Epson’s latest entry-level LCD projector has an integrated iPhone and iPad dock, so is intended to live on a coffee table or bookshelf rather than be screwed to the ceiling.
The pop-out docking tray will support any iPod, iPhone or iPad, letting you play photo slideshows, music and videos from wherever you are in the room using the slim remote control. Epson's interface is responsive and intuitive, so we had no problem finding and playing our files. We also liked that we could play music through the speakers when the projector was in standby mode, although this is definitely no replacement for a good quality iPod dock.
Beyond the dock, connectivity is rather limited – a single HDMI input is ideal for connecting a games console, Blu-ray player or AV amplifier, but with only one component and one composite input, you may need to switch cables around when connecting multiple devices. There are also only two analogue RCA inputs and a single 3.5mm microphone input for audio devices. A USB host type B port lets you drive the projector from your PC over USB, and standard USB host port will let you display photos directly from a USB flash drive.
The MG-850HD can only project up to 720p video, which isn't such a problem as Apple devices can only output standard definition video through the dock. However, unlike other low-end and mid-range projectors from other manufacturers, the MG-850HD is an LCD rather than DLP projector. This means there are no rainbow effect problems to spoil the image.
Video quality was impressive for such a budget projector – the picture was incredibly sharp and very bright in a dark room. The 2,800 lumens lamp helps greatly, bringing surprisingly vivid colours. Unfortunately, a downside to the high brightness was disappointing black levels – even in complete darkness, it was difficult to pick out some of the detail in certain scenes.
If you can’t mount your projector completely perpendicular to your wall, you have the choice of digital vertical keystone correction and a slider on the top of the projector for horizontal keystone correction. You'll lose some quality when using it, though.
Sound quality was reasonable, with the two 10w speakers managing to create a clear mid-range and crisp high-end. Unsurprisingly, bass response was lacking without a dedicated subwoofer. Although it’s possible to use it without a set of dedicated speakers, if you want your film watching experience to rival the cinema you’ll definitely need to invest in some.
The MG-850HD isn’t aimed at anyone looking to add a projector to a home cinema setup – even though image quality is above average, you won’t be able to play high definition video from an iPad or iPhone, and you'll be limited to 720p from other sources. It makes a great middle ground between office and home use, particularly for iPad owners, but if you’re looking to buy your first projector for the living room, you can find better value elsewhere.
2012年2月20日 星期一
2012年2月19日 星期日
Casio Signature XJ-M145 Review
The Casio Signature XJ-M145 and their other projectors in Casio’s new “Signature” line use their new hybrid LED light source. Casio’s new light source can essentially last for the life of the projector also it is mercury free. The XJ-M145 is just over the $1,000 price point, so it is a little expensive for your average Joe. Casio had a little brother called the Green Slim, for under $1,000 but it contains more features. Read on for the nits and grits of the projector.
The XJ-M145’s light source is rated at 2,500 lumens. It lacks in resolution at only 1,024 by 768. The projector produces red color with LEDs, blue with lasers, and green by shining the blue laser light on a phosphor. This light is then directed through the DLP chip then out through the lens. An outstanding advantage of the hybrid LED light source is its gigantic 20,000 hour lifetime. And that is long enough to run it 8 hours a days, 5 days a week for 10 years. For comparison for a standard lamp can last from 2,000 to 5,000 hours, and costing up to $500 per bulb to replace. The projector has an intelligent brightness control which automatically controls the brightness of the output of the lens. The lens is able to project a nice image even in a decently lit room.
The XJ-M145 measures 3.3H by 12.2W by 9.6D inches weighing in at 8.2 pounds which is on the large side of today’s projectors. It comes with a soft carrying case, with pocket for your cables. Some of the great hookup capabilities include USB connectivity. It is able to read JPG and AVI files from a USB memory key. Which is great if you need to show a presentation at work but you do not want to bring your laptop. All you have to do is plug-in a USB stick and it automatically switches to USB input. The feature that made me really smile was its capability to connects wireless to Wi-Fi-enabled Android, iOS, and Windows Mobile devices. This also includes computers running the MobiShow software. Other connectors include a HDMI port for a computer or video source; a VGA port for a computer, S-Video, composite video; audio in, audio out, a serial port, and an Ethernet LAN connection. With the built-in 5-watt mono speakers you can get a decent amount of volume. For the use of the 3D projection you will need active-shutter DLP-link compatible 3D glasses.
The XJ-M145’s light source is rated at 2,500 lumens. It lacks in resolution at only 1,024 by 768. The projector produces red color with LEDs, blue with lasers, and green by shining the blue laser light on a phosphor. This light is then directed through the DLP chip then out through the lens. An outstanding advantage of the hybrid LED light source is its gigantic 20,000 hour lifetime. And that is long enough to run it 8 hours a days, 5 days a week for 10 years. For comparison for a standard lamp can last from 2,000 to 5,000 hours, and costing up to $500 per bulb to replace. The projector has an intelligent brightness control which automatically controls the brightness of the output of the lens. The lens is able to project a nice image even in a decently lit room.
The XJ-M145 measures 3.3H by 12.2W by 9.6D inches weighing in at 8.2 pounds which is on the large side of today’s projectors. It comes with a soft carrying case, with pocket for your cables. Some of the great hookup capabilities include USB connectivity. It is able to read JPG and AVI files from a USB memory key. Which is great if you need to show a presentation at work but you do not want to bring your laptop. All you have to do is plug-in a USB stick and it automatically switches to USB input. The feature that made me really smile was its capability to connects wireless to Wi-Fi-enabled Android, iOS, and Windows Mobile devices. This also includes computers running the MobiShow software. Other connectors include a HDMI port for a computer or video source; a VGA port for a computer, S-Video, composite video; audio in, audio out, a serial port, and an Ethernet LAN connection. With the built-in 5-watt mono speakers you can get a decent amount of volume. For the use of the 3D projection you will need active-shutter DLP-link compatible 3D glasses.
2012年2月16日 星期四
Living Large With Big-Screen Home Theater
There’s a new dimension to entertainment, bringing on what many have called a second golden age of 3D.
The number of movies filmed in 3D is growing, as well as the number of movies that are being converted from 2D to 3D to boost their box office appeal.
Since the smash hit “Avatar,” many more films have been shot in 3D, including “Alice in Wonderland,” “Sanctum,” “Pirates of the Caribbean,” “Mars Needs Moms” and “The Green Hornet.” Films such as “Green Lantern” and “The Smurfs” were filmed in 2D and converted, while “Harry Potter and the Deathly Hallows: Part 2” and “Puss in Boots” were shot in 2D but also shown in Imax 3D.
This year, many more are coming to theaters while old movies are now available in 3D Blu-ray discs for home enjoyment. And with the increasing popularity of this medium, more people want to enjoy the bold images of 3D on a large screen at home.
To meet that demand, there’s growing interest and innovation in 3D projectors. For example, Mitsubishi Electric’s new 3D projector, the HC7800D, brings the 3D experience home. The projector uses DLP technology to create exciting, vibrant 3D images in full high-definition, 1080p resolution. When paired with a Blu-ray disc player capable of 3D movie playback, 3D projectors like this bring movie enjoyment to a whole new level never before experienced at home.
The projector shows impressive 3D images viewable through its high-performance proprietary active-shutter glasses. The HC7800D also boasts one of the industry’s best 2D to 3D conversion technologies that can transform ordinary 2D classics like “It’s a Wonderful Life” and “Ben-Hur” into a seamless 3D experience with near-perfect 3D simulation that makes content jump off the screen.
The projector’s frame rate conversion technology also produces high-speed image reproduction for showing fine, smooth details and reducing any motion blur, especially in fast action scenes, so even watching sports and games becomes an event to look forward to, whether it’s in 2D or 3D.
The number of movies filmed in 3D is growing, as well as the number of movies that are being converted from 2D to 3D to boost their box office appeal.
Since the smash hit “Avatar,” many more films have been shot in 3D, including “Alice in Wonderland,” “Sanctum,” “Pirates of the Caribbean,” “Mars Needs Moms” and “The Green Hornet.” Films such as “Green Lantern” and “The Smurfs” were filmed in 2D and converted, while “Harry Potter and the Deathly Hallows: Part 2” and “Puss in Boots” were shot in 2D but also shown in Imax 3D.
This year, many more are coming to theaters while old movies are now available in 3D Blu-ray discs for home enjoyment. And with the increasing popularity of this medium, more people want to enjoy the bold images of 3D on a large screen at home.
To meet that demand, there’s growing interest and innovation in 3D projectors. For example, Mitsubishi Electric’s new 3D projector, the HC7800D, brings the 3D experience home. The projector uses DLP technology to create exciting, vibrant 3D images in full high-definition, 1080p resolution. When paired with a Blu-ray disc player capable of 3D movie playback, 3D projectors like this bring movie enjoyment to a whole new level never before experienced at home.
The projector shows impressive 3D images viewable through its high-performance proprietary active-shutter glasses. The HC7800D also boasts one of the industry’s best 2D to 3D conversion technologies that can transform ordinary 2D classics like “It’s a Wonderful Life” and “Ben-Hur” into a seamless 3D experience with near-perfect 3D simulation that makes content jump off the screen.
The projector’s frame rate conversion technology also produces high-speed image reproduction for showing fine, smooth details and reducing any motion blur, especially in fast action scenes, so even watching sports and games becomes an event to look forward to, whether it’s in 2D or 3D.
2012年2月15日 星期三
Heralding a wave of invisible computing
Imagine this. You slide a finger across your smartphone screen to copy a file on the finger, literally making the digit a human storage device. You later copy that file from the finger onto any screen—be it a laptop, liquid crystal display (LCD) screen or any surface, for that matter—by simply touching that.
This isn’t a scene from a sci-fi movie. It’s a technology that India-born Pranav Mistry, a 31-year-old computer scientist doing his PhD with the Media Lab at the Massachusetts Institute of Technology (MIT), Cambridge, demonstrated on Wednesday while delivering the technology keynote address on the second day of the Nasscom India Leadership Summit in Mumbai.
He has christened the technology ‘Sparsh’ (touch).
“I often wondered why I couldn’t simply elongate my arms to open the door or switch off the lights of a lamp rather than walk and do these tasks. After all, Indian mythological figures could do that,” Mistry said.
“The digital world—laptop, TV, smartphone, e-book reader—all rely upon the cloud (metaphor for the Internet) of information. Sparsh lets you transfer media from a device to your body and pass it to another device by simple touch gestures using the cloud,” said Mistry. The lamp, for instance, is connected to the Internet (similar to the ‘Internet of Things’ concept wherein gadgets talk to each other).
Mistry has also developed ’TeleTouch,’ which allows users to see through the smartphone’s camera and control home appliances like the television, alarm system and music players by simply manipulating them on a screen.
Mistry did not provide details; the technology is patented and being developed by some electronic companies for commercial use.
The MIT scientist, who prefers to call himself a designer rather than a computer scientist, is also the creator of THE Sixth Sense digital prototype which he developed under the guidance of associate professor Pattie Maes. The device consists of a pocket projector, mirror and web camera bundled in a wearable, pendant-like gadget.
The projector can turn anything into a touch screen. The webcam (and colour-coded finger-gloves worn on the index finger and thumb) can recognize the movements of a user’s hands, which enables gesture commands. A “square frame” gesture, for instance, will prompt the device to take a photograph.
The device can also recognize a book that the user selects from a bookstore—either by image recognition or radio frequency identification (RFID) tags—and project information, like an Amazon rating, onto it. The system can also project a keyboard to type on, detect items on grocery shelves and compare online prices. A newspaper can prompt the device to search for news video clips (the device’s smartphone uses an Internet connection to retrieve information).
“The possibilities are immense but it’s a work in progress,” said Mistry.
The “Sixth Sense” device, which MIT has patented, helped him get closer to his childhood dream of melding the flexibility of the digital world with the physical one. The current prototype system costs some $350.
Mistry has created other technologies too. Consider this. You and your spouse want to watch a movie on a TV screen or in the theatre. She loves romantic movies but you prefer action ones. So you enter the theatre with a special pair of glasses each, and both come out content—you having watched a martial arts movie while she has had her fill of romantic cinema.
Called “thirdEye”, the technique enables multiple viewers to see different things on the same display screen simultaneously.
“With thirdEye, we can have a public sign board where a tourist at the New Delhi airport sees all the instructions in his language while others see it in their own languages. We don’t need to have the split screen in games now. Each player can see his/her personal view of the game on the TV screen. Two people watching TV can watch their favourite channel on a single TV screen. A public display can show secret messages or patterns,” said Mistry, adding that imagination is the only limitation.
Brought up in Gujarat, Mistry did his master’s in design in visual communication from the Indian Institute of Technology-Bombay, and later worked with the Microsoft India Development Centre—first as an intern, then as an employee—on several projects including Akshar, which was basically an attempt to create a mechanism for inputting Indic scripts in digital devices like mobile phones, kiosks, interactive TVs and personal computers.
One of Mistry’s earlier projects, Sandesh, attempted to bridge the digital divide. It contains a message-receiving unit in villages and kiosks in cities with visual aids and uses print—or sound-based media to convey messages. And his “mouseless” technology does away with the need for an external computer mouse. The device consists of an infrared (IR) laser beam and an IR camera—both embedded in the computer. Users cup their hand, just as they would do if a physical mouse were present underneath, and the laser beam lights up the hand that is in contact with the surface.
The IR camera detects the bright IR blobs using computer vision. The change in the position and arrangements of these blobs are interpreted as a mouse cursor movement and clicks. When users tap their index fingers, the size of the blob changes and the camera recognises the intended mouse click. It costs around $20 to build a fully functional working prototype system of “Mouseless”.
Mistry said all these technologies highlight a trend called “invisible computing”. “When any industry becomes mature, you move to the next level. Similarly computers will stay but move into the background becoming invisible,” he said.
This isn’t a scene from a sci-fi movie. It’s a technology that India-born Pranav Mistry, a 31-year-old computer scientist doing his PhD with the Media Lab at the Massachusetts Institute of Technology (MIT), Cambridge, demonstrated on Wednesday while delivering the technology keynote address on the second day of the Nasscom India Leadership Summit in Mumbai.
He has christened the technology ‘Sparsh’ (touch).
“I often wondered why I couldn’t simply elongate my arms to open the door or switch off the lights of a lamp rather than walk and do these tasks. After all, Indian mythological figures could do that,” Mistry said.
