST Multimedia Projector, an ultra-short-throw projector, capable of projecting an 80-inch picture from a distance of only 1.04 feet, according to the company. The LV-8235 UST can sit on a table or be mounted horizontally or vertically on a wall, ceiling, or floor for a variety of 3D or 2D display applications, including educational presentations, advertising/digital signage, or museum/arcade rear-projection screens.
The Canon LV-8235 has a rated brightness of 2,500 lumens, a 2,000:1 contrast ratio, and native WXGA (1280 x 800) resolution at a 16:10 aspect ratio, suitable for HD video or graphics created on widescreen laptops.
The Canon LV-8235 UST Multimedia Projector can be used for either normal 2D display or stereoscopic 3D display, depending upon user preference. The frame-sequential method of 3D display employed by the projector switches parallax images intended for the left eye and right eye at very high speed and requires the use of active-shutter type glasses.
The Canon LV-8235 directs the images it generates through the projection lens and onto a built-in reflection mirror for loop-back through a projection window. This configuration makes it possible to use a table or a floor as a projection screen. The ultra-short throw capability also allows users to install the projector in a wide range of compact positions, including, through the use of approved brackets and attachments, horizontal or vertical wall or ceiling mounts. Examples of ultra-short throw applications include cost-effective 3D or 2D rear-projection in museums or arcades, or digital signage use in which store-front product promotions can be projected onto the sidewalk or the floor of a shopping mall to attract the attention of people walking by. The Canon LV-8235 UST Multimedia Projector is also suitable for many classroom applications where proximity to the whiteboard or screen helps to minimize the possibility of obstructions to projected images.
The LV-8235 UST Multimedia Projector’s ultra-short throw capabilities and close proximity to the screen also minimize shadows as well as glare that could shine in an education or business presenter’s eyes. Computer synchronization is an automatic feature that turns on when a computer is connected to the projector and an input signal is detected. The feature then automatically synchronizes the projector with the computer’s screen resolution. Direct Power-On is useful for inaccessible ceiling-installed projectors, as it automatically turns on the projector when the power cord is plugged into an outlet, eliminating the need to press the power switch on the unit. Other features include HDMI digital input, a built-in 10-watt speaker, an RJ-45 network connection, an RS-232C serial connection, and quiet operation (28dBA) in Eco mode.
The Canon LV-8235 UST Multimedia Projector is currently available at a list price of $1,799. It is backed by Canon U.S.A.’s three-year limited warranty and exclusive Projector Protection Program (“Triple P”), a free service program that provides a loaner projector of equal or greater value in the event that a qualifying unit is in need of repair.
The Canon LV-8235 has a rated brightness of 2,500 lumens, a 2,000:1 contrast ratio, and native WXGA (1280 x 800) resolution at a 16:10 aspect ratio, suitable for HD video or graphics created on widescreen laptops.
The Canon LV-8235 UST Multimedia Projector can be used for either normal 2D display or stereoscopic 3D display, depending upon user preference. The frame-sequential method of 3D display employed by the projector switches parallax images intended for the left eye and right eye at very high speed and requires the use of active-shutter type glasses.
The Canon LV-8235 directs the images it generates through the projection lens and onto a built-in reflection mirror for loop-back through a projection window. This configuration makes it possible to use a table or a floor as a projection screen. The ultra-short throw capability also allows users to install the projector in a wide range of compact positions, including, through the use of approved brackets and attachments, horizontal or vertical wall or ceiling mounts. Examples of ultra-short throw applications include cost-effective 3D or 2D rear-projection in museums or arcades, or digital signage use in which store-front product promotions can be projected onto the sidewalk or the floor of a shopping mall to attract the attention of people walking by. The Canon LV-8235 UST Multimedia Projector is also suitable for many classroom applications where proximity to the whiteboard or screen helps to minimize the possibility of obstructions to projected images.
The LV-8235 UST Multimedia Projector’s ultra-short throw capabilities and close proximity to the screen also minimize shadows as well as glare that could shine in an education or business presenter’s eyes. Computer synchronization is an automatic feature that turns on when a computer is connected to the projector and an input signal is detected. The feature then automatically synchronizes the projector with the computer’s screen resolution. Direct Power-On is useful for inaccessible ceiling-installed projectors, as it automatically turns on the projector when the power cord is plugged into an outlet, eliminating the need to press the power switch on the unit. Other features include HDMI digital input, a built-in 10-watt speaker, an RJ-45 network connection, an RS-232C serial connection, and quiet operation (28dBA) in Eco mode.
The Canon LV-8235 UST Multimedia Projector is currently available at a list price of $1,799. It is backed by Canon U.S.A.’s three-year limited warranty and exclusive Projector Protection Program (“Triple P”), a free service program that provides a loaner projector of equal or greater value in the event that a qualifying unit is in need of repair.
2011年10月25日 星期二
Fiat 500 Carbon, Titanium Models to Bow at SEMA Show
Fiat has announced that it will be showcasing a pair of custom 500s at this year’s SEMA Show. According to Fiat the 500 Titanium is a discretely tuned 500 with more aggressive styling while the Fiat 500 Carbon features more subtle modifications, accenting the Italian hatchback’s styling, craftsmanship and nimble handling. Both vehicles get upgraded products from Mopar including their respective cold-air intake, strut-tower brace and cat-back exhaust.
Starting with the Fiat 500 Titanium, Mopar has outfitted the Italian subcompact with a new aggressive front bumper with large honeycomb grilles. A satin black insert on the front bumper features integrated LED fog lamps while the circular projector headlamps have been finished in gloss black to match the Titanium’s exterior paint. For wheels, the Titanium features custom 16×6.5-inch Matte Titanium rollers with a two-piece design.
Lowering the vehicle are custom Mopar springs while braking performance has been upgraded with Matte Titanium front and rear brake calipers with larger rotors. Styling is further enhanced with a pair of side skirts and a large liftgate spoiler while the rear bumper has been completely redesigned with a rear diffuser. A center-mounted rear Mopar exhaust tip can be seen housed in the new rear diffuser.
On the inside, the Titanium features a black with Titanium Metallic accents color scheme. Both front and rear seats have been reupholstered in smooth black leather and accented with Titanium Metallic vinyl seat centers. Metallic Gray stitching accents the finished product.
Meanwhile, the Fiat 500 Carbon features an Anodized Azzurro (blue) exterior with blackened accents inside and out. The front bumper on the Carbon features integrated satin carbon fiber foglamp bezels and lip spoiler. The headlights have been refinished in a Dark Hyper Black finish while 17×7-inch Dark Hyper Black aluminum wheels are on all four corners. Similar to the Titanium, Mopar outfitted the Carbon with their lowering springs, strut tower brace and cold-air intake.
In the rear, a carbon fiber liftgate spoiler improves the aerodynamics while a powdercoated carbon fiber exhaust tip is a nice, subtle touch. Carbon fiber can also be seen in the rear bumper and valence while the tail lamp bezels have been refinished in Dark Hyper Black. The interior continues with a dark black theme, but has been contrasted with Anodized Azzurro accents.
That’s a lot of description for just a teaser photo, so stay tuned for AutoGuide’s 2011 SEMA Coverage starting here November 1st, and check out the complete 2011 SEMA Preview here.
Starting with the Fiat 500 Titanium, Mopar has outfitted the Italian subcompact with a new aggressive front bumper with large honeycomb grilles. A satin black insert on the front bumper features integrated LED fog lamps while the circular projector headlamps have been finished in gloss black to match the Titanium’s exterior paint. For wheels, the Titanium features custom 16×6.5-inch Matte Titanium rollers with a two-piece design.
Lowering the vehicle are custom Mopar springs while braking performance has been upgraded with Matte Titanium front and rear brake calipers with larger rotors. Styling is further enhanced with a pair of side skirts and a large liftgate spoiler while the rear bumper has been completely redesigned with a rear diffuser. A center-mounted rear Mopar exhaust tip can be seen housed in the new rear diffuser.
On the inside, the Titanium features a black with Titanium Metallic accents color scheme. Both front and rear seats have been reupholstered in smooth black leather and accented with Titanium Metallic vinyl seat centers. Metallic Gray stitching accents the finished product.
Meanwhile, the Fiat 500 Carbon features an Anodized Azzurro (blue) exterior with blackened accents inside and out. The front bumper on the Carbon features integrated satin carbon fiber foglamp bezels and lip spoiler. The headlights have been refinished in a Dark Hyper Black finish while 17×7-inch Dark Hyper Black aluminum wheels are on all four corners. Similar to the Titanium, Mopar outfitted the Carbon with their lowering springs, strut tower brace and cold-air intake.
In the rear, a carbon fiber liftgate spoiler improves the aerodynamics while a powdercoated carbon fiber exhaust tip is a nice, subtle touch. Carbon fiber can also be seen in the rear bumper and valence while the tail lamp bezels have been refinished in Dark Hyper Black. The interior continues with a dark black theme, but has been contrasted with Anodized Azzurro accents.
That’s a lot of description for just a teaser photo, so stay tuned for AutoGuide’s 2011 SEMA Coverage starting here November 1st, and check out the complete 2011 SEMA Preview here.
2011年10月24日 星期一
Christie keeps a Tipping World in sharp focus
A to V (UK) have dipped into their inventory of Christie Roadster HD10K-M series projectors to help deliver one of the most unusual productions in their history.
As The World Tipped is a new outdoor show, using five aerialists and climbers, which have been touring UK towns and cities throughout the summer as part of their festival celebrations. It made its world premier at the Norfolk & Norwich Festival in May.
Supported by an Arts Council grant, this stunning 45 minute-long outdoor spectacle, written and directed by Nigel Jamieson and featuring the breathtaking performers of the UK's Wired Aerial Theatre, combines dramatic film visuals with aerial performance over a huge stage which literally tips up from horizontal to vertical as, suspended above the audience in the night sky, the performers enact a struggle to control an increasingly precarious world. They stand, then slide, then eventually hang in front of a giant crane-manipulated moving stage onto which dramatic projections complement the aerial dance performance.