“The digital world—laptop, TV, smartphone, e-book reader—all rely upon the cloud (metaphor for the Internet) of information. Sparsh lets you transfer media from a device to your body and pass it to another device by simple touch gestures using the cloud,” said Mistry. The lamp, for instance, is connected to the Internet (similar to the ‘Internet of Things’ concept wherein gadgets talk to each other).
Mistry has also developed ’TeleTouch,’ which allows users to see through the smartphone’s camera and control home appliances like the television, alarm system and music players by simply manipulating them on a screen.
Mistry did not provide details; the technology is patented and being developed by some electronic companies for commercial use.
The MIT scientist, who prefers to call himself a designer rather than a computer scientist, is also the creator of THE Sixth Sense digital prototype which he developed under the guidance of associate professor Pattie Maes. The device consists of a pocket projector, mirror and web camera bundled in a wearable, pendant-like gadget.
The projector can turn anything into a touch screen. The webcam (and colour-coded finger-gloves worn on the index finger and thumb) can recognize the movements of a user’s hands, which enables gesture commands. A “square frame” gesture, for instance, will prompt the device to take a photograph.
The device can also recognize a book that the user selects from a bookstore—either by image recognition or radio frequency identification (RFID) tags—and project information, like an Amazon rating, onto it. The system can also project a keyboard to type on, detect items on grocery shelves and compare online prices. A newspaper can prompt the device to search for news video clips (the device’s smartphone uses an Internet connection to retrieve information).
“The possibilities are immense but it’s a work in progress,” said Mistry.
The “Sixth Sense” device, which MIT has patented, helped him get closer to his childhood dream of melding the flexibility of the digital world with the physical one. The current prototype system costs some $350.
Mistry has created other technologies too. Consider this. You and your spouse want to watch a movie on a TV screen or in the theatre. She loves romantic movies but you prefer action ones. So you enter the theatre with a special pair of glasses each, and both come out content—you having watched a martial arts movie while she has had her fill of romantic cinema.
Called “thirdEye”, the technique enables multiple viewers to see different things on the same display screen simultaneously.
“With thirdEye, we can have a public sign board where a tourist at the New Delhi airport sees all the instructions in his language while others see it in their own languages. We don’t need to have the split screen in games now. Each player can see his/her personal view of the game on the TV screen. Two people watching TV can watch their favourite channel on a single TV screen. A public display can show secret messages or patterns,” said Mistry, adding that imagination is the only limitation.
Brought up in Gujarat, Mistry did his master’s in design in visual communication from the Indian Institute of Technology-Bombay, and later worked with the Microsoft India Development Centre—first as an intern, then as an employee—on several projects including Akshar, which was basically an attempt to create a mechanism for inputting Indic scripts in digital devices like mobile phones, kiosks, interactive TVs and personal computers.
One of Mistry’s earlier projects, Sandesh, attempted to bridge the digital divide. It contains a message-receiving unit in villages and kiosks in cities with visual aids and uses print—or sound-based media to convey messages. And his “mouseless” technology does away with the need for an external computer mouse. The device consists of an infrared (IR) laser beam and an IR camera—both embedded in the computer. Users cup their hand, just as they would do if a physical mouse were present underneath, and the laser beam lights up the hand that is in contact with the surface.
The IR camera detects the bright IR blobs using computer vision. The change in the position and arrangements of these blobs are interpreted as a mouse cursor movement and clicks. When users tap their index fingers, the size of the blob changes and the camera recognises the intended mouse click. It costs around $20 to build a fully functional working prototype system of “Mouseless”.
Mistry said all these technologies highlight a trend called “invisible computing”. “When any industry becomes mature, you move to the next level. Similarly computers will stay but move into the background becoming invisible,” he said.
2012年2月14日 星期二
Epson brings affordable, engaging learning to South African classrooms
Epson has introduced its second generation of ultra-short-throw projectors to the education market, with four new models now available to enhance the education and learning experience.
Epson is the world's leading projector manufacturer, and has developed new features for the ultra-short-throw range, such as more responsive interactive pens and PC-free connectivity, to help bring engaging learning to more classrooms.
The interactive EB-485Wi and EB-475Wi projectors feature two interactive pens. They allow teachers and students to write on the screen at the same time, making collaborative work easier. These lightweight pens are highly responsive and easy to use, and include the new 'hover' function that accurately detects when they are not in contact with the projection surface.
In addition to working with popular computer software, these projectors have a PC-free functionality and 'instant annotation' tool. Teachers can make any flat surface interactive without being connected to a PC and can even annotate moving images and photos when the device is linked up to a DVD player. The projectors can be mounted in four positions, including under glass-top tables, to offer greater interactive options for engaging group work.
Like the interactive projectors, the non-interactive versions, the EB-485W, EB475W, EB-480 and EB-470, can project large images from a very short distance, ensuring shadows are minimised. All projectors are easy to install, as everything needed to do so is included in the box.
Horizontal keystone correction enables straightforward picture alignment, while the plug-and-play USB functionality, plus a built-in 16W speaker, means that one cable is all that's needed for image, sound and page up-down control in a complete multimedia package.
Kelvin Reynolds, general manager at Epson Southern Africa, says: “These new projectors are the perfect tool for schools to capture young minds in a more engaging learning environment. With Epson's 3LCD technology, teachers and students can experience high-quality images with vivid, natural colours and deep blacks, even in daylight, and with the addition of HDMI inputs, high-definition content can be shown with maximum clarity.”
Reynolds adds: “We realise the economic climate is tough for many schools and authorities, so we've developed six different models to suit a variety of budgets and help keep running costs low. One way we've managed this is with the long lamp and filter lifespans, which means they don't have to be replaced as often.”
Epson is the world's leading projector manufacturer, and has developed new features for the ultra-short-throw range, such as more responsive interactive pens and PC-free connectivity, to help bring engaging learning to more classrooms.
The interactive EB-485Wi and EB-475Wi projectors feature two interactive pens. They allow teachers and students to write on the screen at the same time, making collaborative work easier. These lightweight pens are highly responsive and easy to use, and include the new 'hover' function that accurately detects when they are not in contact with the projection surface.
In addition to working with popular computer software, these projectors have a PC-free functionality and 'instant annotation' tool. Teachers can make any flat surface interactive without being connected to a PC and can even annotate moving images and photos when the device is linked up to a DVD player. The projectors can be mounted in four positions, including under glass-top tables, to offer greater interactive options for engaging group work.
Like the interactive projectors, the non-interactive versions, the EB-485W, EB475W, EB-480 and EB-470, can project large images from a very short distance, ensuring shadows are minimised. All projectors are easy to install, as everything needed to do so is included in the box.
Horizontal keystone correction enables straightforward picture alignment, while the plug-and-play USB functionality, plus a built-in 16W speaker, means that one cable is all that's needed for image, sound and page up-down control in a complete multimedia package.
Kelvin Reynolds, general manager at Epson Southern Africa, says: “These new projectors are the perfect tool for schools to capture young minds in a more engaging learning environment. With Epson's 3LCD technology, teachers and students can experience high-quality images with vivid, natural colours and deep blacks, even in daylight, and with the addition of HDMI inputs, high-definition content can be shown with maximum clarity.”
Reynolds adds: “We realise the economic climate is tough for many schools and authorities, so we've developed six different models to suit a variety of budgets and help keep running costs low. One way we've managed this is with the long lamp and filter lifespans, which means they don't have to be replaced as often.”
2012年2月13日 星期一
IMAX Corporation Selects Barco as Exclusive
Barco, a worldwide leader in the Digital Cinema industry, announced today that it has been selected by IMAX Corporation as the exclusive, worldwide projection technology partner for its IMAX theaters for the next seven years. Through its selection of Barco’s Guinness World Record winning Xenon lamp-based digital projectors, IMAX will immediately enhance The IMAX Experience in its global cinema network. In addition, IMAX theaters will benefit from a new generation of high-performance, laser-based projectors, which are expected to be deployed in 2013.
Over the years, IMAX has established its reputation as the leading provider of awe-inspiring, immersive cinema experiences. In Barco, it has found an industry acclaimed technology partner that is able to further differentiate and maximize The IMAX Experience. In the first phase of the partnership, the parties will integrate an enhancement of Barco’s existing Xenon-based projectors for use in IMAX’s current backlog and new system signings. This solution will be available in the second half of 2012. Simultaneously, Barco and IMAX will co-develop leading-edge laser technology – benefiting from Barco’s unique laser innovations and IMAX’s licensed Kodak IP. The companies will work together exclusively to manage the transition from Xenon-based to high-performance, laser-based projectors, which are expected to be deployed in 2013.
“Being selected by IMAX as the exclusive supplier for the world’s most immersive cinema experience is a strong endorsement of our leadership in the Digital Cinema projection business,” explains Wim Buyens, Senior Vice President of Barco’s Entertainment Division. “This partnership will strengthen our position as the premium provider of state-of-the-art cinema technologies that provide the perfect match for every screen, whether small or large. What’s more, it will enable us to further ramp up our manufacturing scalability and to continue setting the standard for future technologies.”
“As we continue to expand globally, it is critical that our technology partner keeps pace with our ambitions around innovation and growth,” said IMAX Chief Business Development Officer Robert D. Lister. “Barco is that partner. A leader in advanced digital and laser technology, Barco is well-known for its quality and integrity. We believe the result of this collaboration will further differentiate The IMAX Experience for consumers, strengthening our value proposition for studios and exhibitors.”
Todd Hoddick, Vice President for the Barco Entertainment Division in North America, adds: “We are honored to have been selected by IMAX as their worldwide and exclusive digital projection technology partner. We are both excited and committed to bring the full weight of Barco’s operational excellence, integrity and ability to deliver on the ideals of the IMAX brand. Together we are determined to redefine the immersive cinema experience.”
The agreement with IMAX underscores Barco’s commitment to offer exhibitors the most comprehensive suite of products and solutions to create a premium movie experience in their auditoriums at the lowest cost of ownership. This is exactly what has made Barco a valued technology leader, – as illustrated by its long list of industry firsts and its Guinness World Record for the brightest projector – as well as a global market leader – reflected in the company’s 40% worldwide market share, market leadership in China and a strong global customer base.
Being appointed as the exclusive supplier of projection technology for the largest screens in the industry is a new milestone for Barco’s Entertainment Division, which has a long history of providing high-quality equipment to the Advertising, Rental & Staging, Branding & Retail, Sports, Digital Cinema and Corporate AV industry. In these markets, Barco continues to innovate with a full portfolio of pioneering imaging and sound products that optimize productivity and range from compact, reliable projectors for mid-sized businesses to the most powerful projectors, LED displays and image processors for operation in a broad spectrum of entertainment venues and outdoor events.
Over the years, IMAX has established its reputation as the leading provider of awe-inspiring, immersive cinema experiences. In Barco, it has found an industry acclaimed technology partner that is able to further differentiate and maximize The IMAX Experience. In the first phase of the partnership, the parties will integrate an enhancement of Barco’s existing Xenon-based projectors for use in IMAX’s current backlog and new system signings. This solution will be available in the second half of 2012. Simultaneously, Barco and IMAX will co-develop leading-edge laser technology – benefiting from Barco’s unique laser innovations and IMAX’s licensed Kodak IP. The companies will work together exclusively to manage the transition from Xenon-based to high-performance, laser-based projectors, which are expected to be deployed in 2013.
“Being selected by IMAX as the exclusive supplier for the world’s most immersive cinema experience is a strong endorsement of our leadership in the Digital Cinema projection business,” explains Wim Buyens, Senior Vice President of Barco’s Entertainment Division. “This partnership will strengthen our position as the premium provider of state-of-the-art cinema technologies that provide the perfect match for every screen, whether small or large. What’s more, it will enable us to further ramp up our manufacturing scalability and to continue setting the standard for future technologies.”
“As we continue to expand globally, it is critical that our technology partner keeps pace with our ambitions around innovation and growth,” said IMAX Chief Business Development Officer Robert D. Lister. “Barco is that partner. A leader in advanced digital and laser technology, Barco is well-known for its quality and integrity. We believe the result of this collaboration will further differentiate The IMAX Experience for consumers, strengthening our value proposition for studios and exhibitors.”
Todd Hoddick, Vice President for the Barco Entertainment Division in North America, adds: “We are honored to have been selected by IMAX as their worldwide and exclusive digital projection technology partner. We are both excited and committed to bring the full weight of Barco’s operational excellence, integrity and ability to deliver on the ideals of the IMAX brand. Together we are determined to redefine the immersive cinema experience.”
The agreement with IMAX underscores Barco’s commitment to offer exhibitors the most comprehensive suite of products and solutions to create a premium movie experience in their auditoriums at the lowest cost of ownership. This is exactly what has made Barco a valued technology leader, – as illustrated by its long list of industry firsts and its Guinness World Record for the brightest projector – as well as a global market leader – reflected in the company’s 40% worldwide market share, market leadership in China and a strong global customer base.
Being appointed as the exclusive supplier of projection technology for the largest screens in the industry is a new milestone for Barco’s Entertainment Division, which has a long history of providing high-quality equipment to the Advertising, Rental & Staging, Branding & Retail, Sports, Digital Cinema and Corporate AV industry. In these markets, Barco continues to innovate with a full portfolio of pioneering imaging and sound products that optimize productivity and range from compact, reliable projectors for mid-sized businesses to the most powerful projectors, LED displays and image processors for operation in a broad spectrum of entertainment venues and outdoor events.
2012年2月12日 星期日
Southeastern students wrestle real-world issues in mock town meeting
A presentation flashes on the overhead projector, and a small group explains the benefits of solar power and how it could benefit the town.
Others listen politely and ask questions about the technology. Later, another group outlines the town’s criminal codes, sparking a lively, well-informed debate about how to balance individual freedom against public safety.
It’s a scene that could be taking place at any town meeting in the state – except here, the town doesn’t exist and the presenters are sophomore students at Southeastern Regional Vocational Technical High School in Easton.
The mock town meeting is part of a program called the Innovation Academy, which combines five majors at the school and has students work in teams. It’s the second year for the academy, but the first for the town meeting.
“It’s to show the kids how all the shops are connected,” said teacher Pam Foster.
Justin Harris of Brockton is a member of the mock Board of Selectmen.
“Our job is to make sure the meeting is running as it should,” he said.
He likes playing the part but said it’s unlikely politics is in his future.
“I don’t think I’ll run for anything,” he said.