A grey-painted 10m x 10m steel sheeting provides the projection backdrop for the M-series projectors as A to V (UK) project manager Matt Bailey explained. His company had originally been contacted by stage manager Dolan Hewison, of Manchester-based production company, CDH Creatives, on the recommendation of lighting designer Jim Gee, who has worked with the projection company in the past.
The immediate challenge had been to interface with Jamie Ogilvie’s intricate, custom-designed stage design, including complex flying hardware and rig movement within the tight rehearsal time frames available at each venue.
The solution was to rig two stacked pairs of the HD10K-M on a front-of-house scaff structure, 40 metres from the stage, and fitted with 2.6:4.1 semi long throw HD zoom lens. The frame, constructed from standard box truss with steel plating screwed to it, starts horizontally on the ground and slowly gets lifted and tilts until it is in the vertical plane. “The base of the stage is 4m from the floor where we first project onto it. — but when it moves to its second position — 8m off the floor — it tilts back 45° before straightening … and that’s when we use the second set of projectors,” he said.
“Because the display is square we do a vertical blend of the lower and upper 1920 x 1080 sections, giving us a 240-pixel overlap.”
All the blending and keystoning takes place within the fully featured projectors themselves although Matt Bailey admits that lining up the projectors was a very easy and speedy process.
The compact, eco-friendly 3-chip DLP projector outputs 10, 000 ANSI lumens with dual 350W mercury lamps. Aside from its 1920 x 1080 native resolution and a variable contrast ratio of 2500-10,000:1 the M Series’ expanded suite of high-quality lenses includes two new zoom lenses – all with true Intelligent Lens System (ILS) capabilities.
“The projector has a great feature set but ease of use and the compact form factor are the fundamental reasons why we like this projector,” says Matt Bailey, whose company also runs a fleet of Christie WU12K-M (WUXGA) 1920 x 1200 M series devices.
On As The World Tipped, A to V have kept the signal path basic, firing the content, made by Inflammable Films from a MacBook Pro running PlayBack Pro, with just the aid of switchers and scalers.
Easy to carry and transport, the Christie projectors, he said had delivered vivid images to a soundtrack created by freelance composer, Patrick Dineen.
They had run flawlessly throughout and certainly delivered the wow factor, judging from feedback. “We managed to create a lot of depth of field over the throw distance thanks to the HD zoom lens, and there was no need to carry spare projectors as these are dual lamp projectors, which can be run in eco-mode, so we had full redundancy.”
Set within the Secretariat of the Copenhagen Climate Change Conference, As The World Tipped is co-produced by Without Walls and is a TippingPoint/Without Walls co-commission. The production has been so successful that producers, XTRAX are now looking to take it to Australia in 2012.
As The World Tipped is a new outdoor show, using five aerialists and climbers, which have been touring UK towns and cities throughout the summer as part of their festival celebrations. It made its world premier at the Norfolk & Norwich Festival in May.
Supported by an Arts Council grant, this stunning 45 minute-long outdoor spectacle, written and directed by Nigel Jamieson and featuring the breathtaking performers of the UK's Wired Aerial Theatre, combines dramatic film visuals with aerial performance over a huge stage which literally tips up from horizontal to vertical as, suspended above the audience in the night sky, the performers enact a struggle to control an increasingly precarious world. They stand, then slide, then eventually hang in front of a giant crane-manipulated moving stage onto which dramatic projections complement the aerial dance performance.
A grey-painted 10m x 10m steel sheeting provides the projection backdrop for the M-series projectors as A to V (UK) project manager Matt Bailey explained. His company had originally been contacted by stage manager Dolan Hewison, of Manchester-based production company, CDH Creatives, on the recommendation of lighting designer Jim Gee, who has worked with the projection company in the past.
The immediate challenge had been to interface with Jamie Ogilvie’s intricate, custom-designed stage design, including complex flying hardware and rig movement within the tight rehearsal time frames available at each venue.
The solution was to rig two stacked pairs of the HD10K-M on a front-of-house scaff structure, 40 metres from the stage, and fitted with 2.6:4.1 semi long throw HD zoom lens. The frame, constructed from standard box truss with steel plating screwed to it, starts horizontally on the ground and slowly gets lifted and tilts until it is in the vertical plane. “The base of the stage is 4m from the floor where we first project onto it. — but when it moves to its second position — 8m off the floor — it tilts back 45° before straightening … and that’s when we use the second set of projectors,” he said.
“Because the display is square we do a vertical blend of the lower and upper 1920 x 1080 sections, giving us a 240-pixel overlap.”
All the blending and keystoning takes place within the fully featured projectors themselves although Matt Bailey admits that lining up the projectors was a very easy and speedy process.
The compact, eco-friendly 3-chip DLP projector outputs 10, 000 ANSI lumens with dual 350W mercury lamps. Aside from its 1920 x 1080 native resolution and a variable contrast ratio of 2500-10,000:1 the M Series’ expanded suite of high-quality lenses includes two new zoom lenses – all with true Intelligent Lens System (ILS) capabilities.
“The projector has a great feature set but ease of use and the compact form factor are the fundamental reasons why we like this projector,” says Matt Bailey, whose company also runs a fleet of Christie WU12K-M (WUXGA) 1920 x 1200 M series devices.
On As The World Tipped, A to V have kept the signal path basic, firing the content, made by Inflammable Films from a MacBook Pro running PlayBack Pro, with just the aid of switchers and scalers.
Easy to carry and transport, the Christie projectors, he said had delivered vivid images to a soundtrack created by freelance composer, Patrick Dineen.
They had run flawlessly throughout and certainly delivered the wow factor, judging from feedback. “We managed to create a lot of depth of field over the throw distance thanks to the HD zoom lens, and there was no need to carry spare projectors as these are dual lamp projectors, which can be run in eco-mode, so we had full redundancy.”
Set within the Secretariat of the Copenhagen Climate Change Conference, As The World Tipped is co-produced by Without Walls and is a TippingPoint/Without Walls co-commission. The production has been so successful that producers, XTRAX are now looking to take it to Australia in 2012.
2011年10月23日 星期日
Why Shell out Far more To Change Your Tv Or Projector
Obtaining a projector model tv is very related to a motor vehicle. You need to incur costs on upkeep to keep it functioning, operating easily, free from static and dusts along with fees of repairs. Before you create a decide on any particular model of Tv, regardless DLP, LCD or projector, make certain you take into consideration and seem in to the element of buying replacement lamps. Sooner or later, you will certainly need to change the bulb around the projection model instead of investing a lot more to replace using a more recent 1. According to statistics, the lifestyle for many rear projection and DLP TVs are in between 4000 to 6000 hrs and 1000 to 2000 for projector bulbs. But, some selected designs could last lesser than 800 hours while others could go in excess of attain or go through 10000 hours. For instance, when you are another person who spends a minimum of three hours per day viewing television, it could endure as much as just about 333 days for your 1000 hours life and 666 days for your 2000 hours. This can be quite real as plenty of people changes the bulb every single 1-2 years, although in some circumstances, many people substitute the lamp every single 6-8 months or each and every 3-4 many years. As a result, it will be rather challenging to determine which the most beneficial bulb that can last lengthier versus the others.
It will be fairly straightforward to find out after you should change the DLP lamp, LCD bulb or the projector lamp. One of many most visible indicators is that the display screen brightness will commence to deteriorate and seem just a little dim than when it was initial purchased. Usually, the symptoms rely drastically on how regularly the Television is used around the a long time. In some circumstances, the dying lamp inside the Tv could have an impact on the other components Television so critically that replacement lamps couldn’t be applied. As a result, it is tremendously advisable which you must prepare or buy a alternative DLP, LCD or projector lamp depending in your Television model. Regrettably, replacement lamps for all projection televisions are rather pricey and costing about 0 to 0 depending around the style and brand. These bulbs is often found easily from reputable digital on-line suppliers at a less expensive value, but it is also advisable to purchase them on line as these objects are considered fragile plus they could get broken in the course of delivery. A good delivery box will do good in that situation.
Putting in the alternative lamps for your projection tv is fairly simple for those who have basic skills on electronics. Commonly, it ought to not be challenging as twisting around a screwdriver to detach the lamp out, inserting and positioning the new unit in and cover the internal compartments together with the Tv cage assemblies, and turning the Television set back on. Some more recent models of television may very well be much more complicated that the remainder. When you’ve got doubts or confused on tips on how to substitute the lamps with out spoiling your tv, seek out aid and guidance from experts and pros or the web for information and facts and guides. On top of that, make sure the spoilt and damaged bulbs are disposed effectively in accordance to state guidelines and regulations as they include unsafe chemicals these kinds of as mercury.
Don’t forget that changing your bulb may also give your Hdtv or projector extra existence thus be very good to the environment considering the fact that that you are extending it’s real life. Obviously, newer televisions are around the market place thus you may give it a 2nd part inside your home or bestow it away to a family member or close friend. In such a way, it would be like recycling it.
It will be fairly straightforward to find out after you should change the DLP lamp, LCD bulb or the projector lamp. One of many most visible indicators is that the display screen brightness will commence to deteriorate and seem just a little dim than when it was initial purchased. Usually, the symptoms rely drastically on how regularly the Television is used around the a long time. In some circumstances, the dying lamp inside the Tv could have an impact on the other components Television so critically that replacement lamps couldn’t be applied. As a result, it is tremendously advisable which you must prepare or buy a alternative DLP, LCD or projector lamp depending in your Television model. Regrettably, replacement lamps for all projection televisions are rather pricey and costing about 0 to 0 depending around the style and brand. These bulbs is often found easily from reputable digital on-line suppliers at a less expensive value, but it is also advisable to purchase them on line as these objects are considered fragile plus they could get broken in the course of delivery. A good delivery box will do good in that situation.