Jonathan Berry is the town clerk. An Easton resident, he said he’s been to an actual town meeting once or twice, but found it boring. However, now that he’s a part of the process, he’s enjoying it.
“I understand what’s going on a lot better,” he said.
On Tuesday, students came together to hear proposals on how the town should handle water and power issues, as well as how to establish a code of criminal conduct.
The legal and protective services students working on the town’s set of laws produced the most interesting discussion on Tuesday. Students wrestled with real-world issues like sexting and gun control – even setting a driving age. One student wanted a strict set of animal cruelty laws to prevent illegal puppy mills.
Students like the independence the program gives them.
“It’s good because you can choose your own work pattern,” said Stephen Akikie of Stoughton. “The teacher turns into kind of a boss instead of just a teacher.”
“This is your town,” said Forster at the beginning of Tuesday’s meeting.
Foster said the full town meeting, which will take place in a couple weeks, is modeled on Easton’s open town meeting, complete with moderator, a Board of Selectmen and Finance Committee members.
Others listen politely and ask questions about the technology. Later, another group outlines the town’s criminal codes, sparking a lively, well-informed debate about how to balance individual freedom against public safety.
It’s a scene that could be taking place at any town meeting in the state – except here, the town doesn’t exist and the presenters are sophomore students at Southeastern Regional Vocational Technical High School in Easton.
The mock town meeting is part of a program called the Innovation Academy, which combines five majors at the school and has students work in teams. It’s the second year for the academy, but the first for the town meeting.
“It’s to show the kids how all the shops are connected,” said teacher Pam Foster.
Justin Harris of Brockton is a member of the mock Board of Selectmen.
“Our job is to make sure the meeting is running as it should,” he said.
He likes playing the part but said it’s unlikely politics is in his future.
“I don’t think I’ll run for anything,” he said.
Jonathan Berry is the town clerk. An Easton resident, he said he’s been to an actual town meeting once or twice, but found it boring. However, now that he’s a part of the process, he’s enjoying it.
“I understand what’s going on a lot better,” he said.
On Tuesday, students came together to hear proposals on how the town should handle water and power issues, as well as how to establish a code of criminal conduct.
The legal and protective services students working on the town’s set of laws produced the most interesting discussion on Tuesday. Students wrestled with real-world issues like sexting and gun control – even setting a driving age. One student wanted a strict set of animal cruelty laws to prevent illegal puppy mills.
Students like the independence the program gives them.
“It’s good because you can choose your own work pattern,” said Stephen Akikie of Stoughton. “The teacher turns into kind of a boss instead of just a teacher.”
“This is your town,” said Forster at the beginning of Tuesday’s meeting.
Foster said the full town meeting, which will take place in a couple weeks, is modeled on Easton’s open town meeting, complete with moderator, a Board of Selectmen and Finance Committee members.
2012年2月9日 星期四
BenQ adds more joy to super-portable Joybee prjector
BenQ's new Joybee GP2 video projector is highly portable and works with an array of media sources. Onboard memory allows it to be used independently of other devices.
BenQ launched its tiny Joybee video projector back in September 2009. The company has now released its second-generation offering, the Joybee GP2.
Despite measuring 140.3 x 93.8 x 129.8 mm and weighing 1.05kg (all including the optional battery), the Joybee GP2 can project a 1280x800 pixel image measuring between 20 and 160 in (50 to 406 cm) with a brightness of 200 ANSI lumens.
For such a compact device, the Joybee GP2 has an surprising array of interfaces: VGA, composite, mini HDMI, audio in and out, iPod/iPhone dock, USB, and SD/SDHC. This means it can be used with a wide variety of sources at home or away.
The Joybee GP2 even has 2GB of internal memory so it can be preloaded with content and used stand-alone.
BenQ claims the LED lamp is good for 30,000 hours (ten years at eight hours per day) without loss of brightness.
“The Joybee GP2 is about providing the consumer with a user friendly experience like no other – it is unique to the market via the Apple docking station, unparalleled connectivity applications and size," said Chee F Chung, BenQ's general manager for Australia. "It is so small and light it truly fits in the palm of your hand making it totally portable and easy to transport."
The Joybee GP2 goes on sale this month for $699.
BenQ launched its tiny Joybee video projector back in September 2009. The company has now released its second-generation offering, the Joybee GP2.
Despite measuring 140.3 x 93.8 x 129.8 mm and weighing 1.05kg (all including the optional battery), the Joybee GP2 can project a 1280x800 pixel image measuring between 20 and 160 in (50 to 406 cm) with a brightness of 200 ANSI lumens.
For such a compact device, the Joybee GP2 has an surprising array of interfaces: VGA, composite, mini HDMI, audio in and out, iPod/iPhone dock, USB, and SD/SDHC. This means it can be used with a wide variety of sources at home or away.
The Joybee GP2 even has 2GB of internal memory so it can be preloaded with content and used stand-alone.
BenQ claims the LED lamp is good for 30,000 hours (ten years at eight hours per day) without loss of brightness.
“The Joybee GP2 is about providing the consumer with a user friendly experience like no other – it is unique to the market via the Apple docking station, unparalleled connectivity applications and size," said Chee F Chung, BenQ's general manager for Australia. "It is so small and light it truly fits in the palm of your hand making it totally portable and easy to transport."
The Joybee GP2 goes on sale this month for $699.
2012年2月8日 星期三
Facelifted 2013 GMC Acadia and Acadia Denali
As the adage goes, if it ain’t broke, don’t fix it. And since sales of the GMC Acadia climbed to a new high in 2011, it’s not surprising the revised 2013 GMC Acadia — which debuted this morning at the Chicago Auto Show — doesn’t attempt to reinvent what seems to be a successful formula.
GMC did, however, treat the Acadia to a fairly significant facelift. The front clip is all-new, and borrows more than its fair share of cues from the funky little Granite concept of 2010. Trapezoidal projector headlamps — which also boast LED running lamps — point towards a prominent grille opening, which boasts a three-bar insert first launched with the small Terrain crossover. A new rear diffuser and tail lamp lenses dress up the rear end, as do D-pillars that are flush with the quarter and rear window glass.
The overall shape and design of the 2013 GMC Acadia’s interior isn’t far removed from its predecessor, but it does boast far more soft-touch materials than ever before. A touchscreen-based audio system is standard equipment, and integrates Bluetooth phone connectivity, along with access to Web-based audio services like Pandora and Stitcher.
Seeing as the upmarket Acadia Denali accounted for 30 percent of all GMC Acadia sales last year, it’s not surprising to see the model return for the 2013 model year. 2013 Acadia Denali models differ from their lesser siblings by way of a unique polished grille insert, bespoke front and rear bumper fascias (the latter sporting integrated dual exhausts), body-color cladding and fender flares, and 20-inch wheels. Acadia Denali models also receive perforated leather seating (and a unique cocoa dune color), navigation, panoramic sunroof, blind-spot detection, and all-wheel-drive as standard equipment. Exterior badges also distinguish the Acadia Denali from lesser models.
Don’t look for much change underhood. Power still comes from GM’s direct-injection, 3.6-liter V-6, which is rated at 288 hp and 270 lb-ft of torque. The 6T75 six-speed automatic remains the only transmission choice, but GM claims it’s tweaked both calibration and hardware to improve shift quality. Contrary to popular rumors — or competitors like Ford’s EcoBoosted Explorer — a smaller, thriftier engine option doesn’t appear to be under consideration at this stage. Officials are fairly happy with the 3.6-liter V-6′s fuel economy: 2013 GMC Acadia figures are unavailable, but they should remain close to the 17/24 mpg (city/highway) and 16/23 mpg EPA figures assigned to 2012 GMC Acadia front- and all-wheel-drive 16/23 awd models, respectively.
Pricing is unavailable at this point, but expect finalized figures to emerge this fall, as 2013 Acadias are slated to roll into GMC showrooms across the nation in the fourth quarter of 2012.
For more on the 2013 GMC Acadia, check out our First Look here. For more on the 2012 Chicago Auto Show, including videos, the latest photos, and more information, click here to visit our Chicago Show homepage.
GMC did, however, treat the Acadia to a fairly significant facelift. The front clip is all-new, and borrows more than its fair share of cues from the funky little Granite concept of 2010. Trapezoidal projector headlamps — which also boast LED running lamps — point towards a prominent grille opening, which boasts a three-bar insert first launched with the small Terrain crossover. A new rear diffuser and tail lamp lenses dress up the rear end, as do D-pillars that are flush with the quarter and rear window glass.
The overall shape and design of the 2013 GMC Acadia’s interior isn’t far removed from its predecessor, but it does boast far more soft-touch materials than ever before. A touchscreen-based audio system is standard equipment, and integrates Bluetooth phone connectivity, along with access to Web-based audio services like Pandora and Stitcher.
Seeing as the upmarket Acadia Denali accounted for 30 percent of all GMC Acadia sales last year, it’s not surprising to see the model return for the 2013 model year. 2013 Acadia Denali models differ from their lesser siblings by way of a unique polished grille insert, bespoke front and rear bumper fascias (the latter sporting integrated dual exhausts), body-color cladding and fender flares, and 20-inch wheels. Acadia Denali models also receive perforated leather seating (and a unique cocoa dune color), navigation, panoramic sunroof, blind-spot detection, and all-wheel-drive as standard equipment. Exterior badges also distinguish the Acadia Denali from lesser models.
Don’t look for much change underhood. Power still comes from GM’s direct-injection, 3.6-liter V-6, which is rated at 288 hp and 270 lb-ft of torque. The 6T75 six-speed automatic remains the only transmission choice, but GM claims it’s tweaked both calibration and hardware to improve shift quality. Contrary to popular rumors — or competitors like Ford’s EcoBoosted Explorer — a smaller, thriftier engine option doesn’t appear to be under consideration at this stage. Officials are fairly happy with the 3.6-liter V-6′s fuel economy: 2013 GMC Acadia figures are unavailable, but they should remain close to the 17/24 mpg (city/highway) and 16/23 mpg EPA figures assigned to 2012 GMC Acadia front- and all-wheel-drive 16/23 awd models, respectively.
Pricing is unavailable at this point, but expect finalized figures to emerge this fall, as 2013 Acadias are slated to roll into GMC showrooms across the nation in the fourth quarter of 2012.
For more on the 2013 GMC Acadia, check out our First Look here. For more on the 2012 Chicago Auto Show, including videos, the latest photos, and more information, click here to visit our Chicago Show homepage.
2012年2月7日 星期二
ViewSonic Announces Full HD 1080p Home Cinema Laser Hybrid LED Projector
ViewSonic, a leading global provider of computing, consumer electronics and communications solutions, dynamically displays the full spectrum of projector offerings from home entertainment, data projector to high brightness installation. ViewSonic also unveils the new Laser Hybrid LED projector at ISE 2012, full HD 1080P projection.
Product Highlights Expanding its projector product portfolio, ViewSonic announces the world first full HD 1080p home cinema Laser Hybrid LED projector.
ViewSonic's latest Laser Hybrid LED projectors incorporate a state-of-the-art hybrid light engine which facilitates vivid colour display and performance. The LEDs and lasers combine as a light source to create vibrant and rich display colour, which generate a colour spectrum exceeding that of normal mercury light projectors. Furthermore, this new technology delivers a longer light source life of up to 20,000 hours for greater energy and cost savings.
In addition to longer lamp life, ViewSonic Laser Hybrid LED projectors also provide versatile colour modes and 1,200 lumens of brightness for the best effect at home. The projection performance is absolutely radiant with exceptional colour accuracy. Coupled with the high lumen output and pure colour correction and filter, it presents an absolutely authentic level of the three primary colours, red, green and blue which significantly expands the colour gamut and presents clear and concise images, even in the brighter ambient.
Moreover, the instant on/off function eliminates the need for a cool down period associated with conventional lamp-based projectors, providing a user experience as friendly and trouble-free as possible.
ViewSonic Laser Hybrid LED projectors feature Full HD 1080p high resolution, the ideal solution for top of the range home cinema performance. Also, full analog and digital connectivity allows easy setup concerning all media and DVD players.
Product Highlights Expanding its projector product portfolio, ViewSonic announces the world first full HD 1080p home cinema Laser Hybrid LED projector.
ViewSonic's latest Laser Hybrid LED projectors incorporate a state-of-the-art hybrid light engine which facilitates vivid colour display and performance. The LEDs and lasers combine as a light source to create vibrant and rich display colour, which generate a colour spectrum exceeding that of normal mercury light projectors. Furthermore, this new technology delivers a longer light source life of up to 20,000 hours for greater energy and cost savings.
In addition to longer lamp life, ViewSonic Laser Hybrid LED projectors also provide versatile colour modes and 1,200 lumens of brightness for the best effect at home. The projection performance is absolutely radiant with exceptional colour accuracy. Coupled with the high lumen output and pure colour correction and filter, it presents an absolutely authentic level of the three primary colours, red, green and blue which significantly expands the colour gamut and presents clear and concise images, even in the brighter ambient.
Moreover, the instant on/off function eliminates the need for a cool down period associated with conventional lamp-based projectors, providing a user experience as friendly and trouble-free as possible.
ViewSonic Laser Hybrid LED projectors feature Full HD 1080p high resolution, the ideal solution for top of the range home cinema performance. Also, full analog and digital connectivity allows easy setup concerning all media and DVD players.
2012年2月6日 星期一
Panasonic Introduces PT-DZ21K Smallest and Lightest 3-Chip DLP Projector with 3D Capability
Panasonic Europe today announced the PT-DZ21K Series, its new flagship 20,000 lumen 3-chip DLP projectors. The series consists of PT-DZ21K with WUXGA resolution and 20,000 lumens of brightness, PT-DS20K with SXGA+ resolution and 20,000 lumens of brightness and PT-DW17K with WXGA resolution and 16,500 lumens of brightness. In addition to the high brightness and the compact body, the projector boasts a long lamp replacement cycle of up to 2,000 hours and has 3D compatibility making it ideal for large venue applications such as auditorium, museum applications and for rental and staging that require easy handling.
The DZ21K Series boasts a powerful 20,000 lumens of brightness from the incorporation of four new 465W UHM lamps. The high brightness is supported by 10,000:1 contrast ratio, Panasonic’s proprietary Detail Clarity Processor 3 engine that brings out the fine details in images, and DICOM Simulation mode for use in medical training. The PT-DZ21K and PT-DS20K are both active 3D stereo projectors expanding the visual impact of the projected images. The supported 3D system is an active shutter system where the projector can be easily equipped with an external emitter via the 3D timing signal IN/OUT terminal. Frame sequential, side by side and top and bottom formats are supported as well as an easy menu to adjust for passive polarized 3D system.
Much cost savings is possible on the DZ21K Series with the up to 2,000 hours lamp replacement cycle. In addition, these lamps can be set to relay mode for 24/7 operation. The cost savings is also backed up by the up to 12,000 hours maintenance free Eco filter, the low power consumption of under 2,500W, space saving in the warehouse, and the low shipping cost necessary to ship the projector from one location to the next for rental and staging application.
“The PT-DZ21K is a revolutionary product for the staging and events market. Never before has it been possible to project 20.000 lumen from such a small and light projector”, says Hartmut Kulessa, Marketing Manager for Projectors at Panasonic Europe. “With a competitive price-point, low noise level, simple installation and transportation, this projector is perfect for rental and staging companies who are looking for something compact but with a full set of professional features like geometric adjustment, 3D capability and multi-screen features.”
The DZ21K series has a long lamp life cycle with up to 2,000 hours and can be set to relay mode for 24/7 operation. It also has up to 12,000 hours of maintenance free Eco filter, a low power consumption of under 2,500W, and a low shipping cost, which is ideal for rental and staging applications.
The projector comes equipped with a Lens Memory feature which adjusts the image size and location to up to three different projection positions and the mechanical shutter can be programmed to fade the image in and out during show transitions. All models have built in Edge Blending as well as Multi-Unit Brightness Control for projections on to wide screens and surfaces to create an immersive experience. Furthermore, PT-DZ21K and PT-DS20K are compatible to various curved screen projections with the Geometric Adjustment feature. The Geometric Adjustment feature can be enhanced with the optional upgrade kit, ET-UK20, to support more diverse curvatures and shapes. Bitmap masking becomes available enabling projections onto unique shapes.
The DZ21K Series boasts a powerful 20,000 lumens of brightness from the incorporation of four new 465W UHM lamps. The high brightness is supported by 10,000:1 contrast ratio, Panasonic’s proprietary Detail Clarity Processor 3 engine that brings out the fine details in images, and DICOM Simulation mode for use in medical training. The PT-DZ21K and PT-DS20K are both active 3D stereo projectors expanding the visual impact of the projected images. The supported 3D system is an active shutter system where the projector can be easily equipped with an external emitter via the 3D timing signal IN/OUT terminal. Frame sequential, side by side and top and bottom formats are supported as well as an easy menu to adjust for passive polarized 3D system.
Much cost savings is possible on the DZ21K Series with the up to 2,000 hours lamp replacement cycle. In addition, these lamps can be set to relay mode for 24/7 operation. The cost savings is also backed up by the up to 12,000 hours maintenance free Eco filter, the low power consumption of under 2,500W, space saving in the warehouse, and the low shipping cost necessary to ship the projector from one location to the next for rental and staging application.
“The PT-DZ21K is a revolutionary product for the staging and events market. Never before has it been possible to project 20.000 lumen from such a small and light projector”, says Hartmut Kulessa, Marketing Manager for Projectors at Panasonic Europe. “With a competitive price-point, low noise level, simple installation and transportation, this projector is perfect for rental and staging companies who are looking for something compact but with a full set of professional features like geometric adjustment, 3D capability and multi-screen features.”
The DZ21K series has a long lamp life cycle with up to 2,000 hours and can be set to relay mode for 24/7 operation. It also has up to 12,000 hours of maintenance free Eco filter, a low power consumption of under 2,500W, and a low shipping cost, which is ideal for rental and staging applications.
The projector comes equipped with a Lens Memory feature which adjusts the image size and location to up to three different projection positions and the mechanical shutter can be programmed to fade the image in and out during show transitions. All models have built in Edge Blending as well as Multi-Unit Brightness Control for projections on to wide screens and surfaces to create an immersive experience. Furthermore, PT-DZ21K and PT-DS20K are compatible to various curved screen projections with the Geometric Adjustment feature. The Geometric Adjustment feature can be enhanced with the optional upgrade kit, ET-UK20, to support more diverse curvatures and shapes. Bitmap masking becomes available enabling projections onto unique shapes.
2012年2月5日 星期日
Cavalia Dazzles with Real-Life Feats of Strength and Skill
The marketing and promotional people behind Cavalia are not shy about the production's lavish details: a 210-foot widescreen projector that helps create special visual effects, a "dreamlike" set with backdrops of misty forests, and, of course, the massive 26,264-square-foot white big top that has caught the attention of thousands of SR 520 drivers since it went up in December.
The show, tagged Cavalia: A Magical Encounter Between Human and Horse, does indeed feature some impressive visual effects. The screening I attended earlier this week took me and the rest of the audience through a sequence of changing seasons, complete with falling "leaves" and "snow" (on the audience as well as the performers), as well as a couple of rainstorms (thankfully confined to the stage). Medieval-era costumes and dramatic music gave the show a feeling of fairy-tale fantasy.
But those who attend Cavalia expecting a magic show might be disappointed. Sure, audience members who are younger than 12 or have a solid ability to suspend disbelief will still be struck with a couple of "I don't know how they did that!" moments. But for the rest of us, the show is more a display of extreme skill and dedication on the part of both the human and animal performers.
To me, this distinction makes Cavalia no less impressive. From the acrobats who manage to pull off flips and spins on objects like balls, beams—and yes, animals—to the trick riders who make dangling backwards off galloping horses look like simple morning stretches, the performers' skill is constantly on display.
Even more striking is the complete obedience and agility of the horses. Cavalia trainers can spend years preparing their four-legged stars for the stage, and it shows.
My favorite part of the show was a scene featuring a single performer and six un-saddled horses. There were no elaborate visual effects, costumes or music—just an inspiring display of what can happen when human and animal learn to communicate with and trust one another.
Seemingly using just verbal cues, the performer gradually managed to convince the six massive animals to gallop end-to-end in circles around her, then change directions one by one. Most people couldn't imagine getting dogs to pull off a similar act, let alone full-size beasts that are much larger than humans and can easily be spooked.
Scenes like this are part of what makes Cavalia especially appealing to people who raise horses or grew up around the animals. But even those without this experience can recognize the painstaking work and patience that both horse and trainer must have had to demonstrate toward one another to pull off the show.
The show, tagged Cavalia: A Magical Encounter Between Human and Horse, does indeed feature some impressive visual effects. The screening I attended earlier this week took me and the rest of the audience through a sequence of changing seasons, complete with falling "leaves" and "snow" (on the audience as well as the performers), as well as a couple of rainstorms (thankfully confined to the stage). Medieval-era costumes and dramatic music gave the show a feeling of fairy-tale fantasy.
But those who attend Cavalia expecting a magic show might be disappointed. Sure, audience members who are younger than 12 or have a solid ability to suspend disbelief will still be struck with a couple of "I don't know how they did that!" moments. But for the rest of us, the show is more a display of extreme skill and dedication on the part of both the human and animal performers.
To me, this distinction makes Cavalia no less impressive. From the acrobats who manage to pull off flips and spins on objects like balls, beams—and yes, animals—to the trick riders who make dangling backwards off galloping horses look like simple morning stretches, the performers' skill is constantly on display.
Even more striking is the complete obedience and agility of the horses. Cavalia trainers can spend years preparing their four-legged stars for the stage, and it shows.
My favorite part of the show was a scene featuring a single performer and six un-saddled horses. There were no elaborate visual effects, costumes or music—just an inspiring display of what can happen when human and animal learn to communicate with and trust one another.
Seemingly using just verbal cues, the performer gradually managed to convince the six massive animals to gallop end-to-end in circles around her, then change directions one by one. Most people couldn't imagine getting dogs to pull off a similar act, let alone full-size beasts that are much larger than humans and can easily be spooked.
Scenes like this are part of what makes Cavalia especially appealing to people who raise horses or grew up around the animals. But even those without this experience can recognize the painstaking work and patience that both horse and trainer must have had to demonstrate toward one another to pull off the show.
2012年2月2日 星期四
New Car Models
Chrysler’s Mopar division continues to show off its customization skills with the introduction of four new vehicles, all of which will be available in fall 2012 as stage kits or, for those who like to do things themselves, can be configured “a la carte” from the Mopar parts catalogue.
To celebrate its 75th anniversary, the parts and accessories division of Chrysler (Mopar stands for MOtor PARts) recently unveiled the Mopar ’12 300 (a customized Chrysler 300 sedan), Fiat 500 “Stinger,” Mopar Jeep Compass “True North” and Dodge Dart “GTS 210 Tribute.” All will be on display to the public at the 2012 Chicago Auto Show.
“These head-turning ‘Moparized’ vehicles show how we can go to the next level of personalization,” said Pietro Gorlier, President and CEO of Mopar, Chrysler Group LLC’s service, parts and customer-care brand. “With our best-in-class offerings of parts and accessories, we give our customers every opportunity to further enhance the appearance and performance of their vehicles.”
The blacked out Mopar ‘12 300 transforms the Chrysler 300 flagship sedan into a performance tribute to celebrate Mopar’s 75th anniversary with unique appointments, select high-performance parts and appearance items such as a black chrome seven bar grille, blue A-line body stripes and 20-inch forged aluminum gloss black wheels.
An exclusive engine cover hints at the 363 horsepower 5.7-litre HEMI V8 harnessed in by a proven five-speed W5A580 automatic transmission controlled by a unique Mopar shifter. The rear differential has been boosted from 3.06:1 to a 3.91:1 final-drive ratio for enhanced acceleration – enabling 0-60 mph blasts in the low 5-second range. Handling is entrusted to a performance-tuned suspension with 42% stiffer front and 23% stiffer rear spring rates compared to the regular Chrysler 300.
The interior is monotone black with blue accents throughout. Mopar’s Katzkin perforated leather is used for the front power adjustable front heated seats and rear heated perches. The steering wheel (with die-cast paddles for shifting) and shifter handle are also wrapped in leather.
The dash and centre console feature matte carbon hydrographic inserts, while piano black forms the backdrop on the centre stack, gauge cluster, door panels and steering wheel spokes. UConnect touch screen display controls the infotainment system, as well as the 506-watt Alpine nine-speaker surround sound system.
For safety, the SafetyTec Group includes adaptive HID headlights with automatic levelling, Forward Collision Warning with adaptive-cruise control, Blind-spot monitoring with Rear Cross Path detection, ParkSense front and rear sensors, LED rear fog lamps, exterior mirrors with supplemental turn signals and puddle lamp. Additional safety features include rain-sense wipers and SmartBeam headlamps.
Only 500 are scheduled to be built inBrampton, Ont., and will be priced from $49,700 in the U.S. Buyers get a personalized owner kit in a customized Mopar box, Mopar-branded key fobs and Mopar ‘12 300 merchandise. The kit will include an original sketch of the car signed by the designer, a certificate with the vehicle identification number (VIN), exact date of manufacture and the series number, and a brochure highlighting the unique features of the vehicle.
The Dodge Dart GTS 210 Tribute picks up several matte-black trim pieces, including a lower chin spoiler, side sills, rear spoiler and rear-diffuser panel. A lightweight carbon-fibre hood with large air scoop and 18-inch, 10-spoke forged alloy titanium-coloured wheels. Inside, there is Ruby Red leather on the seats, steering wheel, door panels, center armrest and map-pocket inserts, accented with black stitching, and Piano Black trim on the shifter, cupholder and the dash-vent bezels. Maximizing fuel/air mix and spark advance, with an improved air-flow intake and low back-pressure exhaust takes the 2.4-litre MultiAir four-cylinder engine output up to 210 horsepower (from 184).
Like the Dart customization, the Fiat 500 “Stinger” also integrates two Mopar stage kits that deliver bold styling appointments and select high-performance parts. Giallo (yellow) exterior paint combines with unique blackened exterior and interior appointments to amplify the coupe/hatchback’s athletic styling. The Fiat signature “whiskers and logo” face and circular projector headlamps are finished in Black Chrome, as are the side mirror caps and door handles. The sides and roof get vinyl black checker graphics. Seventeen-inch Abarth Hyper Black aluminum wheels are shod with 205/40R17 performance tires for better grip on the power provided by the enhanced 1.4-litre MultiAir four-cylinder engine, while performance cross-drilled brakes bring things to a halt quickly, when needed. The yellow/black motif is carried inside, accented with carbon-fibre decaled instrument panel, Alcantara seat centres and a gloss black shifter ball.
To celebrate its 75th anniversary, the parts and accessories division of Chrysler (Mopar stands for MOtor PARts) recently unveiled the Mopar ’12 300 (a customized Chrysler 300 sedan), Fiat 500 “Stinger,” Mopar Jeep Compass “True North” and Dodge Dart “GTS 210 Tribute.” All will be on display to the public at the 2012 Chicago Auto Show.
“These head-turning ‘Moparized’ vehicles show how we can go to the next level of personalization,” said Pietro Gorlier, President and CEO of Mopar, Chrysler Group LLC’s service, parts and customer-care brand. “With our best-in-class offerings of parts and accessories, we give our customers every opportunity to further enhance the appearance and performance of their vehicles.”
The blacked out Mopar ‘12 300 transforms the Chrysler 300 flagship sedan into a performance tribute to celebrate Mopar’s 75th anniversary with unique appointments, select high-performance parts and appearance items such as a black chrome seven bar grille, blue A-line body stripes and 20-inch forged aluminum gloss black wheels.
An exclusive engine cover hints at the 363 horsepower 5.7-litre HEMI V8 harnessed in by a proven five-speed W5A580 automatic transmission controlled by a unique Mopar shifter. The rear differential has been boosted from 3.06:1 to a 3.91:1 final-drive ratio for enhanced acceleration – enabling 0-60 mph blasts in the low 5-second range. Handling is entrusted to a performance-tuned suspension with 42% stiffer front and 23% stiffer rear spring rates compared to the regular Chrysler 300.
The interior is monotone black with blue accents throughout. Mopar’s Katzkin perforated leather is used for the front power adjustable front heated seats and rear heated perches. The steering wheel (with die-cast paddles for shifting) and shifter handle are also wrapped in leather.
The dash and centre console feature matte carbon hydrographic inserts, while piano black forms the backdrop on the centre stack, gauge cluster, door panels and steering wheel spokes. UConnect touch screen display controls the infotainment system, as well as the 506-watt Alpine nine-speaker surround sound system.