Putting in the alternative lamps for your projection tv is fairly simple for those who have basic skills on electronics. Commonly, it ought to not be challenging as twisting around a screwdriver to detach the lamp out, inserting and positioning the new unit in and cover the internal compartments together with the Tv cage assemblies, and turning the Television set back on. Some more recent models of television may very well be much more complicated that the remainder. When you’ve got doubts or confused on tips on how to substitute the lamps with out spoiling your tv, seek out aid and guidance from experts and pros or the web for information and facts and guides. On top of that, make sure the spoilt and damaged bulbs are disposed effectively in accordance to state guidelines and regulations as they include unsafe chemicals these kinds of as mercury.
Don’t forget that changing your bulb may also give your Hdtv or projector extra existence thus be very good to the environment considering the fact that that you are extending it’s real life. Obviously, newer televisions are around the market place thus you may give it a 2nd part inside your home or bestow it away to a family member or close friend. In such a way, it would be like recycling it.
2011年10月20日 星期四
KanexPro CubeUp Turns 2D Video Into 3D
Here’s an interesting product I somehow missed at last month’s CEDIA expo. It’s the KanexPro CubeUp. The name really tells you nothing, which is odd because the CubeUp really does a lot.
First, it’s a 4 X 1 HDMI switcher (four HDMI inputs, one HDMI output) that lets you plug in multiple HDMI sources to a display device via only one HDMI input. This way you’re using the Kanex unit to do your source switching rather than your projector or TV. This of course makes installation much easier, particularly if you’re using a projector, because you only have to run one HDMI cable up the wall and across the ceiling instead of four. Most decent home theater receivers do this too, but this switcher goes a step further.
The really interesting things about the CubeUp (it’s not cube shaped by the way) are it’s processing tricks. In addition to being a switcher (there are tons of these on the market from companies like Griffin, IOgear and Accell), the Kanex is a 2D to 3D video converter. It will take standard 2D content from your Blu-ray player, game console, DVR, etc. and convert it to a 3D source for display on your 3D projector or TV.
The company says that the user can adjust 3D picture attributes such as depth and scaling via the CubeUp’s remote. In addition, the CubeUp will upscale the source resolution from 480p p to 1080p.
There’s also a pass-through mode that sends the video signal straight to the display if you don’t want the CubeUp to do any monkey business.
And being a 3D converter, it supports HDMI version 1.4a.
I see this fitting in much better with projector-based theaters than with flat panel TVs because many 3D TVs sold now already have a 2D to 3D feature. Few, if any, projectors do though.
Remember, this isn’t turning a non-3D TV or projector into a 3D one. It’s converting the source. There was a product called 3D Now shown at the CEDIA expo that did the other trick, but the results were very difficult to judge in that setting. If you missed it, you can read about it here.
How does it perform? I have no idea, but the company offered to send me one to try out, so stay tuned to for more.
First, it’s a 4 X 1 HDMI switcher (four HDMI inputs, one HDMI output) that lets you plug in multiple HDMI sources to a display device via only one HDMI input. This way you’re using the Kanex unit to do your source switching rather than your projector or TV. This of course makes installation much easier, particularly if you’re using a projector, because you only have to run one HDMI cable up the wall and across the ceiling instead of four. Most decent home theater receivers do this too, but this switcher goes a step further.
The really interesting things about the CubeUp (it’s not cube shaped by the way) are it’s processing tricks. In addition to being a switcher (there are tons of these on the market from companies like Griffin, IOgear and Accell), the Kanex is a 2D to 3D video converter. It will take standard 2D content from your Blu-ray player, game console, DVR, etc. and convert it to a 3D source for display on your 3D projector or TV.
The company says that the user can adjust 3D picture attributes such as depth and scaling via the CubeUp’s remote. In addition, the CubeUp will upscale the source resolution from 480p p to 1080p.
There’s also a pass-through mode that sends the video signal straight to the display if you don’t want the CubeUp to do any monkey business.
And being a 3D converter, it supports HDMI version 1.4a.
I see this fitting in much better with projector-based theaters than with flat panel TVs because many 3D TVs sold now already have a 2D to 3D feature. Few, if any, projectors do though.
Remember, this isn’t turning a non-3D TV or projector into a 3D one. It’s converting the source. There was a product called 3D Now shown at the CEDIA expo that did the other trick, but the results were very difficult to judge in that setting. If you missed it, you can read about it here.
How does it perform? I have no idea, but the company offered to send me one to try out, so stay tuned to for more.
2011年10月19日 星期三
A Whole New Ballgame For Ernie
At the top of the first, the house lights dim. When lights come up, they are sharp, and they shine on the house. The accompanying booming sound is stronger than the distant thunder we’ll hear later. And Ernie, the affectionate documentary about broadcaster Ernie Harwell by Detroit Free Press columnist Mitch Albom, is in full swing.
Our setting is a rainy day in 2009 on the service level of Comerica Stadium in a nostalgic version of the tunnel where Harwell always waited before going into the booth for the Tigers. This is furnished with a US flag and the stuff of storage—boxes, a trash bin, a metal ladder on wheels to reach things. Upstage are three large projection screens, two of them separated by World Series posters from 1935 and 1945. Harwell, 91, is about to give his farewell address when he meets a boy dressed in a suit with short pants and ankle boots, who asks him to recount major moments in his life and career. What transpires isn’t exactly a play; Albom has created a whole new ballgame. Director Tony Caselli says it’s “a mix of traditional play and ballpark attraction, and a moving biography piece about a beloved person from Detroit, all built largely for a sports audience as much as a theatre-going audience, with a lot of wonderful multimedia layered in.” Harwell shares anecdotes, often illustrated by stills and video footage—key moments he covered, his encounters with baseball luminaries, and moments from his personal life.
Scenic designer Kirk Domer found research easy, with Comerica Park right across the street from the theatre. Sizing the projection screens was less easy. “The key to designing the world of the play was to incorporate a series of projection screens that aided in telling the story,” says Domer. “The exciting challenge was to find the appropriate screen size or sizes with the limited throw distance in the 400-seat City Theatre,” without overwhelming the action. The rest of the design team had more significant challenges. Major League Baseball, WDIV-TV, Detroit Public Library, and Detroit Free Press were among those who provided images and footage for projection designer Alison Dobbins, who had to create projections from videos and stills that had been shot over a period of years, some in black and white. Some had been taken by high-definition cameras, some by standard cameras. Frame rates and image sizes varied. Some footage was grainy, some sharp. Since characters sometimes talk about disconnected moments in the same scene, footage from different periods would be shown in sequence.
Another issue was the optics of the dual-lamp projector system. “One is front-projected, and two are rear-projected and closer to the screens,” Dobbins says. Choice of materials was tricky. “If you front-project on muslin, it doesn’t have the same spread as synthetic projection materials. If you’re sitting off to the side, the center screen is dim. The show is very amber, and projectors are very blue. We tried to match the amber, but it came out with more of an orange hint. We wanted it to blend into the scenery. It’s very hard with modern footage to achieve that. Amber makes it look old, sepia-like. Modern footage sticks out.” Moreover, fast-changing baseball images and video have to blend with lighting and sound cues as well as dialogue and stage movement. Sound designer Steve Shannon, production director for Albom’s radio show, had never designed for the theatre. On his first outing, he had to time sound cues precisely with video, lighting, and acting cues, introduce music as rehearsals progressed, synchronize radio calls to video that illustrated what was on the radio, and restore or replace audio when sound was poor on the videos. And the baseball video had problems of its own. Dobbins, who had done a lot of narrative film but no sports video, discovered, she says, “If you start a pitch, you have to finish that pitch.”
Our setting is a rainy day in 2009 on the service level of Comerica Stadium in a nostalgic version of the tunnel where Harwell always waited before going into the booth for the Tigers. This is furnished with a US flag and the stuff of storage—boxes, a trash bin, a metal ladder on wheels to reach things. Upstage are three large projection screens, two of them separated by World Series posters from 1935 and 1945. Harwell, 91, is about to give his farewell address when he meets a boy dressed in a suit with short pants and ankle boots, who asks him to recount major moments in his life and career. What transpires isn’t exactly a play; Albom has created a whole new ballgame. Director Tony Caselli says it’s “a mix of traditional play and ballpark attraction, and a moving biography piece about a beloved person from Detroit, all built largely for a sports audience as much as a theatre-going audience, with a lot of wonderful multimedia layered in.” Harwell shares anecdotes, often illustrated by stills and video footage—key moments he covered, his encounters with baseball luminaries, and moments from his personal life.
Scenic designer Kirk Domer found research easy, with Comerica Park right across the street from the theatre. Sizing the projection screens was less easy. “The key to designing the world of the play was to incorporate a series of projection screens that aided in telling the story,” says Domer. “The exciting challenge was to find the appropriate screen size or sizes with the limited throw distance in the 400-seat City Theatre,” without overwhelming the action. The rest of the design team had more significant challenges. Major League Baseball, WDIV-TV, Detroit Public Library, and Detroit Free Press were among those who provided images and footage for projection designer Alison Dobbins, who had to create projections from videos and stills that had been shot over a period of years, some in black and white. Some had been taken by high-definition cameras, some by standard cameras. Frame rates and image sizes varied. Some footage was grainy, some sharp. Since characters sometimes talk about disconnected moments in the same scene, footage from different periods would be shown in sequence.
Another issue was the optics of the dual-lamp projector system. “One is front-projected, and two are rear-projected and closer to the screens,” Dobbins says. Choice of materials was tricky. “If you front-project on muslin, it doesn’t have the same spread as synthetic projection materials. If you’re sitting off to the side, the center screen is dim. The show is very amber, and projectors are very blue. We tried to match the amber, but it came out with more of an orange hint. We wanted it to blend into the scenery. It’s very hard with modern footage to achieve that. Amber makes it look old, sepia-like. Modern footage sticks out.” Moreover, fast-changing baseball images and video have to blend with lighting and sound cues as well as dialogue and stage movement. Sound designer Steve Shannon, production director for Albom’s radio show, had never designed for the theatre. On his first outing, he had to time sound cues precisely with video, lighting, and acting cues, introduce music as rehearsals progressed, synchronize radio calls to video that illustrated what was on the radio, and restore or replace audio when sound was poor on the videos. And the baseball video had problems of its own. Dobbins, who had done a lot of narrative film but no sports video, discovered, she says, “If you start a pitch, you have to finish that pitch.”
2011年10月18日 星期二
Audi A4 Allroad Testing in Southern Europe
Even with Audi’s famous Quattro all-wheel drive system, we wouldn’t recommend any serious off-roading in an A4 sedan, but our friends at Motor Trend have spotted the A4 that can: the updated A4 Allroad wagon.
This camouflaged model was spotted testing in Southern Europe, and underneath the black and white wrap the Audi is wearing a few Allroad-style design pieces. The Audi grille has been flipped so the Allroad will wear vertical, not horizontal slats. There’s also an increased ride height, some tougher-looking rocker panels, and flared wheel arches.
Beyond the standard cadre of Allroad design pieces, this tester, which signals an upcoming facelift for the Allroad nameplate, is wearing some updated projector headlights with revised LED strips shaped similarly to the recently-revised A5, the vertical grille slats are refined, and the front splitter (which features a skidplate-like grille) is slightly smaller. The A4 has another opening next to the passengers-side fog-lamp, which could house anything from the radar for active cruise control to infrared illumination.
With a 2.0-liter turbo four-cylinder underhood in the European model, we’d hazard that it wouldn’t be all that difficult to bring the Allroad back to the United States, but, despite previous rumors, Audi hasn’t announced any plans for that. We’ll let you know if the AWD wagon is on its way to our shores, but in the meantime, check out Motor Trend for the new photos.
This camouflaged model was spotted testing in Southern Europe, and underneath the black and white wrap the Audi is wearing a few Allroad-style design pieces. The Audi grille has been flipped so the Allroad will wear vertical, not horizontal slats. There’s also an increased ride height, some tougher-looking rocker panels, and flared wheel arches.
Beyond the standard cadre of Allroad design pieces, this tester, which signals an upcoming facelift for the Allroad nameplate, is wearing some updated projector headlights with revised LED strips shaped similarly to the recently-revised A5, the vertical grille slats are refined, and the front splitter (which features a skidplate-like grille) is slightly smaller. The A4 has another opening next to the passengers-side fog-lamp, which could house anything from the radar for active cruise control to infrared illumination.
With a 2.0-liter turbo four-cylinder underhood in the European model, we’d hazard that it wouldn’t be all that difficult to bring the Allroad back to the United States, but, despite previous rumors, Audi hasn’t announced any plans for that. We’ll let you know if the AWD wagon is on its way to our shores, but in the meantime, check out Motor Trend for the new photos.
2011年10月17日 星期一
Projectoren helpen bedrijfspresentaties te optimaliseren
Inspringend op de wensen van bedrijven en onderwijsinstellingen heeft Epson, internationaal marktleider op gebied van videoprojectoren[1], de EB-1880, de EB-1860 en EB-1840W geïntroduceerd. Dit is een reeks betaalbare, compacte projectoren met talloze handige functies, die gebruikers in staat stellen snel en eenvoudig krachtige presentaties te geven. Dankzij de 3LCD-technologie van Epson geven deze apparaten een levendig, hoogwaardig beeld met een stevig lichtrendement van wit en gekleurd licht van maximaal 4.000 lumen en een contrastverhouding van 2.500:1.
Het instellen en gebruiken van de apparaten uit deze reeks is een fluitje van een cent. De projectoren zoeken automatisch naar de videobron - na aansluiting hoeft de gebruiker niets meer te doen. Het geluid wordt verzorgd door een ingebouwde luidspreker, die bij de EB-1880 tot 10 W levert en bij de EB-1860 en de EB-1840W 5 W. De 3-in-1 USB-weergavefunctie houdt in dat er slechts één kabel nodig is voor aansturing van audio, video en muis. Ook prettig is dat het uitlijnen van foto's in enkele seconden is gepiept. Verticale keystone-correctie vindt automatisch plaats en horizontale keystone-correctie kan met behulp van een intuïtieve schuifknop of een speciale knop worden aangepast.
Dit is een bijzonder veelzijdige reeks. De EB-1880 beschikt over diverse ingangen, onder meer voor HDMI. Daarnaast kan op alle modellen in de reeks direct de ELP-DC06 USB-documentcamera van Epson worden aangesloten, om documenten in close-up of zelfs 3D-objecten weer te kunnen geven.
Frederic Haton, projector product manager bij Epson Europe, zegt hierover: "Deze nieuwe projectoren bieden een ongelooflijk helder beeld en talloze handige functies voor een betaalbare prijs. Bovendien zijn de totale gebruikskosten bijzonder laag, vanwege het lage stroomverbruik en de lange levensduur van de lamp.
Een ander voordeel is de mogelijkheid voor netwerkbeheer op afstand. Zo besparen bedrijven op onderhoudskosten, omdat de apparaten vanaf één enkele plek in het netwerk in de gaten kunnen worden gehouden. Controles ter plekke zijn dus overbodig."
Het instellen en gebruiken van de apparaten uit deze reeks is een fluitje van een cent. De projectoren zoeken automatisch naar de videobron - na aansluiting hoeft de gebruiker niets meer te doen. Het geluid wordt verzorgd door een ingebouwde luidspreker, die bij de EB-1880 tot 10 W levert en bij de EB-1860 en de EB-1840W 5 W. De 3-in-1 USB-weergavefunctie houdt in dat er slechts één kabel nodig is voor aansturing van audio, video en muis. Ook prettig is dat het uitlijnen van foto's in enkele seconden is gepiept. Verticale keystone-correctie vindt automatisch plaats en horizontale keystone-correctie kan met behulp van een intuïtieve schuifknop of een speciale knop worden aangepast.
Dit is een bijzonder veelzijdige reeks. De EB-1880 beschikt over diverse ingangen, onder meer voor HDMI. Daarnaast kan op alle modellen in de reeks direct de ELP-DC06 USB-documentcamera van Epson worden aangesloten, om documenten in close-up of zelfs 3D-objecten weer te kunnen geven.
Frederic Haton, projector product manager bij Epson Europe, zegt hierover: "Deze nieuwe projectoren bieden een ongelooflijk helder beeld en talloze handige functies voor een betaalbare prijs. Bovendien zijn de totale gebruikskosten bijzonder laag, vanwege het lage stroomverbruik en de lange levensduur van de lamp.
Een ander voordeel is de mogelijkheid voor netwerkbeheer op afstand. Zo besparen bedrijven op onderhoudskosten, omdat de apparaten vanaf één enkele plek in het netwerk in de gaten kunnen worden gehouden. Controles ter plekke zijn dus overbodig."
2011年10月16日 星期日
Outre And Ordinary Cinema Experiences
In my last installment, after being laid off from my job showing the college film series, I visited the projectionist union and was invited by member Don Hansen to visit his booth at Alameda’s Southshore Cinemas…
Built in the late-1960s,Alameda’s Southshore Cinemas (closed in 1998, demolished in 2002) was one of the first multiscreen theaters in theUS. This twin-screen facility had two identical theaters and was built by Robert Lippert, who produced some 180 low-budget “B” movies (many of which were westerns) and at one time owned a chain of some 118 theaters, includingAlameda’s Island Drive In, and the Alameda Theater.
Arriving for my “backstage” tour of Southshore Cinemas, I walked up the narrow fl ight of stairs leading to the booth and was amazed by what I saw. I had been in numerous theater projection booths before, but nothing like this. Most had been dark, grimy, industrial affairs. This was a long, rectangular room that was clean, fairly well-lit, modern appearing and dominated by two huge projectors—one for each screen. Don explained that these were Italian-made Cinemeccanica V18s.
These state of the art devices also ran an automation system that with a touch of a single start button would handle all operations, including fading the house lights and intermission music, starting the projector, opening the curtains, and reverse the procedure at the end of the film, reverse the procedure. Pretty cool, but what impressed me even more was the ability to load an entire feature film on a huge 13,000-foot 35mm reel (nearly three feet in diameter) and play the entire film without the need for changeovers. This allowed a single projectionist to run two screens. And each projector lamp was a high output Xenon bulb with thousands of hours of life—no stinky old-tech carbon rod lighting here! What was equally cool was that fact that Don—an electronics wiz in his own right—also created a large desktop center in the booth with remote switching that allowed him to control and monitor the operations of both screens (via closed-circuit cameras) from that spot. It looked more like something out of NASA mission control than a suburban mall cinema.
The 13,000-foot film reels had a capacity of nearly two and a half hours—great for uninterrupted viewing and could be rewound directly on the projector. However, they also weighed about 70 pounds and lifting one of these and sliding it onto the top spindle (about six feet up) required a feat of agility and strength. This presented no challenge to Don, who devised a system using the motor and worm gear drive from an electric garage door opener to create an automatic lift for the heavy reels. Problem solved.
The Cinemeccanicas were amazing, but had one drawback. The huge film reels took about 20 minutes to rewind, which was an issue with theaters that wanted to run the movie with short (like 10-minute) times between showings. Also, before any show, the film that arrived on 20-minute shipping reels that had to be spliced into one long continuous roll, and once the film run ended, the projectionist would take the film off the big reels, splice the leaders back on and pack the film for its trip back to the distributor or next theater. The process provided plenty of margin for error, such as inserting reel four before reel two, or mismarking the reels before they left for their next engagement—leaving the disaster for the next guy.
These days, the once-common 13,000-foot film reels have all but disappeared, replaced by platter systems. Using platters, on arrival at the theater, the film’s 2,000-foot (20-minute) shipping reels are assembled onto the equivalent of giant, stacked rotating horizontal pizza trays, which eliminate the need to rewind after each showing.
Built in the late-1960s,Alameda’s Southshore Cinemas (closed in 1998, demolished in 2002) was one of the first multiscreen theaters in theUS. This twin-screen facility had two identical theaters and was built by Robert Lippert, who produced some 180 low-budget “B” movies (many of which were westerns) and at one time owned a chain of some 118 theaters, includingAlameda’s Island Drive In, and the Alameda Theater.