For safety, the SafetyTec Group includes adaptive HID headlights with automatic levelling, Forward Collision Warning with adaptive-cruise control, Blind-spot monitoring with Rear Cross Path detection, ParkSense front and rear sensors, LED rear fog lamps, exterior mirrors with supplemental turn signals and puddle lamp. Additional safety features include rain-sense wipers and SmartBeam headlamps.
Only 500 are scheduled to be built inBrampton, Ont., and will be priced from $49,700 in the U.S. Buyers get a personalized owner kit in a customized Mopar box, Mopar-branded key fobs and Mopar ‘12 300 merchandise. The kit will include an original sketch of the car signed by the designer, a certificate with the vehicle identification number (VIN), exact date of manufacture and the series number, and a brochure highlighting the unique features of the vehicle.
The Dodge Dart GTS 210 Tribute picks up several matte-black trim pieces, including a lower chin spoiler, side sills, rear spoiler and rear-diffuser panel. A lightweight carbon-fibre hood with large air scoop and 18-inch, 10-spoke forged alloy titanium-coloured wheels. Inside, there is Ruby Red leather on the seats, steering wheel, door panels, center armrest and map-pocket inserts, accented with black stitching, and Piano Black trim on the shifter, cupholder and the dash-vent bezels. Maximizing fuel/air mix and spark advance, with an improved air-flow intake and low back-pressure exhaust takes the 2.4-litre MultiAir four-cylinder engine output up to 210 horsepower (from 184).
Like the Dart customization, the Fiat 500 “Stinger” also integrates two Mopar stage kits that deliver bold styling appointments and select high-performance parts. Giallo (yellow) exterior paint combines with unique blackened exterior and interior appointments to amplify the coupe/hatchback’s athletic styling. The Fiat signature “whiskers and logo” face and circular projector headlamps are finished in Black Chrome, as are the side mirror caps and door handles. The sides and roof get vinyl black checker graphics. Seventeen-inch Abarth Hyper Black aluminum wheels are shod with 205/40R17 performance tires for better grip on the power provided by the enhanced 1.4-litre MultiAir four-cylinder engine, while performance cross-drilled brakes bring things to a halt quickly, when needed. The yellow/black motif is carried inside, accented with carbon-fibre decaled instrument panel, Alcantara seat centres and a gloss black shifter ball.
2012年2月1日 星期三
Canon REALiS WUX5000 / D Installation LCOS Projectors
Canon introduced its brightest-ever, 5000-lumen REALiS Installation LCOS Projectors, which are designed to provide exceptional display performance for a wide range of professional AV markets. Incorporating multiple features for convenient installation and maintenance, the new REALiS WUX5000 and WUX5000 D Installation LCOS Projectors utilize Canon's unique fourth-generation AISYS (Aspectual Illumination System) optical technology to maximize the display capabilities of their advanced LCOS (Liquid Crystal on Silicon) imaging panels. This combination enables the projectors to deliver higher-than-HD-resolution (1920 x 1200) widescreen video and still images with an aspect ratio of 16:10 and a high brightness level of 5000 lumens. The 5000 lumen brightness level improves display quality in long throw venues or rooms with relatively high ambient light levels, thereby increasing the versatility of the new projectors for a wider variety of viewing environments.
Capable of displaying many different kinds of high-resolution video and computer signals with highly accurate color, superior display of movement, crisp contrast, and sharper blacks, the REALiS WUX5000 Installation LCOS Projector features a built-in Canon Color-Correction IC (integrated circuit) and 3D color LUT (look-up table) for six-axis color management. Users can adjust specific colors without affecting the display of neighboring colors. A dynamic gamma feature can also optimize gradation reproduction and contrast, which can be beneficial when displaying movies with low-contrast scenes. A Memory Color Correction feature enables users to save their preferred color settings. User-determined display settings for the REALiS WUX5000 Installation LCOS Projector also include Presentation, Vivid Photo, and Photo/sRGB.
The REALiS WUX5000 D Installation LCOS Projector has all the features of the WUX5000 model plus a DICOM Simulation mode designed to reproduce medical images such as X-Rays, CAT scans and MRI images with superb 21-step grayscale gradation.
Further contributing to the display excellence - and installation convenience - of the new Canon REALiS WUX5000 and WUX5000 D Installation LCOS Projectors are the three optional high-resolution interchangeable lenses available for the units. These lenses - including a 1.5x Zoom, 0.8x Ultra Wide Angle single focal length, and 1.7x Long Focus Zoom - incorporate advanced low-distortion and high-resolution optical technologies originally developed for Canon's camera lenses. Engineered to minimize brightness loss, each lens is the same physical length, due to the use of advanced Canon aspherical elements. This uniformity of length can simplify shipment of assembled projector/lens units for rental/staging companies, and avoid lens-overhang issues when mounted inside projector-lift systems.
Additional installation convenience is provided by the Canon REALiS WUX5000 and WUX5000 D Installation LCOS Projectors' motorized Lens Shift feature. This enables installers to overcome moderate projector-placement obstacles by shifting the lens itself to adjust the vertical and horizontal position of the projected image. (This is done using the projector's control panel or remote control.) The projector can be ceiling-mounted with a plate or extension pole using either Canon's mounting bracket or products from independent ceiling-mount companies. When used in multi-projector configurations, the REALiS WUX5000 and WUX5000 D can also be stacked or installed side by side.
The projector's lamp and air filter assemblies can be expediently replaced from the back and side of the projector respectively, and its optical filter element can be replaced from the top of the unit for added convenience and economy.
Industry-standard digital and analog terminals and connectors ensure the new Canon REALiS WUX5000 and WUX5000 D Installation LCOS Projectors' compatibility with a wide range of video and computer devices. Signal inputs include HDMI Version 1.3, DVI-D and analog PC terminals, two audio inputs, and one audio output for external amplification and speakers. A built-in five-watt speaker is also included. A network-ready RJ-45 port allows for authorized users to manage and control multiple projectors from any PC on the network. An RS-232 serial connection allows for monitoring the projector locally through a third-party control system. A hand-held remote control enables users to control up to four REALiS WUX5000 and WUX5000 D Installation LCOS Projectors individually or simultaneously. Lens Shift and Gamma Control buttons are also included on the remote control.
Capable of displaying many different kinds of high-resolution video and computer signals with highly accurate color, superior display of movement, crisp contrast, and sharper blacks, the REALiS WUX5000 Installation LCOS Projector features a built-in Canon Color-Correction IC (integrated circuit) and 3D color LUT (look-up table) for six-axis color management. Users can adjust specific colors without affecting the display of neighboring colors. A dynamic gamma feature can also optimize gradation reproduction and contrast, which can be beneficial when displaying movies with low-contrast scenes. A Memory Color Correction feature enables users to save their preferred color settings. User-determined display settings for the REALiS WUX5000 Installation LCOS Projector also include Presentation, Vivid Photo, and Photo/sRGB.
The REALiS WUX5000 D Installation LCOS Projector has all the features of the WUX5000 model plus a DICOM Simulation mode designed to reproduce medical images such as X-Rays, CAT scans and MRI images with superb 21-step grayscale gradation.
Further contributing to the display excellence - and installation convenience - of the new Canon REALiS WUX5000 and WUX5000 D Installation LCOS Projectors are the three optional high-resolution interchangeable lenses available for the units. These lenses - including a 1.5x Zoom, 0.8x Ultra Wide Angle single focal length, and 1.7x Long Focus Zoom - incorporate advanced low-distortion and high-resolution optical technologies originally developed for Canon's camera lenses. Engineered to minimize brightness loss, each lens is the same physical length, due to the use of advanced Canon aspherical elements. This uniformity of length can simplify shipment of assembled projector/lens units for rental/staging companies, and avoid lens-overhang issues when mounted inside projector-lift systems.
Additional installation convenience is provided by the Canon REALiS WUX5000 and WUX5000 D Installation LCOS Projectors' motorized Lens Shift feature. This enables installers to overcome moderate projector-placement obstacles by shifting the lens itself to adjust the vertical and horizontal position of the projected image. (This is done using the projector's control panel or remote control.) The projector can be ceiling-mounted with a plate or extension pole using either Canon's mounting bracket or products from independent ceiling-mount companies. When used in multi-projector configurations, the REALiS WUX5000 and WUX5000 D can also be stacked or installed side by side.
The projector's lamp and air filter assemblies can be expediently replaced from the back and side of the projector respectively, and its optical filter element can be replaced from the top of the unit for added convenience and economy.
Industry-standard digital and analog terminals and connectors ensure the new Canon REALiS WUX5000 and WUX5000 D Installation LCOS Projectors' compatibility with a wide range of video and computer devices. Signal inputs include HDMI Version 1.3, DVI-D and analog PC terminals, two audio inputs, and one audio output for external amplification and speakers. A built-in five-watt speaker is also included. A network-ready RJ-45 port allows for authorized users to manage and control multiple projectors from any PC on the network. An RS-232 serial connection allows for monitoring the projector locally through a third-party control system. A hand-held remote control enables users to control up to four REALiS WUX5000 and WUX5000 D Installation LCOS Projectors individually or simultaneously. Lens Shift and Gamma Control buttons are also included on the remote control.
2012年1月31日 星期二
Daily Online News
At the heart of the new retail departures area at Auckland International Airport in New Zealand is Pou Manawa, a huge tree of architectural fabric onto which colour and traditional Maori designs are reflected using Martin Exterior 410 wash lights and Martin smartMAC image projecting moving heads.
Ignite Architects developed the idea of a 'heart' space - an interactive and engaging area that people could gravitate to - and, as much of the imagery symbolizing what New Zealanders hold dear is focused on trees, the Pou Manawa was born.
"We had an exhaustive period of early testing to get the best fixture for the projection," says Chris McKenzie of Martin distributor Kenderdine Electrical. "We had other colour changing fixtures specified but when the Exterior 410s became available we changed the specification to use them. The 410s were the perfect solution for the wash units and whilst an indoor installation, the passive cooling on the units was a major bonus."
Working with the Exterior 410s are smartMACs, a bright profile light and image projector with six indexable rotating gobos. The designs float across the complex patterned internal surface of the tree in a continuous 360-degree rotation.
"The smartMAC won out for its long lamp life and low maintenance needs," states McKenzie. "We had a large area of south-facing glass pouring light into the area and after treatment of the glass, the smartMAC was able to generate enough light to do the job successfully."
Twenty-four smartMACs and a like number of Exterior 410s are used in the installation, which runs 21 hours per day, 365 days per year. Programming was done on a Martin Maxxyz PC and Martin M1 console with initial design and renderings completed using the Martin ShowDesigner. All gobos are Apollo stock steel and glass or custom glass.
Ignite Architects developed the idea of a 'heart' space - an interactive and engaging area that people could gravitate to - and, as much of the imagery symbolizing what New Zealanders hold dear is focused on trees, the Pou Manawa was born.
"We had an exhaustive period of early testing to get the best fixture for the projection," says Chris McKenzie of Martin distributor Kenderdine Electrical. "We had other colour changing fixtures specified but when the Exterior 410s became available we changed the specification to use them. The 410s were the perfect solution for the wash units and whilst an indoor installation, the passive cooling on the units was a major bonus."
Working with the Exterior 410s are smartMACs, a bright profile light and image projector with six indexable rotating gobos. The designs float across the complex patterned internal surface of the tree in a continuous 360-degree rotation.
"The smartMAC won out for its long lamp life and low maintenance needs," states McKenzie. "We had a large area of south-facing glass pouring light into the area and after treatment of the glass, the smartMAC was able to generate enough light to do the job successfully."
Twenty-four smartMACs and a like number of Exterior 410s are used in the installation, which runs 21 hours per day, 365 days per year. Programming was done on a Martin Maxxyz PC and Martin M1 console with initial design and renderings completed using the Martin ShowDesigner. All gobos are Apollo stock steel and glass or custom glass.
2012年1月30日 星期一
The Apple Doesn’t Fall Far From the Tree
Over 10 million viewers tuned in to this week’s episode, “Fruit of the Poisonous Tree,” to discover the Magic Mirror’s origins and see where Sydney Glass’ true allegiance lies.
King Leopold stumbles upon a magic lamp and unleashes a downtrodden Genie (aka the Man in the Magic Mirror). The genie grants him three wishes, but the kind-hearted king has everything he wants so he uses his first wish to the give the Genie what he deeply desires – his freedom. The King then generously uses his second wish to transfer his third wish over to Genie. He is grateful for his freedom, but explains that he will not use his wish because in all of the 1001 wishes he has granted, all of them have ended poorly and all of them come with price (sound familiar?). Besides, what Genie wants most is to find true love and as we learned from Aladdin, you can’t wish for true love because it has to happen organically. Cut to Genie’s introduction to Queen Regina and it is love at first sight.
Later that night in the King’s court, King Leopold gushes over his beloved Snow White, saying how she is the fairest of them all, just like her mother was. Crushed Queen Regina leaves the room to seek comfort by the apple tree that was brought over from her mother’s garden and Genie is quick to console her. The two are kindred spirits, for both know how it feels to live a cruelly confined existence. Genie gives her a mirror, so that she can see herself through his loving eyes. Unfortunately, that ends up being a huge mistake.
King Leopold finds the mirror and an entry in the Queen’s diary alluding to their blossoming love affair and he asks Genie to seek out the man behind the mirror. While Genie waits for the Queen, her father approaches him with a box to take to her room, in it is the only thing that can set her free. Genie rushes to Queen Regina’s side and she opens the box to reveal a double-headed poisonous viper from his homeland. She reaches inside to commit suicide, but he stops her and declares that he shall kill the King instead so that they may be together.
Genie creeps into King Leopold’s room while he is sleeping, thanks him for his kindness, then unleashes the vipers. With his dying breathe the king confesses his regret for that wish. Genie then returns to his beloved Queen only to be disappointed because she set him up. She says he should be thankful that she is even giving him a chance to escape before the guards capture him, but he refuses to leave. Instead, he uses his one wish to be with the Queen forever and thus he becomes trapped in her mirror.
As Henry digs up his book from its hiding place under the crumbling castle where Henry and Emma have their secret pow-wows, Regina appears and sneers at Emma for allowing her son to play in such a hazardous environment. She tells Henry to get in the car and he doesn’t have a chance to move his book to a safer spot. The next day, Regina tears down Henry’s fortress and he discovers that the book is missing. This pushes Emma over the edge and she agrees to work with Sydney on knocking Regina off of her mayoral pedestal.