Arriving for my “backstage” tour of Southshore Cinemas, I walked up the narrow fl ight of stairs leading to the booth and was amazed by what I saw. I had been in numerous theater projection booths before, but nothing like this. Most had been dark, grimy, industrial affairs. This was a long, rectangular room that was clean, fairly well-lit, modern appearing and dominated by two huge projectors—one for each screen. Don explained that these were Italian-made Cinemeccanica V18s.
These state of the art devices also ran an automation system that with a touch of a single start button would handle all operations, including fading the house lights and intermission music, starting the projector, opening the curtains, and reverse the procedure at the end of the film, reverse the procedure. Pretty cool, but what impressed me even more was the ability to load an entire feature film on a huge 13,000-foot 35mm reel (nearly three feet in diameter) and play the entire film without the need for changeovers. This allowed a single projectionist to run two screens. And each projector lamp was a high output Xenon bulb with thousands of hours of life—no stinky old-tech carbon rod lighting here! What was equally cool was that fact that Don—an electronics wiz in his own right—also created a large desktop center in the booth with remote switching that allowed him to control and monitor the operations of both screens (via closed-circuit cameras) from that spot. It looked more like something out of NASA mission control than a suburban mall cinema.
The 13,000-foot film reels had a capacity of nearly two and a half hours—great for uninterrupted viewing and could be rewound directly on the projector. However, they also weighed about 70 pounds and lifting one of these and sliding it onto the top spindle (about six feet up) required a feat of agility and strength. This presented no challenge to Don, who devised a system using the motor and worm gear drive from an electric garage door opener to create an automatic lift for the heavy reels. Problem solved.
The Cinemeccanicas were amazing, but had one drawback. The huge film reels took about 20 minutes to rewind, which was an issue with theaters that wanted to run the movie with short (like 10-minute) times between showings. Also, before any show, the film that arrived on 20-minute shipping reels that had to be spliced into one long continuous roll, and once the film run ended, the projectionist would take the film off the big reels, splice the leaders back on and pack the film for its trip back to the distributor or next theater. The process provided plenty of margin for error, such as inserting reel four before reel two, or mismarking the reels before they left for their next engagement—leaving the disaster for the next guy.
These days, the once-common 13,000-foot film reels have all but disappeared, replaced by platter systems. Using platters, on arrival at the theater, the film’s 2,000-foot (20-minute) shipping reels are assembled onto the equivalent of giant, stacked rotating horizontal pizza trays, which eliminate the need to rewind after each showing.
2011年10月13日 星期四
Which Is Better To Buy A LCD Or A Plasma TV Confused..
Keep some ziplock baggies handy to keep your pocket electronics dry if you have to go out in the rain or get caught in a rain band when you thought the sun had come out and it was safe. I keep a little towel in there so I can dry something and then seal it up to keep it that way. best iPad to Mac transfer Plasma, Television has vivid hues, quick refresh and wonderful contrast? Plasma TVs would be the TVs that largely most likely catch your eye when you stroll down the aisle within your nearby very best purchase. Plasma TVs have exceptionally vivid, unique and lively hues. But just like most excellent issues in lifestyle there exists a downside to contemplate. Plasma TVs have substantial electrical power usage as well as a fairly brief lifespan.
But on the other hand you could properly be acquiring a more recent kind of larger technological innovation Television nevertheless once again later on. Soon after all getting the newest Television engineering happens to be an important standing image in lots of if not most center course American residences. Should you only needed a Television you may of properly gone to Wal-Mart or Costco and bought an extremely acceptable photo older CRT Television really inexpensively. Some assessments have revealed which the capacity to get a plasma exhibit to demonstrate genuine black decreases by 13% around the primary 4 weeks. Above a period of time of the number of many years this might present blacks as mild grays inside your picture. The large energy usage might not bother you in the event you will not thoughts paying out somewhat far more for ones electrical bill, however the true concern just like in notebook personal computers may be the quantity warmth created and also the hurt carried out to those digital products as well as the display screen of your respective new and really high-priced plasma Television by that warmth. .
The warmth arises from the million small fluorescent tubes on the large glass substrate that generates the picture. This design and style is additionally component with the longevity problem. The large warmth created in a very little region uses up out the phosphors earlier than the phosphor on the classic CRT. And, in tying every thing collectively, this will also end result in picture burn-in specially on channels that exhibit their brand constantly while in the decrease appropriate corner. LCD TVs are considerably cheaper than plasma, but additionally are inclined to not have photographs which might be as sharp or vibrant. One other downside to LCD shows is the pixels are fairly sluggish to vary state. Quick heading objects including a hockey puck or baseball bat get blurred exactly where they could display much more crisply with a plasma or high quality CRT.
Projection TVs are one more choice. Projection Television technological innovation now makes considerably sharper, much more vivid photos that in earlier decades with deeper blacks that rival the CRT, and conquer the majority of the plasma and LCD shows. This can be the strategy to go for show dimensions of fifty inches or increased. The principle downside for just about any in the projection systems will be the lamp utilised since the mild supply. The standard metal halide projector lamp only lasts one thousand to 2000 hrs and may value a number of hundred bucks to exchange. Extended lifestyle span lamps referred to as ultra substantial efficiency (UHP) have just lately arrive within the marketplace that use mercury vapor as an alternative of argon and also have lifespan ranging from three,000 to ten,000 hrs. Most shoppers use their TVs on an common foundation of one,000 hrs a yr. Which means that in case the bulb is within the assortment of £ 300 - £ five hundred pounds the price of �running the projection Television?at a tough manual of one,000 hrs of use for each bulb is a number of hundred bucks a yr.
The projections of bulb longevity in many cases are completed in very best circumstance not situations not the normal set up exactly where the house owner could even impair the air flow of warmth unintentionally by Television and home furniture placement decided on because of the spouse for look fairly than digital longevity. Not so conceptually the projection Television bulbs look for being extremely proprietary bulbs offered through the projection Television producer. Bulbs for Sony projection TVs are created and dispersed only by Sony. You could discover a cheaper bulb say a Hitachi. Nonetheless it's a judgment phone. The Sony bulbs though far more high-priced are a lot far more well-liked and simple to seek out on eBay ?even utilised bulbs. But projection Television bulbs are extremely fragile and might not endure shipment by mail. Just like LCD show, producers are relocating toward large intensity LED technological innovation to exchange lamps and have lifespan measured in decades.
Naturally, that technological innovation is just not inexpensive, but costs really should arrive down because they turn out to be much more accessible within the subsequent a number of many years. About the horizon we will search ahead tothe subsequent tound on new large tech kind of TVs- SEDs. What exactly is SED? SED is Surface-conduction Electron-emitter Exhibit. These ought to be coming around the marketplace in about 2008/2009. Japan will most likely begin viewing them through the stop of 2007. These are a flat panel show, considerably such as the LCD shows now, but have traits resembling that in the CRT for contrast and picture good quality. This arises from foundation with the design and style: each and every pixel is essentially a little CRT.
It employs much less vitality than plasma given that it really is simpler to create an electron beam (as being a CRT does) than it really is to excite photons inside a fuel (because the plasma exhibit does). There's no creation screen of SED TVs nevertheless offered. Also there's no info nevertheless for other functionality or dependability aspects. Within the stop appreciate your buy. You might nicely obtain a plasma Television now, pay out it off, confess you actually loved the plasma Television and nevertheless buy nevertheless yet again the more recent SED Television to your residence for its greater, much more state-of-the-art photograph and like a standing image to your property. It in no way stops.
But on the other hand you could properly be acquiring a more recent kind of larger technological innovation Television nevertheless once again later on. Soon after all getting the newest Television engineering happens to be an important standing image in lots of if not most center course American residences. Should you only needed a Television you may of properly gone to Wal-Mart or Costco and bought an extremely acceptable photo older CRT Television really inexpensively. Some assessments have revealed which the capacity to get a plasma exhibit to demonstrate genuine black decreases by 13% around the primary 4 weeks. Above a period of time of the number of many years this might present blacks as mild grays inside your picture. The large energy usage might not bother you in the event you will not thoughts paying out somewhat far more for ones electrical bill, however the true concern just like in notebook personal computers may be the quantity warmth created and also the hurt carried out to those digital products as well as the display screen of your respective new and really high-priced plasma Television by that warmth. .
The warmth arises from the million small fluorescent tubes on the large glass substrate that generates the picture. This design and style is additionally component with the longevity problem. The large warmth created in a very little region uses up out the phosphors earlier than the phosphor on the classic CRT. And, in tying every thing collectively, this will also end result in picture burn-in specially on channels that exhibit their brand constantly while in the decrease appropriate corner. LCD TVs are considerably cheaper than plasma, but additionally are inclined to not have photographs which might be as sharp or vibrant. One other downside to LCD shows is the pixels are fairly sluggish to vary state. Quick heading objects including a hockey puck or baseball bat get blurred exactly where they could display much more crisply with a plasma or high quality CRT.
Projection TVs are one more choice. Projection Television technological innovation now makes considerably sharper, much more vivid photos that in earlier decades with deeper blacks that rival the CRT, and conquer the majority of the plasma and LCD shows. This can be the strategy to go for show dimensions of fifty inches or increased. The principle downside for just about any in the projection systems will be the lamp utilised since the mild supply. The standard metal halide projector lamp only lasts one thousand to 2000 hrs and may value a number of hundred bucks to exchange. Extended lifestyle span lamps referred to as ultra substantial efficiency (UHP) have just lately arrive within the marketplace that use mercury vapor as an alternative of argon and also have lifespan ranging from three,000 to ten,000 hrs. Most shoppers use their TVs on an common foundation of one,000 hrs a yr. Which means that in case the bulb is within the assortment of £ 300 - £ five hundred pounds the price of �running the projection Television?at a tough manual of one,000 hrs of use for each bulb is a number of hundred bucks a yr.
The projections of bulb longevity in many cases are completed in very best circumstance not situations not the normal set up exactly where the house owner could even impair the air flow of warmth unintentionally by Television and home furniture placement decided on because of the spouse for look fairly than digital longevity. Not so conceptually the projection Television bulbs look for being extremely proprietary bulbs offered through the projection Television producer. Bulbs for Sony projection TVs are created and dispersed only by Sony. You could discover a cheaper bulb say a Hitachi. Nonetheless it's a judgment phone. The Sony bulbs though far more high-priced are a lot far more well-liked and simple to seek out on eBay ?even utilised bulbs. But projection Television bulbs are extremely fragile and might not endure shipment by mail. Just like LCD show, producers are relocating toward large intensity LED technological innovation to exchange lamps and have lifespan measured in decades.
Naturally, that technological innovation is just not inexpensive, but costs really should arrive down because they turn out to be much more accessible within the subsequent a number of many years. About the horizon we will search ahead tothe subsequent tound on new large tech kind of TVs- SEDs. What exactly is SED? SED is Surface-conduction Electron-emitter Exhibit. These ought to be coming around the marketplace in about 2008/2009. Japan will most likely begin viewing them through the stop of 2007. These are a flat panel show, considerably such as the LCD shows now, but have traits resembling that in the CRT for contrast and picture good quality. This arises from foundation with the design and style: each and every pixel is essentially a little CRT.
It employs much less vitality than plasma given that it really is simpler to create an electron beam (as being a CRT does) than it really is to excite photons inside a fuel (because the plasma exhibit does). There's no creation screen of SED TVs nevertheless offered. Also there's no info nevertheless for other functionality or dependability aspects. Within the stop appreciate your buy. You might nicely obtain a plasma Television now, pay out it off, confess you actually loved the plasma Television and nevertheless buy nevertheless yet again the more recent SED Television to your residence for its greater, much more state-of-the-art photograph and like a standing image to your property. It in no way stops.
2011年10月12日 星期三
Optoma HD33
Few projectors leave me feeling as ambivalent about them as the Optoma HD33 ($1,500 street) does. On the one hand, I love it. It's an impressive projector at a bargain price, with 1080p resolution in 2D and 3D and superb image quality. On the other hand...well, it shows rainbow artifacts, the little red-green-blue flashes that single-chip DLP projectors tend to show when light areas move on screen. If you can ignore the rainbows (and people who aren't sensitive to the effect can), it's a slam dunk winner. If you see them as easily as I do, however, it's an impressive choice, but one that you should approach cautiously.
In some ways, the Optoma HD33 is following in the path of the Optoma HD20 ($1,000 street, 3.5 stars) that I reviewed two years ago. When the HD20 was introduced, it dropped the entry-level price for 1080p significantly, making HD projectors far more affordable. The HD33 does much the same for 3D 1080p projectors, which until now have been in the range of $3,000 and (mostly) up.
Both the HD20 and HD33 fall in the same budget home theater category as the Editors' Choice Epson PowerLite Home Cinema 8350 ($1,299 direct, 4 stars). The key difference is that the HD33 is the only one that offers 3D, much less 3D at 1080p. However, it also lacks some useful conveniences you'll find on the slightly less expensive 8350. In particular, it doesn't offer horizontal and vertical lens shift. The feature gives you much more flexibility for where you can place the projector by letting you move the image with lens shift adjustments rather than moving the projector.
As with the Optoma GT750E ($800 street, 4 stars) that I recently reviewed, the HD33 works with both DLP-link and RF glasses for 3D, and it comes with an external RF emitter that plugs into the VESA 3D port. RF glasses have the advantage of not needing a line of sight to the emitter, so they don't have to resync if you momentarily break the line of sight. Note that Optoma doesn't supply glasses with the HD33, so you might want to buy them at the same time as the projector ($100 each for the rechargeable Optoma models).
Aside from having to plug in the 3D emitter, setup is standard fare, with a 1.2x manual zoom giving you some flexibility in how far you can put the projector from the screen for a given size image. Connectors on the back include two HDMI ports, a VGA port for a computer or component video, three RCA phono plugs for component video, and one RCA plug for composite video. There are no audio ports. As is common with home theater project
Optoma rates the HD33 at 1,800 lumens, which could easily be too bright for theater dark lighting and the image size that's typical for a home theater. However, you can drop the brightness to a more appropriate level by switching the lamp from bright to standard mode, and save money on lamps at the same time by increasing the lamp life from a rated 3,000 to 4000 hours. The high brightness also lets the image stand up to some stray light if you want to use it in, say, a family room. I tested primarily with theater dark lighting using a roughly 78-inch wide screen, or 90-inch diagonal at 1080p's 16:9 aspect ratio.
For the 2D tests, I used both DVDs upscaled to 1080p and Blu-ray discs. In both cases, the image was superb in almost every way. The HD33 took our toughest test clips in stride, maintaining shadow detail (detail based on shading in dark areas) and avoiding other issues like posterization (colors changing suddenly where they should change gradually) in clips chosen precisely because they tend to bring out those problems. The only issue I saw was moderate noise showing in large solid areas, like a wall or the sky.
Beyond that, the HD33 delivered fully saturated color with a level of sharpness that made 2D images seem ready to pop off the screen. It also goes a step further, with its PureMotion feature, which adds interpolated frames to reduce judder, the slightly jerky motion caused by the standard 24 frames per second that film uses.
Quite simply, the feature works, with three settings to choose from. The highest level gives the smoothest motion, but adds distracting artifacts. I found the lowest level, which is the default setting, the best compromise, giving noticeably smoother than standard motion without artifacts.
In some ways, the image is almost too good. There's a clear visual difference between film and live video that's hard to pinpoint but easy to see. It's based on some combination of crispness of image, smoothness of motion and perhaps some other issues that aren't obvious. In any case, as I proved to my own satisfaction by playing with the HD33's PureMotion settings, removing judder goes a long way to making filmed scenes look like live video instead.
This is not automatically a good thing. For me at least, watching a movie that looks like live video is a little unnerving, with my subconscious screaming that it just doesn't look right. However, odds are that as movies increasingly go digital, they'll also go to a faster frame rate, and we'll all get used to that live video-like image. In the meantime, if the better image really bothers you, you can always turn PureMotion off.
In some ways, the Optoma HD33 is following in the path of the Optoma HD20 ($1,000 street, 3.5 stars) that I reviewed two years ago. When the HD20 was introduced, it dropped the entry-level price for 1080p significantly, making HD projectors far more affordable. The HD33 does much the same for 3D 1080p projectors, which until now have been in the range of $3,000 and (mostly) up.
Both the HD20 and HD33 fall in the same budget home theater category as the Editors' Choice Epson PowerLite Home Cinema 8350 ($1,299 direct, 4 stars). The key difference is that the HD33 is the only one that offers 3D, much less 3D at 1080p. However, it also lacks some useful conveniences you'll find on the slightly less expensive 8350. In particular, it doesn't offer horizontal and vertical lens shift. The feature gives you much more flexibility for where you can place the projector by letting you move the image with lens shift adjustments rather than moving the projector.
As with the Optoma GT750E ($800 street, 4 stars) that I recently reviewed, the HD33 works with both DLP-link and RF glasses for 3D, and it comes with an external RF emitter that plugs into the VESA 3D port. RF glasses have the advantage of not needing a line of sight to the emitter, so they don't have to resync if you momentarily break the line of sight. Note that Optoma doesn't supply glasses with the HD33, so you might want to buy them at the same time as the projector ($100 each for the rechargeable Optoma models).
Aside from having to plug in the 3D emitter, setup is standard fare, with a 1.2x manual zoom giving you some flexibility in how far you can put the projector from the screen for a given size image. Connectors on the back include two HDMI ports, a VGA port for a computer or component video, three RCA phono plugs for component video, and one RCA plug for composite video. There are no audio ports. As is common with home theater project
Optoma rates the HD33 at 1,800 lumens, which could easily be too bright for theater dark lighting and the image size that's typical for a home theater. However, you can drop the brightness to a more appropriate level by switching the lamp from bright to standard mode, and save money on lamps at the same time by increasing the lamp life from a rated 3,000 to 4000 hours. The high brightness also lets the image stand up to some stray light if you want to use it in, say, a family room. I tested primarily with theater dark lighting using a roughly 78-inch wide screen, or 90-inch diagonal at 1080p's 16:9 aspect ratio.
For the 2D tests, I used both DVDs upscaled to 1080p and Blu-ray discs. In both cases, the image was superb in almost every way. The HD33 took our toughest test clips in stride, maintaining shadow detail (detail based on shading in dark areas) and avoiding other issues like posterization (colors changing suddenly where they should change gradually) in clips chosen precisely because they tend to bring out those problems. The only issue I saw was moderate noise showing in large solid areas, like a wall or the sky.
Beyond that, the HD33 delivered fully saturated color with a level of sharpness that made 2D images seem ready to pop off the screen. It also goes a step further, with its PureMotion feature, which adds interpolated frames to reduce judder, the slightly jerky motion caused by the standard 24 frames per second that film uses.
Quite simply, the feature works, with three settings to choose from. The highest level gives the smoothest motion, but adds distracting artifacts. I found the lowest level, which is the default setting, the best compromise, giving noticeably smoother than standard motion without artifacts.
In some ways, the image is almost too good. There's a clear visual difference between film and live video that's hard to pinpoint but easy to see. It's based on some combination of crispness of image, smoothness of motion and perhaps some other issues that aren't obvious. In any case, as I proved to my own satisfaction by playing with the HD33's PureMotion settings, removing judder goes a long way to making filmed scenes look like live video instead.
This is not automatically a good thing. For me at least, watching a movie that looks like live video is a little unnerving, with my subconscious screaming that it just doesn't look right. However, odds are that as movies increasingly go digital, they'll also go to a faster frame rate, and we'll all get used to that live video-like image. In the meantime, if the better image really bothers you, you can always turn PureMotion off.
2011年10月11日 星期二
Panasonic projectors win CRN categories
Panasonic's projectors have come top of their category at the CRN 2011 Tech Innovator Awards.
The company's PT-DZ570 Series projectors came top in the Display-Projection category, thanks to their reliability and flexibility.