Sydney discovered that Regina has stolen $50,000 from the city and Emma, being a bounty-hunter and all, can use her cunning means to unfold Regina’s endgame. Emma hesitates to play dirty, but Sydney justifies it by saying that sometimes it is okay to do a bad thing if it is for a good reason. This is where we get a snippet of how Mary Margaret feels about her affair; she has just come from a romantic picnic with David at “their” spot by the toll bridge. Although she feels guilty for having an affair with a married man, she uses Sydney’s logic to justify their actions because their love for each other feels right. Nonetheless, Emma insists on giving Regina one fair chance to come clean before sinking to her level.
Regina lies to Emma and Sydney, so she plants a bug in the mayor’s office. They overhear a conversation about a money hand-off and drive off to catch her secret rendezvous. Unfortunately, Emma’s car breaks have been cut and they crash into the woods to find Mr. Gold. Turns out Regina bought his land, so Emma and Sydney break into Regina’s office to steal the blueprints and related files. While going over the evidence, Emma feels guilty for breaking her promise to Henry and stooping to Regina’s level, but Sydney reassures her that what she is doing is necessary because Regina always destroys what people loves most and she must be stopped.
While Emma and Sydney head off to expose Regina at the City Counsel meeting, we get to check back in on Henry’s quest. He hasn’t found his book, so he is in the diner frantically sketching every story he can remember when the Stranger pokes his nose into Henry’s business. When he asks what the book is about, Henry cryptically replies “stuff,” so Mr. Stranger coyly smiles, wishes the kid luck on his “stuff” and leaves. Back at City Hall, Emma calls Regina a selfish thug and reveals her plans to build a lavish palace for herself in the woods. Regina displays the plans on a projector and says she is building a playhouse for the kids, leaving Emma speechless. After the meeting, Regina threatens to issue Emma a restraining order if she doesn’t stay away from Henry.
Emma explains to Henry via their walkie-talkies that they must be apart for a while, but she promises to find his storybook. Cue the big reveal we’ve been waiting for – Mr. Writer Stranger has Henry’s book! But, that is not the only twist this week. The episode concludes with Regina thanking Sydney for his excellent work on gaining Emma’s trust because now they will know everything she will be up to.
King Leopold stumbles upon a magic lamp and unleashes a downtrodden Genie (aka the Man in the Magic Mirror). The genie grants him three wishes, but the kind-hearted king has everything he wants so he uses his first wish to the give the Genie what he deeply desires – his freedom. The King then generously uses his second wish to transfer his third wish over to Genie. He is grateful for his freedom, but explains that he will not use his wish because in all of the 1001 wishes he has granted, all of them have ended poorly and all of them come with price (sound familiar?). Besides, what Genie wants most is to find true love and as we learned from Aladdin, you can’t wish for true love because it has to happen organically. Cut to Genie’s introduction to Queen Regina and it is love at first sight.
Later that night in the King’s court, King Leopold gushes over his beloved Snow White, saying how she is the fairest of them all, just like her mother was. Crushed Queen Regina leaves the room to seek comfort by the apple tree that was brought over from her mother’s garden and Genie is quick to console her. The two are kindred spirits, for both know how it feels to live a cruelly confined existence. Genie gives her a mirror, so that she can see herself through his loving eyes. Unfortunately, that ends up being a huge mistake.
King Leopold finds the mirror and an entry in the Queen’s diary alluding to their blossoming love affair and he asks Genie to seek out the man behind the mirror. While Genie waits for the Queen, her father approaches him with a box to take to her room, in it is the only thing that can set her free. Genie rushes to Queen Regina’s side and she opens the box to reveal a double-headed poisonous viper from his homeland. She reaches inside to commit suicide, but he stops her and declares that he shall kill the King instead so that they may be together.
Genie creeps into King Leopold’s room while he is sleeping, thanks him for his kindness, then unleashes the vipers. With his dying breathe the king confesses his regret for that wish. Genie then returns to his beloved Queen only to be disappointed because she set him up. She says he should be thankful that she is even giving him a chance to escape before the guards capture him, but he refuses to leave. Instead, he uses his one wish to be with the Queen forever and thus he becomes trapped in her mirror.
As Henry digs up his book from its hiding place under the crumbling castle where Henry and Emma have their secret pow-wows, Regina appears and sneers at Emma for allowing her son to play in such a hazardous environment. She tells Henry to get in the car and he doesn’t have a chance to move his book to a safer spot. The next day, Regina tears down Henry’s fortress and he discovers that the book is missing. This pushes Emma over the edge and she agrees to work with Sydney on knocking Regina off of her mayoral pedestal.
Sydney discovered that Regina has stolen $50,000 from the city and Emma, being a bounty-hunter and all, can use her cunning means to unfold Regina’s endgame. Emma hesitates to play dirty, but Sydney justifies it by saying that sometimes it is okay to do a bad thing if it is for a good reason. This is where we get a snippet of how Mary Margaret feels about her affair; she has just come from a romantic picnic with David at “their” spot by the toll bridge. Although she feels guilty for having an affair with a married man, she uses Sydney’s logic to justify their actions because their love for each other feels right. Nonetheless, Emma insists on giving Regina one fair chance to come clean before sinking to her level.
Regina lies to Emma and Sydney, so she plants a bug in the mayor’s office. They overhear a conversation about a money hand-off and drive off to catch her secret rendezvous. Unfortunately, Emma’s car breaks have been cut and they crash into the woods to find Mr. Gold. Turns out Regina bought his land, so Emma and Sydney break into Regina’s office to steal the blueprints and related files. While going over the evidence, Emma feels guilty for breaking her promise to Henry and stooping to Regina’s level, but Sydney reassures her that what she is doing is necessary because Regina always destroys what people loves most and she must be stopped.
While Emma and Sydney head off to expose Regina at the City Counsel meeting, we get to check back in on Henry’s quest. He hasn’t found his book, so he is in the diner frantically sketching every story he can remember when the Stranger pokes his nose into Henry’s business. When he asks what the book is about, Henry cryptically replies “stuff,” so Mr. Stranger coyly smiles, wishes the kid luck on his “stuff” and leaves. Back at City Hall, Emma calls Regina a selfish thug and reveals her plans to build a lavish palace for herself in the woods. Regina displays the plans on a projector and says she is building a playhouse for the kids, leaving Emma speechless. After the meeting, Regina threatens to issue Emma a restraining order if she doesn’t stay away from Henry.
Emma explains to Henry via their walkie-talkies that they must be apart for a while, but she promises to find his storybook. Cue the big reveal we’ve been waiting for – Mr. Writer Stranger has Henry’s book! But, that is not the only twist this week. The episode concludes with Regina thanking Sydney for his excellent work on gaining Emma’s trust because now they will know everything she will be up to.
2012年1月29日 星期日
Searching for the Cape's old movie theaters
It's a 30-mile drive from his home in East Falmouth to the Cape Cinema. Kind of a long way for a part-time job, but being a projectionist is in his blood, Chip Gelmini said.
The steep climb up the iron stairs to the projection booth is more ladder than stairs, especially when carrying a 40-pound box containing six reels of 35 mm film. The void between rungs is like a frame of film, each with its own bedraggled winter spider web and drab brown occupant, a Chaplinesque tramp surviving on slim pickings.
The air in the projection booth is thick with the toasted incense of 70 years of popped corn. Built like a pillbox with slits for windows, cement walls and a heavy fireproof door, it's a reminder that, not so long ago, highly flammable film threading through the projectors was illuminated by an open flame, a bright arc like the intense white heat of a welder's torch.
The heavy metal door, with its movie poster framed by strips of masking tape bearing the names of films gone by, was designed to seal off the booth until a fire went out on its own or help arrived.
Still, it wasn't fire that doomed the Cape's many old movie houses. Once dubbed movie palaces, they were the focal point of almost every Main Street.
Boxy, sometimes fronted by outsized garish facades, these buildings once drew sold-out audiences to see their dreams writ large, in black and white, and then color.
"It was definitely something that you went to every Friday or Saturday night. It was almost like a religion," said Cape Cinema manager Eric Hart.
Whether you remember a larger than life Betty Grable or Faye Dunaway, or you just recall the bubble gum that plastered the bottom of the seats and the fossilized soda that plastered the floors like a tar pit, going to the local movie house was a shared experience for many growing up in the years before TV.
"In the winter, it was the only thing we had," said Falmouth resident Eric Turkington, 64, a former state representative, of the Elizabeth Theater. "I remember occasionally there were live local acts appearing there. Do recall a lot of bubble gum under the seats and the sticky floor, but to us it was a palace."
It was entertainment for the masses, and Cape towns, like many across the country in the years leading up to World War I, became a little less isolated. Between 1914 and 1922, 4,000 movie theaters were built in towns and cities across the U.S., including many that linger in the memories of Cape moviegoers.
"That was the place to go," Mary Sicchio of the Falmouth Historical Commission said of the Elizabeth Theater, now a clothing store.
It's not ancient history we're talking about here. Even with the advent of television in the 1950s and VCRs, most of these theaters — like the Elizabeth, the Tudor-themed Summer Theater on Main Street in Hyannis, the Port Cinema in Harwichport, the Orleans Cinema on Route 6A and others — were still in operation in the mid-'70s, early '80s. Corporate ownership, and the decision that audiences preferred brand-new multiplexes to the threadbare movie palaces, spelled the end for many.
For some, their size and interior space proved amenable to retail. Chatham's Orpheum, the Orleans Cinema and others became CVS stores. Others met a harsher fate, demolished like the Port, or the Idle Hour, which opened in 1911 on Main Street in Hyannis and was destroyed by fire set by vagrants in 1972. There's still an empty lot still where it once stood.
But a new appreciation for the village cinema seems to be taking hold. Last week, a committee dedicated to bringing back Chatham's old Orpheum Theater announced they had collected more than a million dollars in pledges and donations for a proposed $2.7 million purchase and renovation after a CVS store recently moved out.
A 2010 survey of Orleans residents and homeowners found that nearly 60 percent wanted to see a movie theater back in the center of town, the highest consensus rating of any project. The Orleans Community Partnership does want some kind of theater venue as part of its plan to revitalize the downtown, but may be leaning toward a performance center that shows movies and can host live performances, said partnership spokesman Steve Bornemeier.
"It would be great to have some of those theaters come back," said Paul Schneider, a television and movie director and producer who teaches film at Boston University, "but it's tough to compete with things like 3D."
Both he and Hart agree that film quality varies widely from one 35 mm film copy to the next, depending on how they've been handled. Digital and other newer technology projectors at least promise consistency, but can be difficult to squeeze into old theaters, Schneider said. Hart thinks there may be a market for smaller theaters that run both commercial and more artistic films, but Schneider cautioned against banking on nostalgia.
"Younger audiences don't have any nostalgia whatsoever. They are interested in the best quality, 3D, whatever," he said. "Alternative theaters like the Coolidge Corner (theater in Brookline), there will be allegiance, but I don't think it will be easy."
Gelmini, 51, knows the days of film, and of projectionists, may be drawing to a close, but he remains enthralled by his craft.
"If I'm not careful, I'll feel it," Gelmini said as he threw a series of copper-colored knife switches that pre-dated fuses and modern breaker panels and turned on the electricity in the booth. Fans connected to dryer vents that snaked to the ceiling drew the heat away from the xenon projector bulbs that recently had replaced the old carbon arc lamp. His afternoon was spent in a strictly timed and choreographed routine, switching projectors, threading new film, rewinding the spent reel, then cleaning and oiling the projectors and the film, if necessary.
If he was doing his job right, the audience would never know he was up there.
Hunched, peering through small panes of glass at the screen far below, the bulky 1942-vintage projectors will soon literally be pushed aside, moved a few feet over to make way for a digital HD projector whose films arrived as portable hard drives.
"I'll keep them around for another couple of years," Hart said.
Gelmini started out working in the small community movie theaters in the '70s, just as their stars were fading. His taste in film betrays his allegiance. Until "The Artist," a movie about making silent movies, pushed it aside, his favorite was "Grease," the first movie he ever showed.
The steep climb up the iron stairs to the projection booth is more ladder than stairs, especially when carrying a 40-pound box containing six reels of 35 mm film. The void between rungs is like a frame of film, each with its own bedraggled winter spider web and drab brown occupant, a Chaplinesque tramp surviving on slim pickings.
The air in the projection booth is thick with the toasted incense of 70 years of popped corn. Built like a pillbox with slits for windows, cement walls and a heavy fireproof door, it's a reminder that, not so long ago, highly flammable film threading through the projectors was illuminated by an open flame, a bright arc like the intense white heat of a welder's torch.
The heavy metal door, with its movie poster framed by strips of masking tape bearing the names of films gone by, was designed to seal off the booth until a fire went out on its own or help arrived.
Still, it wasn't fire that doomed the Cape's many old movie houses. Once dubbed movie palaces, they were the focal point of almost every Main Street.
Boxy, sometimes fronted by outsized garish facades, these buildings once drew sold-out audiences to see their dreams writ large, in black and white, and then color.
"It was definitely something that you went to every Friday or Saturday night. It was almost like a religion," said Cape Cinema manager Eric Hart.
Whether you remember a larger than life Betty Grable or Faye Dunaway, or you just recall the bubble gum that plastered the bottom of the seats and the fossilized soda that plastered the floors like a tar pit, going to the local movie house was a shared experience for many growing up in the years before TV.
"In the winter, it was the only thing we had," said Falmouth resident Eric Turkington, 64, a former state representative, of the Elizabeth Theater. "I remember occasionally there were live local acts appearing there. Do recall a lot of bubble gum under the seats and the sticky floor, but to us it was a palace."
It was entertainment for the masses, and Cape towns, like many across the country in the years leading up to World War I, became a little less isolated. Between 1914 and 1922, 4,000 movie theaters were built in towns and cities across the U.S., including many that linger in the memories of Cape moviegoers.
"That was the place to go," Mary Sicchio of the Falmouth Historical Commission said of the Elizabeth Theater, now a clothing store.
It's not ancient history we're talking about here. Even with the advent of television in the 1950s and VCRs, most of these theaters — like the Elizabeth, the Tudor-themed Summer Theater on Main Street in Hyannis, the Port Cinema in Harwichport, the Orleans Cinema on Route 6A and others — were still in operation in the mid-'70s, early '80s. Corporate ownership, and the decision that audiences preferred brand-new multiplexes to the threadbare movie palaces, spelled the end for many.