Panasonic's proprietary Vivid Color Control technology andLamp Modulation Drive System in a one-chip DLPTM projector allow the systems to produce bright and vivid colours with the help of the 4,500 lumens of brightness from the projector lamp .
In addition, the Daylight ViewTM Premium feature means that the gadgets can measure the surrounding illumination with a built-in ambient light sensor and correct the images in real-time.
Sheila O'Neil, vice-president of channel sales at Panasonic, commented: “These awards are a testament to our dedication to providing our channel partners and end-users with customised, innovative, reliable solutions to meet a variety of professional applications and environments.”
The projectors have the added benefit of a new cooling system that permits them to be used in ambient temperatures of up to 45 degrees Celsius. Combined with the dust-resistant design of the device, this helps lower maintenance costs and reduce downtime.
Even oncelamp replacement is required, there is no need to remove the whole projector from its mount as there is a convenient location near the back of the gadget that allows the lamp to be removed separately.
The company's PT-DZ570 Series projectors came top in the Display-Projection category, thanks to their reliability and flexibility.
Panasonic's proprietary Vivid Color Control technology and
In addition, the Daylight ViewTM Premium feature means that the gadgets can measure the surrounding illumination with a built-in ambient light sensor and correct the images in real-time.
Sheila O'Neil, vice-president of channel sales at Panasonic, commented: “These awards are a testament to our dedication to providing our channel partners and end-users with customised, innovative, reliable solutions to meet a variety of professional applications and environments.”
The projectors have the added benefit of a new cooling system that permits them to be used in ambient temperatures of up to 45 degrees Celsius. Combined with the dust-resistant design of the device, this helps lower maintenance costs and reduce downtime.
Even once
2011年10月10日 星期一
Panasonic Solutions Company Named a 2011 Tech Innovator by UBM Channel’s CRN
Panasonic Solutions Company, provider of collaboration, information-sharing and decision-support solutions for government and commercial enterprises, announced today that it has received two 2011 Tech Innovator awards from CRN in both the "Display-Digital Signage" and "Display-Projection" categories. CRN's 9th annual Tech Innovator listing celebrates vendors that have introduced new products or solutions to drive advances in the technology channel. Companies on this exclusive list recently implemented innovative methods to bridge the gap between current problems and solutions facing channel executives today.
Winner of the Display-Digital Signage category, the 103" TH-103VX200U Professional Plasma Display features superior image quality and world-class support and was designed for numerous applications allowing resellers access to new market opportunities including corporate and commercial environments, home theatres and screening rooms, digital signage, education and entertainment staging. With so many potential applications, the display is outfitted with a SLOT 2.0 function whereby different terminal boards may be inserted, providing compatibility with interfaces such as DVI4 and HD-SDI4, and facilitating use in a wide array of operating environments.
The plasma also has 8,192 equivalent steps of gradation boost detailed expression, making it possible to display full HD 3D images while also translating to a remarkably high-level of performance when displaying 2D images. The color expression that is achieved by 8,192 equivalent steps of gradation, and the smoothness with which it renders intermediate colors, combine to create tonal nuances that have never before been possible.
The display brings image quality and 3D-readiness to numerous applications to a new level with deep blacks, accurate colors and unmatched motion reproduction, making them perfect for displaying static images and motion videos, in both dark and well-lit environments. As a boon to resellers, there is no competitive consumer version available.
The PT-DZ570 Series projectors, winner of the "Display-Projection" category, provide the reliability and flexibility that resellers' customers are looking for in a number of environments including education, healthcare and corporate settings and features up to 4,500 lumens of brightness. It combines Panasonic's proprietary Vivid Color Control technology with a Lamp Modulation Drive System in a 1-chip DLPTM projector that produces bright and vivid colors. The exclusive Daylight ViewTM Premium feature measures surrounding illumination with a built-in ambient light sensor and corrects the image in real-time, producing clear, crisp images with remarkable depth - even in brightly-lit rooms.
A new cooling system allows the projector to be used in ambient temperatures up to 45°C (113°F) and combines with a dust-resistant design based on a sealed optical block to achieve a lamp and lamp air filter replacement cycle of 2,000 hours which greatly reduces maintenance hassles. This air filterless design significantly reduces the units' maintenance costs, eliminating the need to clean a projector filter after every few hundred hours of operation. When lamp replacements do becomes necessary, the convenient lamp location in the rear of the projector means that the device does not have to be removed from a ceiling mount for upkeep. These features reduce downtime and keep customers happy.
The PT-DZ570 Series projectors are equipped with 2x zoom lens and the horizontal/vertical lens shift feature that makes it possible to move the projected image without moving the projector. This enables IT professionals to install the PT-DZ570 Series projectors in the existing mount, saving time and money associated with new projector installation process.
"At Panasonic, we are dedicated to creating professional visualization devices that empower resellers to equip their customers with the right solutions to fit their needs," said Sheila O'Neil, Vice President, Channel Sales, Panasonic Solutions Company. "These awards are a testament to our dedication to providing our channel partners and end-users with customized, innovative, reliable solutions to meet a variety of professional applications and environments."
"In today's challenging business environment, it's more important than ever to discover, nurture and reward new ideas," said Kelley Damore, Vice President, Editorial Director for UBM Channel. "This year's Tech Innovator Awards recognizes technology companies that have used original methods or technologies to deliver cutting-edge products and partner support. We congratulate this year's winners on their success, and applaud them for breaking away from traditional thinking to create completely new and unique channel opportunities."
Winner of the Display-Digital Signage category, the 103" TH-103VX200U Professional Plasma Display features superior image quality and world-class support and was designed for numerous applications allowing resellers access to new market opportunities including corporate and commercial environments, home theatres and screening rooms, digital signage, education and entertainment staging. With so many potential applications, the display is outfitted with a SLOT 2.0 function whereby different terminal boards may be inserted, providing compatibility with interfaces such as DVI4 and HD-SDI4, and facilitating use in a wide array of operating environments.
The plasma also has 8,192 equivalent steps of gradation boost detailed expression, making it possible to display full HD 3D images while also translating to a remarkably high-level of performance when displaying 2D images. The color expression that is achieved by 8,192 equivalent steps of gradation, and the smoothness with which it renders intermediate colors, combine to create tonal nuances that have never before been possible.
The display brings image quality and 3D-readiness to numerous applications to a new level with deep blacks, accurate colors and unmatched motion reproduction, making them perfect for displaying static images and motion videos, in both dark and well-lit environments. As a boon to resellers, there is no competitive consumer version available.
The PT-DZ570 Series projectors, winner of the "Display-Projection" category, provide the reliability and flexibility that resellers' customers are looking for in a number of environments including education, healthcare and corporate settings and features up to 4,500 lumens of brightness. It combines Panasonic's proprietary Vivid Color Control technology with a Lamp Modulation Drive System in a 1-chip DLPTM projector that produces bright and vivid colors. The exclusive Daylight ViewTM Premium feature measures surrounding illumination with a built-in ambient light sensor and corrects the image in real-time, producing clear, crisp images with remarkable depth - even in brightly-lit rooms.
A new cooling system allows the projector to be used in ambient temperatures up to 45°C (113°F) and combines with a dust-resistant design based on a sealed optical block to achieve a lamp and lamp air filter replacement cycle of 2,000 hours which greatly reduces maintenance hassles. This air filterless design significantly reduces the units' maintenance costs, eliminating the need to clean a projector filter after every few hundred hours of operation. When lamp replacements do becomes necessary, the convenient lamp location in the rear of the projector means that the device does not have to be removed from a ceiling mount for upkeep. These features reduce downtime and keep customers happy.
The PT-DZ570 Series projectors are equipped with 2x zoom lens and the horizontal/vertical lens shift feature that makes it possible to move the projected image without moving the projector. This enables IT professionals to install the PT-DZ570 Series projectors in the existing mount, saving time and money associated with new projector installation process.
"At Panasonic, we are dedicated to creating professional visualization devices that empower resellers to equip their customers with the right solutions to fit their needs," said Sheila O'Neil, Vice President, Channel Sales, Panasonic Solutions Company. "These awards are a testament to our dedication to providing our channel partners and end-users with customized, innovative, reliable solutions to meet a variety of professional applications and environments."
"In today's challenging business environment, it's more important than ever to discover, nurture and reward new ideas," said Kelley Damore, Vice President, Editorial Director for UBM Channel. "This year's Tech Innovator Awards recognizes technology companies that have used original methods or technologies to deliver cutting-edge products and partner support. We congratulate this year's winners on their success, and applaud them for breaking away from traditional thinking to create completely new and unique channel opportunities."
2011年10月9日 星期日
Farewell to film at fully-digital Odeon
A NEW era for cinema in Harrogate is set to begin after the remaining 35mm-film projectors at the Odeon were replaced with digital versions.
The picture house on East Parade already had two digital screens but the remaining three have been upgraded this week allowing all five to begin showing better quality pictures with improved sound from today.
“It’s a shame that it’s the end of an era as 35mm has been going on for 100 years or so but it’s a case of going with the modern times,” said cinema manager Kevin Langford.
“Most films are on digital format now and having all screens digital will improve the picture quality for audiences, the sound has been upgraded and it means we can do other things – such as adding subtitles.”
The new digital projectors will also allow live-feeds to be shown on all five screens and the Odeon will keep a 35mm-film projector on-hand in screen one for showing any films unavailable in digital format.
Mr Langford added: “With digital projectors there’s scope to do more such as showing things like live operas, ballets and musicals.”
With 35mm-films, movies would be delivered to the cinema as a bundle of reels lasting around 20 minutes each and projectionists would be responsible for physically splicing them together along with advertisements and film trailers ready for screenings.
Now, under the new digital theatre management system, hard drives containing the full film are connected to a main computer and downloaded on to the system with adverts and trailers all added electronically from DVDs or USB memory sticks.
Technical manager Graham Bird, the Odeon’s chief projectionist, said: “I’ll miss the physical side of things – touching the film, running it through your fingers and holding it up to the light. With digital you can’t see it all work – it’s just a series of zeros and ones that’s converted to an image.
“But the new screens are fantastic – all the screen sizes are increasing with the exception of screen five and the sound is going to be much, much better.”
The picture house on East Parade already had two digital screens but the remaining three have been upgraded this week allowing all five to begin showing better quality pictures with improved sound from today.
“It’s a shame that it’s the end of an era as 35mm has been going on for 100 years or so but it’s a case of going with the modern times,” said cinema manager Kevin Langford.
“Most films are on digital format now and having all screens digital will improve the picture quality for audiences, the sound has been upgraded and it means we can do other things – such as adding subtitles.”
The new digital projectors will also allow live-feeds to be shown on all five screens and the Odeon will keep a 35mm-film projector on-hand in screen one for showing any films unavailable in digital format.
Mr Langford added: “With digital projectors there’s scope to do more such as showing things like live operas, ballets and musicals.”
With 35mm-films, movies would be delivered to the cinema as a bundle of reels lasting around 20 minutes each and projectionists would be responsible for physically splicing them together along with advertisements and film trailers ready for screenings.
Now, under the new digital theatre management system, hard drives containing the full film are connected to a main computer and downloaded on to the system with adverts and trailers all added electronically from DVDs or USB memory sticks.
Technical manager Graham Bird, the Odeon’s chief projectionist, said: “I’ll miss the physical side of things – touching the film, running it through your fingers and holding it up to the light. With digital you can’t see it all work – it’s just a series of zeros and ones that’s converted to an image.
“But the new screens are fantastic – all the screen sizes are increasing with the exception of screen five and the sound is going to be much, much better.”
2011年10月8日 星期六
York County planetarium hopes to retire old star ball
Watching a program in the Museum of York County's Settlemyre Planetarium is sort of like revisiting the past.
Two-dimensional static images float across the domed ceiling, lit with tiny star-like flecks of light. In one program, children take a trip through space on a cardboard rocket. Their voices play out the scenes, the subtle scratches of a recording and instrumental music playing underneath their voices.
With county leaders' approval, the decades-old planetarium equipment will be one step closer to being replaced with more modern digital equipment.
The upgrade would allow the planetarium to feature more than just space science programs, said Cate Crane, director of education for the Culture and Heritage Museums.
Ice worlds, the African Serengeti, oceans, cells and the immune system - even sea monsters from prehistoric ecosystems - are programs the museum could offer with a new planetarium, she said.
The Museums of York County might receive $150,000 in grant money to modernize the planetarium, replacing the star ball projector installed in the late 1970s.
Some of the support for the planetarium improvements - expected to cost more than $500,000 total - might come from hospitality tax dollars, which must be used for tourism-related projects.
The York County Council will consider approving the funds when it meets Oct. 17.
Museum staff have openly expressed the need for a new planetarium.
The bulky projector - which rivals the size of some prehistoric fossils -commands the middle of the planetarium floor, casting tiny lights on the domed ceiling above.
The contraption, however, fades out once the lights are dimmed and the program is rolling, and the machine still has some charms.
Unlike a digital projector, each of the 2,400 stars in the analog machine is drilled and lensed to provide the smallest, but sharpest pinhole stars.
A tiny arc light with a high current is so bright it casts light 30 feet onto the dome.
Digital hasn't matched that effect yet, said Glenn Dantzler, the planetarium's technician and docent since 1991. Though retired, Dantzler still comes by to work on the equipment and teaches the advanced astronomy classes for high school and college classes.
Several slide projectors with static images provide other visual effects for different themed programs. The images move around the dome for effect.
"In 1991 (the programs) were still wowing children," Dantzler said. "But with the advent of the Wii and the Xbox, it takes a lot more to wow them now."
Museum staff have been exploring digital options that would allow for "immersive reality, where you are inside the program," he said.
The museum, which supplements local schools with education programming, "can't make use of all the science content from science organizations because we can't support the technology," Crane said.
With an upgraded digital system, the planetarium will be able to support live feeds from weather and science organization's sites.
It will also allow the museum to participate in new partnership programs with museums of the Smithsonian Institution that work with prominent universities to create educational opportunities.
The museum also received some grant money already toward the planetarium renovations. Staff will continue to seek additional sources of support.
The star ball could find a second life with a new owner, Dantzler said. Star ball technology is still "extraordinarily accurate" in producing an precise sky.
Two-dimensional static images float across the domed ceiling, lit with tiny star-like flecks of light. In one program, children take a trip through space on a cardboard rocket. Their voices play out the scenes, the subtle scratches of a recording and instrumental music playing underneath their voices.
With county leaders' approval, the decades-old planetarium equipment will be one step closer to being replaced with more modern digital equipment.
The upgrade would allow the planetarium to feature more than just space science programs, said Cate Crane, director of education for the Culture and Heritage Museums.
Ice worlds, the African Serengeti, oceans, cells and the immune system - even sea monsters from prehistoric ecosystems - are programs the museum could offer with a new planetarium, she said.
The Museums of York County might receive $150,000 in grant money to modernize the planetarium, replacing the star ball projector installed in the late 1970s.
Some of the support for the planetarium improvements - expected to cost more than $500,000 total - might come from hospitality tax dollars, which must be used for tourism-related projects.
The York County Council will consider approving the funds when it meets Oct. 17.
Museum staff have openly expressed the need for a new planetarium.
The bulky projector - which rivals the size of some prehistoric fossils -commands the middle of the planetarium floor, casting tiny lights on the domed ceiling above.
The contraption, however, fades out once the lights are dimmed and the program is rolling, and the machine still has some charms.
Unlike a digital projector, each of the 2,400 stars in the analog machine is drilled and lensed to provide the smallest, but sharpest pinhole stars.
A tiny arc light with a high current is so bright it casts light 30 feet onto the dome.
Digital hasn't matched that effect yet, said Glenn Dantzler, the planetarium's technician and docent since 1991. Though retired, Dantzler still comes by to work on the equipment and teaches the advanced astronomy classes for high school and college classes.
Several slide projectors with static images provide other visual effects for different themed programs. The images move around the dome for effect.
"In 1991 (the programs) were still wowing children," Dantzler said. "But with the advent of the Wii and the Xbox, it takes a lot more to wow them now."
Museum staff have been exploring digital options that would allow for "immersive reality, where you are inside the program," he said.
The museum, which supplements local schools with education programming, "can't make use of all the science content from science organizations because we can't support the technology," Crane said.
With an upgraded digital system, the planetarium will be able to support live feeds from weather and science organization's sites.
It will also allow the museum to participate in new partnership programs with museums of the Smithsonian Institution that work with prominent universities to create educational opportunities.
The museum also received some grant money already toward the planetarium renovations. Staff will continue to seek additional sources of support.
The star ball could find a second life with a new owner, Dantzler said. Star ball technology is still "extraordinarily accurate" in producing an precise sky.
2011年10月7日 星期五
VDCDS Introduces New SSL Projectors for Simulation Training
Video Display Corporation is pleased to announce that its simulation division, VDC Display Systems (VDCDS), has launched two new display products for use in military and commercial flight simulators. Based on VDCDS's extensive experience of high resolution projector design, the SSL6250 and SSL6050 LED projectors have been successfully verified by independent experts to meet and/or exceed Federal Aviation Administration (FAA) Level D full-flight simulator requirements, the strictest standard in use for full-flight simulation systems. Furthermore, as the design has no consumables or moving parts, it is virtually maintenance free.
Marcial Vidal, VDCDS President, states, "The SSL6250/6050 LED projectors were specifically designed for flight trainers and address most, if not all, recurrent lamp replacement and regular readjustment issues, thus providing sustained, dependable image use and quality."
The SSL6250/6050 LED projectors are professional-quality projectors designed and manufactured to VDCDS's exacting requirements for providing ruggedized solutions for use in mobile platforms specifically to withstand consistent industrial use. LED light sources, having an operating life of 50,000 hours, eliminate the need for frequent lamp replacement and set up associated with lamp-based projector systems.
The SSL6250/6050 projectors include VDCDS's new LED control module, which appreciably increases projector light output while retaining black level and LED long life. In addition, the new projectors feature motion blur reduction and Infrared (IR) illumination to stimulate Night Vision Goggles (NVGs) in a seamless display for day and night scenes necessary for demanding military trainers.
VDCDS's proprietary SSL light source with LED illumination control is ideal for multiple projector systems; providing a uniform display across all projectors, eliminating varying brightness and color problems associated with the aging of optical blocks, filters and individual lamps. Loss of training time typical in lamp-based projector systems due to lamp failure/aging will no longer be a factor. Additionally, the new SSL6250/6050 projectors offer low power consumption which directly translates to lower cooling needs and operational cost reductions.
Marcial Vidal, VDCDS President, states, "The SSL6250/6050 LED projectors were specifically designed for flight trainers and address most, if not all, recurrent lamp replacement and regular readjustment issues, thus providing sustained, dependable image use and quality."
The SSL6250/6050 LED projectors are professional-quality projectors designed and manufactured to VDCDS's exacting requirements for providing ruggedized solutions for use in mobile platforms specifically to withstand consistent industrial use. LED light sources, having an operating life of 50,000 hours, eliminate the need for frequent lamp replacement and set up associated with lamp-based projector systems.
The SSL6250/6050 projectors include VDCDS's new LED control module, which appreciably increases projector light output while retaining black level and LED long life. In addition, the new projectors feature motion blur reduction and Infrared (IR) illumination to stimulate Night Vision Goggles (NVGs) in a seamless display for day and night scenes necessary for demanding military trainers.
VDCDS's proprietary SSL light source with LED illumination control is ideal for multiple projector systems; providing a uniform display across all projectors, eliminating varying brightness and color problems associated with the aging of optical blocks, filters and individual lamps. Loss of training time typical in lamp-based projector systems due to lamp failure/aging will no longer be a factor. Additionally, the new SSL6250/6050 projectors offer low power consumption which directly translates to lower cooling needs and operational cost reductions.
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