For some, their size and interior space proved amenable to retail. Chatham's Orpheum, the Orleans Cinema and others became CVS stores. Others met a harsher fate, demolished like the Port, or the Idle Hour, which opened in 1911 on Main Street in Hyannis and was destroyed by fire set by vagrants in 1972. There's still an empty lot still where it once stood.
But a new appreciation for the village cinema seems to be taking hold. Last week, a committee dedicated to bringing back Chatham's old Orpheum Theater announced they had collected more than a million dollars in pledges and donations for a proposed $2.7 million purchase and renovation after a CVS store recently moved out.
A 2010 survey of Orleans residents and homeowners found that nearly 60 percent wanted to see a movie theater back in the center of town, the highest consensus rating of any project. The Orleans Community Partnership does want some kind of theater venue as part of its plan to revitalize the downtown, but may be leaning toward a performance center that shows movies and can host live performances, said partnership spokesman Steve Bornemeier.
"It would be great to have some of those theaters come back," said Paul Schneider, a television and movie director and producer who teaches film at Boston University, "but it's tough to compete with things like 3D."
Both he and Hart agree that film quality varies widely from one 35 mm film copy to the next, depending on how they've been handled. Digital and other newer technology projectors at least promise consistency, but can be difficult to squeeze into old theaters, Schneider said. Hart thinks there may be a market for smaller theaters that run both commercial and more artistic films, but Schneider cautioned against banking on nostalgia.
"Younger audiences don't have any nostalgia whatsoever. They are interested in the best quality, 3D, whatever," he said. "Alternative theaters like the Coolidge Corner (theater in Brookline), there will be allegiance, but I don't think it will be easy."
Gelmini, 51, knows the days of film, and of projectionists, may be drawing to a close, but he remains enthralled by his craft.
"If I'm not careful, I'll feel it," Gelmini said as he threw a series of copper-colored knife switches that pre-dated fuses and modern breaker panels and turned on the electricity in the booth. Fans connected to dryer vents that snaked to the ceiling drew the heat away from the xenon projector bulbs that recently had replaced the old carbon arc lamp. His afternoon was spent in a strictly timed and choreographed routine, switching projectors, threading new film, rewinding the spent reel, then cleaning and oiling the projectors and the film, if necessary.
If he was doing his job right, the audience would never know he was up there.
Hunched, peering through small panes of glass at the screen far below, the bulky 1942-vintage projectors will soon literally be pushed aside, moved a few feet over to make way for a digital HD projector whose films arrived as portable hard drives.
"I'll keep them around for another couple of years," Hart said.
Gelmini started out working in the small community movie theaters in the '70s, just as their stars were fading. His taste in film betrays his allegiance. Until "The Artist," a movie about making silent movies, pushed it aside, his favorite was "Grease," the first movie he ever showed.
2012年1月19日 星期四
Shedding light on driving after dark
Xenon lights are those fancy-looking, often-colorful lights you see on high-end cars. But they’re far from a cosmetic-only feature.
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
Dad liked his present, and agreed that the Lumens bulbs improved his Legacy’s looks and safety at the same time. Not a bad deal for $130.Xenon lights are those fancy-looking, often-colorful lights you see on high-end cars. But they’re far from a cosmetic-only feature.
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces (like signs and cyclist safety-vests) from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
Dad liked his present, and agreed that the Lumens bulbs improved his Legacy’s looks and safety at the same time. Not a bad deal for $130.Xenon lights are those fancy-looking, often-colorful lights you see on high-end cars. But they’re far from a cosmetic-only feature.
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces (like signs and cyclist safety-vests) from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
2012年1月18日 星期三
Learn with Epson EBX11 Projector
Learning is fun when lessons are received in clear, clean and entertaining manner. And you don’t have to pay more for this privilege as burden is literally eased with the Epson EBX11 Projector.
This projector combines a high White and Colour Light Output of 2,600 lumens with 3LCD technology for outstanding picture quality, natural colors and brightness, all the better for students to digest the lesson for the day.
Weighing no more than 2.3kg, this compact projector can easily be carried from one classroom to another. Running costs are kept low with the E-TORL lamp lasting 5,000 hours, and built-in security features such as the Kensington lock protect the projector against theft.
The Epson EB-X11 boasts of these key features:
Powerful 2,600 Lumens Light Output and Colour Light Output – All the power you need to create big, bold presentations.
Broad Connectivity – Enjoy the flexibility of a wide range of inputs. Whether you’re working from a computer, presenting from a USB or want to connect via RS-232C, the EB-X11 will always be able to deliver.
Horizontal and Vertical Keystone – Project from virtually any angle with the easy to use keystone correction system.
USB Plug ‘n Play – Transmit Images, Sound and Mouse Operation through one USB cable
Low Cost of Ownership – The EB-X11 utilizes a low priced lamp and makes use of a new High Efficiency Filter; extending the life of your projector.
The Epson EB-X11 projector gives images with deep, dark colors or a white screen with minimal text or graphics, so you get consistent light output. The projector is bright enough to be used as either an installation or desktop projector in even the brightest of rooms, without the need to dim the lights or close the curtains.
The USB Display function for Windows and Mac PC makes it possible to connect to a PC via a USB cable instead of an RGB cable. It is also possible to view a J-peg slide show file without a PC by simply inserting a USB memory device.
The Epson EBX11 Projector is compact and lightweight with a modern design.
So do away with classroom blues and snooze with the Epson EBX11 Projector.
This projector combines a high White and Colour Light Output of 2,600 lumens with 3LCD technology for outstanding picture quality, natural colors and brightness, all the better for students to digest the lesson for the day.
Weighing no more than 2.3kg, this compact projector can easily be carried from one classroom to another. Running costs are kept low with the E-TORL lamp lasting 5,000 hours, and built-in security features such as the Kensington lock protect the projector against theft.
The Epson EB-X11 boasts of these key features:
Powerful 2,600 Lumens Light Output and Colour Light Output – All the power you need to create big, bold presentations.
Broad Connectivity – Enjoy the flexibility of a wide range of inputs. Whether you’re working from a computer, presenting from a USB or want to connect via RS-232C, the EB-X11 will always be able to deliver.
Horizontal and Vertical Keystone – Project from virtually any angle with the easy to use keystone correction system.
USB Plug ‘n Play – Transmit Images, Sound and Mouse Operation through one USB cable
Low Cost of Ownership – The EB-X11 utilizes a low priced lamp and makes use of a new High Efficiency Filter; extending the life of your projector.
The Epson EB-X11 projector gives images with deep, dark colors or a white screen with minimal text or graphics, so you get consistent light output. The projector is bright enough to be used as either an installation or desktop projector in even the brightest of rooms, without the need to dim the lights or close the curtains.
The USB Display function for Windows and Mac PC makes it possible to connect to a PC via a USB cable instead of an RGB cable. It is also possible to view a J-peg slide show file without a PC by simply inserting a USB memory device.
The Epson EBX11 Projector is compact and lightweight with a modern design.
So do away with classroom blues and snooze with the Epson EBX11 Projector.
2012年1月17日 星期二
‘Emerging Artist Series’ with Koki Tanaka
“The Piano Played By Five Pianists at Once (First Attempt)” is the latest chapter in Koki Tanaka’s string of works.
Currently housed in UC Irvine’s Room Gallery, the artwork consists of a singular screen with long, wooden benches provided for viewers to sit on. A single paper lamp hangs in the doorway. Pale and poised, the orb of light beckons to visitors while another fluorescent fixture awkwardly hangs to the bottom half of the wall on the right.
The projector switches on and upon the screen are UC Irvine students, both film and music majors, undergoing a project of collaboration. The five performers sit around a table that holds a neatly-centered arrangement of cookies, oranges and water bottles. The mechanical setup, along with the formality of the beginning, add uniformity and tension to the work.
Set upon a motion capture studio, Tanaka stages the students to follow two rules: “a soundtrack for collective engagement” and “to play one piano with all the pianists playing together.”
One might think of it as a challenge of sorts. Five pianists equal five crammed bodies on a bench utilizing 10 hands. Of course, there exists no rule which states that all ten hands must be playing. Such exceptions to the rules provide creative leeway for the students.
When they begin playing, the subjects’ nervousness is nearly palpable. The viewers can sense their heightened awareness of being in front of the camera. Under harsh, artificial lighting, the students uneasily shift in the plastic chairs.
At times, the notes can be characterized as glaringly discordant. Jarring noises provoke the audience to flinch at the students’ somewhat worthy attempts to harmonize. In certain moments, randomness rises to the surface and tonality falls out the window.
The subjects then go back to the drawing board.
A subject clad in a royal purple sweater suggests taking a “kind of minimalistic approach … like the person already there subtracts what he already does.” Another adds to not “be afraid to use more black keys.”
Just shooting out random ideas, they experiment and mold themselves to adjust to a particular format.
Yet, while the students engage and interact, the viewer sees the camera crew capturing each other’s movements. One sees the mirrored images of cameras and equipment upon the glossy body of the piano. Noticing the filmmakers’ obvious presence draws the work slightly backward and stimulates the question of whether Tanaka’s project can be classified as just an artwork. Nevertheless, the obvious, reflective qualities and the breaking of the fourth wall make a statement.
Whether he zooms in on the subjects or does a revolving shot, Tanaka has the audience personally engaged to peer into the step-by-step process of discussion and experience the trial and error procedure. The blurring effects also create the simulated, surreal mood and heighten the dizzying illusion.
The title of the work alone evokes reluctance. “First Attempt” elicits insecurity as an excuse of the lack of clarity or unsure beginnings of the project’s capability to be carried out. Or even, perhaps, it lightheartedly makes fun of itself.
As an experimentation not only on a collaborative level of getting the music right, but also on a social level of what interactions are needed and compromised, the artwork emphasizes collective engagement.
Finally, it appears: a moment when all the music flows. The notes align and the audience actually witnesses the melody working in balance amongst the many fingers as they move almost effortlessly over the keys. Ebbing in and out of the beat, they pick up the tempo. Haunting baritones and easy Sinatra one-liners blend well.
A short encounter with the artist himself can be an evident reflection of the work. Slightly stout and wearing a casual black jacket, Tanaka looks, well, just normal. Born and raised in Japan, he majored in art at Tokyo Zokei University and went on to receive his master’s degree at Tokyo National University of Fine Art and Music. Despite his ordinary appearance, Tanaka gives an impression of humble eagerness, flat-out seriousness and an aptitude for details.
Having asked if he had always created “new media,” Tanaka corrects the labeling of his work, saying, “[This is] a film, a creation and I am the producer.”
Tanaka has the viewer realize that perceptions and critiques play a huge role in reaching progression and cohesion. Although the performers do not reach a perfect melodious composition, understanding the possibility of the goal and ascertaining collaboration along the way demonstrate the importance placed on the film’s capturing of the process of attempt. That way, the students enjoy the rising satisfaction of progression.
Currently housed in UC Irvine’s Room Gallery, the artwork consists of a singular screen with long, wooden benches provided for viewers to sit on. A single paper lamp hangs in the doorway. Pale and poised, the orb of light beckons to visitors while another fluorescent fixture awkwardly hangs to the bottom half of the wall on the right.
The projector switches on and upon the screen are UC Irvine students, both film and music majors, undergoing a project of collaboration. The five performers sit around a table that holds a neatly-centered arrangement of cookies, oranges and water bottles. The mechanical setup, along with the formality of the beginning, add uniformity and tension to the work.
Set upon a motion capture studio, Tanaka stages the students to follow two rules: “a soundtrack for collective engagement” and “to play one piano with all the pianists playing together.”
One might think of it as a challenge of sorts. Five pianists equal five crammed bodies on a bench utilizing 10 hands. Of course, there exists no rule which states that all ten hands must be playing. Such exceptions to the rules provide creative leeway for the students.
When they begin playing, the subjects’ nervousness is nearly palpable. The viewers can sense their heightened awareness of being in front of the camera. Under harsh, artificial lighting, the students uneasily shift in the plastic chairs.
At times, the notes can be characterized as glaringly discordant. Jarring noises provoke the audience to flinch at the students’ somewhat worthy attempts to harmonize. In certain moments, randomness rises to the surface and tonality falls out the window.
The subjects then go back to the drawing board.
A subject clad in a royal purple sweater suggests taking a “kind of minimalistic approach … like the person already there subtracts what he already does.” Another adds to not “be afraid to use more black keys.”
Just shooting out random ideas, they experiment and mold themselves to adjust to a particular format.
Yet, while the students engage and interact, the viewer sees the camera crew capturing each other’s movements. One sees the mirrored images of cameras and equipment upon the glossy body of the piano. Noticing the filmmakers’ obvious presence draws the work slightly backward and stimulates the question of whether Tanaka’s project can be classified as just an artwork. Nevertheless, the obvious, reflective qualities and the breaking of the fourth wall make a statement.
Whether he zooms in on the subjects or does a revolving shot, Tanaka has the audience personally engaged to peer into the step-by-step process of discussion and experience the trial and error procedure. The blurring effects also create the simulated, surreal mood and heighten the dizzying illusion.
The title of the work alone evokes reluctance. “First Attempt” elicits insecurity as an excuse of the lack of clarity or unsure beginnings of the project’s capability to be carried out. Or even, perhaps, it lightheartedly makes fun of itself.
As an experimentation not only on a collaborative level of getting the music right, but also on a social level of what interactions are needed and compromised, the artwork emphasizes collective engagement.
Finally, it appears: a moment when all the music flows. The notes align and the audience actually witnesses the melody working in balance amongst the many fingers as they move almost effortlessly over the keys. Ebbing in and out of the beat, they pick up the tempo. Haunting baritones and easy Sinatra one-liners blend well.
A short encounter with the artist himself can be an evident reflection of the work. Slightly stout and wearing a casual black jacket, Tanaka looks, well, just normal. Born and raised in Japan, he majored in art at Tokyo Zokei University and went on to receive his master’s degree at Tokyo National University of Fine Art and Music. Despite his ordinary appearance, Tanaka gives an impression of humble eagerness, flat-out seriousness and an aptitude for details.
Having asked if he had always created “new media,” Tanaka corrects the labeling of his work, saying, “[This is] a film, a creation and I am the producer.”
Tanaka has the viewer realize that perceptions and critiques play a huge role in reaching progression and cohesion. Although the performers do not reach a perfect melodious composition, understanding the possibility of the goal and ascertaining collaboration along the way demonstrate the importance placed on the film’s capturing of the process of attempt. That way, the students enjoy the rising satisfaction of progression.
2012年1月16日 星期一
Sharp's New XV-Z30000 3D HD DLP Projector Shines at CES
3D projectors remain hot segment of the high-end video display category and Sharp has announced a new beauty at the Consumer Electronics Show. Their latest 3D-capable, 1080p high-definition DLP XV-Z30000 Front Projector is poised to be the centerpiece of a dedicated home theater , bringing serious video performance born of some exceptional design
One of the secrets to the superior picture quality of the XV-Z30000 projector lies in the inherent DLP advantage. All Sharp front projectors incorporate mirror-based components that manipulate the light more efficiently, sending more of it from the lamp to the screen. This combines with Sharp's proprietary digital image integrated circuits to deliver a consistently strong three-dimensional image with less of the cross-talk and flicker that can plague 3D. The projector also boasts a six-segment, 5X-speed color wheel and an impressive 50,000:1 contrast ratio when in high-contrast mode. It is rated at 1600 ANSI lumens for more than adequate brightness.
The projector's lens functions also offer welcome versatility thanks to its center lens and lens shift. The center lens design allows for easy adjustment, while the wide-range horizontal and vertical lens shift function allows for flexible installation. Further, with the motorized lens shift function, customers can easily select their preferred setting position. The projector also has broad control compatibility, with Creston, Control 4 and AMX, along with an RS-232C port and LAN control via a home network.
Ease of use is impressive with the XV-Z30000 as well. The wide-range 2X optical zoom lens empowers users to choose from a variety of ceiling mount position in the home theater, depending upon specific wants/needs. Want to show a big, HD, 3D movie wherever, whenever? This projector is portable, and can be simply parked atop a table.
The resize function allows users to choose an optimized 2.35:1 aspect ratio image, to better reproduce Cinemascope widescreen films in the home theater environment. It also offers a One Touch Play function, which automatically turns on the projector when the user pushes the playback button of the connected playback gear. System Standby also places that playback equipment into energy-saving standby mode when the projector is switched off.
One of the secrets to the superior picture quality of the XV-Z30000 projector lies in the inherent DLP advantage. All Sharp front projectors incorporate mirror-based components that manipulate the light more efficiently, sending more of it from the lamp to the screen. This combines with Sharp's proprietary digital image integrated circuits to deliver a consistently strong three-dimensional image with less of the cross-talk and flicker that can plague 3D. The projector also boasts a six-segment, 5X-speed color wheel and an impressive 50,000:1 contrast ratio when in high-contrast mode. It is rated at 1600 ANSI lumens for more than adequate brightness.
The projector's lens functions also offer welcome versatility thanks to its center lens and lens shift. The center lens design allows for easy adjustment, while the wide-range horizontal and vertical lens shift function allows for flexible installation. Further, with the motorized lens shift function, customers can easily select their preferred setting position. The projector also has broad control compatibility, with Creston, Control 4 and AMX, along with an RS-232C port and LAN control via a home network.
Ease of use is impressive with the XV-Z30000 as well. The wide-range 2X optical zoom lens empowers users to choose from a variety of ceiling mount position in the home theater, depending upon specific wants/needs. Want to show a big, HD, 3D movie wherever, whenever? This projector is portable, and can be simply parked atop a table.
The resize function allows users to choose an optimized 2.35:1 aspect ratio image, to better reproduce Cinemascope widescreen films in the home theater environment. It also offers a One Touch Play function, which automatically turns on the projector when the user pushes the playback button of the connected playback gear. System Standby also places that playback equipment into energy-saving standby mode when the projector is switched off.
2012年1月15日 星期日
Vintage devotees have seen the light
Motorists using the Saddle Rd on Wednesday morning can expect to see an unusual convoy of six elderly tractors towing two World War II searchlights and their generators.
The showpieces are on their way from Hastings to Whanganui for the international Vintage Car Rally that starts today and runs until the end of next week.
The searchlights are in the care of Hastings man Wayne Clark, who owns one and looks after the other for the Army Museum in Waiouru.
Mr Clark and his support team aim to make the seven-hour journey to Woodville on Tuesday, and will make a decision then on whether to make a dawn dash over the hill, or wait until the "commuter rush hour" has passed.
"My main concern is that we don't hold up the traffic," he said.
Mr Clark's fascination with searchlights dates back to his childhood, and was fostered by an interest in movie projector lights.
"When the opportunity came up to get hold of one of these, I thought I should make a move."
The lights were built in Sydney in 1941 and brought to New Zealand during the war for use in coastal and air defence. The beam can be seen for nearly 50 kilometres.
On the McDonald's restaurants-sponsored trip to Whanganui, the lights will be towed behind four 1954/55 Fordson tractors.
A third searchlight is being brought down from New Plymouth.
Meanwhile, in Whanganui, rally director Bruce Hutton was spending the weekend on final preparations, made more complex by the rain that left the Springvale Park venue grounds soft in advance of more than 700 vehicles arriving.
About 2000 people, including 180 from overseas, were expected.
"We have had major problems with the weather, that threatened to wash us out."
The main marquee was pitched, but another blew down and had to be repaired.
"But the Wanganui District Council has been wonderful. They have arranged alternative car parking on the hard surface, and have aerated the ground to help get the water away.
"The co-operation we have had from volunteers and businesses has been just amazing."
Vintage vehicles making their way to the official opening in Whanganui tomorrow will be passing through Manawatu. They will be at Manfeild Park on Saturday.
The showpieces are on their way from Hastings to Whanganui for the international Vintage Car Rally that starts today and runs until the end of next week.
The searchlights are in the care of Hastings man Wayne Clark, who owns one and looks after the other for the Army Museum in Waiouru.
Mr Clark and his support team aim to make the seven-hour journey to Woodville on Tuesday, and will make a decision then on whether to make a dawn dash over the hill, or wait until the "commuter rush hour" has passed.
"My main concern is that we don't hold up the traffic," he said.
Mr Clark's fascination with searchlights dates back to his childhood, and was fostered by an interest in movie projector lights.
"When the opportunity came up to get hold of one of these, I thought I should make a move."
The lights were built in Sydney in 1941 and brought to New Zealand during the war for use in coastal and air defence. The beam can be seen for nearly 50 kilometres.
On the McDonald's restaurants-sponsored trip to Whanganui, the lights will be towed behind four 1954/55 Fordson tractors.
A third searchlight is being brought down from New Plymouth.
Meanwhile, in Whanganui, rally director Bruce Hutton was spending the weekend on final preparations, made more complex by the rain that left the Springvale Park venue grounds soft in advance of more than 700 vehicles arriving.
About 2000 people, including 180 from overseas, were expected.
"We have had major problems with the weather, that threatened to wash us out."
The main marquee was pitched, but another blew down and had to be repaired.
"But the Wanganui District Council has been wonderful. They have arranged alternative car parking on the hard surface, and have aerated the ground to help get the water away.
"The co-operation we have had from volunteers and businesses has been just amazing."
Vintage vehicles making their way to the official opening in Whanganui tomorrow will be passing through Manawatu. They will be at Manfeild Park on Saturday.
2012年1月12日 星期四
Sharp Unveils New 3d High Definition DLP Home Theater Projector
Sharp unveiled its latest 3D capable high-definition DLP home theater projector. Providing unparalleled 3D visuals, the XV-Z30000 features 50000:1 contrast ratio and 1600 ANSI lumens to deliver superior brightness, astounding clarity, and color accuracy.
“No matter what the content, the XV-Z30000 offers consumers a compelling entertainment projection solution,” said Jim Sanduski, vice president, strategic product marketing, Sharp Electronics Marketing Company of America, a division of Sharp Electronics Corporation. “With a focus on providing consumers with superior entertainment experiences, this front projector is ideal for the dedicated home theater or viewing room and is a welcome addition to any home entertainment experience.”
Part of the XV-Z30000’s superior picture quality is due to the DLP advantage. All Sharp front projectors incorporate mirror-based components that use light more efficiently by bringing more light from lamp to screen. In addition, with Sharp’s proprietary digital image ICs, the XV-Z30000 reproduces high quality 3D picture with low cross talk and flicker.
The projector’s lens functions also make it a good choice for those looking for a high-quality home theater experience. It features flexible installation with center lens and lens shift; the center lens design allows for easy adjustment; and the wide range horizontal and vertical lens shift function allows for flexible installation. In addition, with the motorized lens shift function, customers can select their preferable setting position. The projector also has control function with Creston, Control 4, AMX, and RS 232C port and LAN control via network.
Adding to the XV-Z30000’s appeal is its ease of use. With the wide range 2x optical zoom, users can select the preferable ceiling mount position in the room. Or, for spontaneous projection, the projector is portable and can be positioned on a table. The resize function (V-stretch) allows users to choose a 2.35:1 wide aspect image (Cinema scope). It also includes a One Touch Play function, which automatically turns on the projector when the user pushes the playback button of the playback equipment. Also, the System Standby function places the playback equipment into standby mode when the projector is turned off.
The XV-Z30000 offers extensive connectivity with two HDMI inputs. To further enhance the viewing experience, two sets of 3-D glasses are included. The XV-Z30000’s other included accessories are an IR emitter, IR emitter cable, remote control, and two R-6 batteries.
“No matter what the content, the XV-Z30000 offers consumers a compelling entertainment projection solution,” said Jim Sanduski, vice president, strategic product marketing, Sharp Electronics Marketing Company of America, a division of Sharp Electronics Corporation. “With a focus on providing consumers with superior entertainment experiences, this front projector is ideal for the dedicated home theater or viewing room and is a welcome addition to any home entertainment experience.”
Part of the XV-Z30000’s superior picture quality is due to the DLP advantage. All Sharp front projectors incorporate mirror-based components that use light more efficiently by bringing more light from lamp to screen. In addition, with Sharp’s proprietary digital image ICs, the XV-Z30000 reproduces high quality 3D picture with low cross talk and flicker.
The projector’s lens functions also make it a good choice for those looking for a high-quality home theater experience. It features flexible installation with center lens and lens shift; the center lens design allows for easy adjustment; and the wide range horizontal and vertical lens shift function allows for flexible installation. In addition, with the motorized lens shift function, customers can select their preferable setting position. The projector also has control function with Creston, Control 4, AMX, and RS 232C port and LAN control via network.
Adding to the XV-Z30000’s appeal is its ease of use. With the wide range 2x optical zoom, users can select the preferable ceiling mount position in the room. Or, for spontaneous projection, the projector is portable and can be positioned on a table. The resize function (V-stretch) allows users to choose a 2.35:1 wide aspect image (Cinema scope). It also includes a One Touch Play function, which automatically turns on the projector when the user pushes the playback button of the playback equipment. Also, the System Standby function places the playback equipment into standby mode when the projector is turned off.
The XV-Z30000 offers extensive connectivity with two HDMI inputs. To further enhance the viewing experience, two sets of 3-D glasses are included. The XV-Z30000’s other included accessories are an IR emitter, IR emitter cable, remote control, and two R-6 batteries.
2012年1月11日 星期三
A/V Furniture, Mounts Get Rolled Out At International CES
A/V furniture and mounts will be a popular category at this year’s International CES, with new product introductions from many of the top manufacturers. Among those debuting new models will be Bell’O International, Sanus, OmniMount and VMP.
Bell’O is introducing ultra-thin, flexible HDMI cables as well as new A/V furniture for flat-panel TVs.
The new 5000 series of high-speed HDMI cables feature a connector head that is shorter than the connectors of most HDMI cables, Bell’O said, and a flexible design that allows for easy bending. These features are necessary for use behind mounted ultra-thin flat-panel TVs, where space between the TV and the wall is limited, it noted.
They are TruSpeed-tested to deliver a guaranteed 10.2Gbps bandwidth stream, according to the company, and are capable of supporting all enhanced refresh rates, 1080p, 3D and 4k resolution, and 12-bit color. They are also Ethernet enabled.
The cables will ship in February in 4-foot lengths for $29.99 and 8-foot lengths for $34.99.
Bell’O has also added to its Curved Wood collection with the CW52AM flat-panel A/V system. It has tinted tempered safety-glass shelves that can accommodate most flat-panel TVs up to 56 inches plus at least four A/V components.
The open-architecture design provides plenty of ventilation for convection cooling of components while the integrated CMS Cable Management System hides and manages power cords and interconnect cables, resulting in a clean, unobstructed showcase of the room’s A/V equipment, Bell’O said.
It will be available in February at a $299 suggested retail.
Bell’O will also be launching the TPC2133, its newest addition to the Triple Play collection of A/V furniture. This new model offers three configuration options, and can reportedly be assembled without any tools.
The TPC2133 (April, $399) blends dark espresso finished solid wood legs with a brushed-nickel front frame. The Triple Play system can accommodate most flat-panel TVs up to 60 inches or 125 pounds, Bell’O said, and the three black tempered safety glass shelves hold up to four or more audio/video components.
The rear mounting frame and universal swivel mounting system can be removed so that the system can be used as a three-shelf standalone table, or the swivel mounting system can be removed and hung with the included wall mount bracket.
The open architecture design provides plenty of ventilation, and an integrated CMS cable -management system hides and organizes unsightly wires and interconnect cables, according to the company.
Chief will be showing at its suite in the Wynn new SKUs in its Automated Swing Arm line, new Fusion Pull-Out mounts, additions to its Fit-series hinge mounts, as well as its Raxxess line of rack solutions for custom installers.
Chief also recently introduced its VCMU universal projector mount with a solid steel construction. It’s designed for mounting heavy LCD and CRT projectors. Features include a three-step installation process, integrated cable management, and quick connect/disconnect for convenient lamp and filter access on most projectors.
Included with the mount is a universal HBU bracket compatible with most heavy-duty projectors. Multiple installation options are available: flush mount to ceiling; 0.5- inch threaded rods, and a 1.5-inch NPT extension column.
OmniMount is debuting a number of workstations at the show, including the Work15 and Work20 sit-to-stand workstations. These are part of the ActionMount series and are designed to offer flexibility for users in multi-purpose workspaces.
They feature Ergotron Constant Force technology that’s said to provide simple, light-touch adjustments of the keyboard, mouse and monitor. Users can easily move between sitting and standing positions while working, and the full-motion functionality allows the monitor to move up and out of the way for storage, to utilize more desk space, or to share screen information, OmniMount said.
They are available in two configurations: Work15 supports a single monitor up to 15 pounds and Work20 ($429) supports two side-by-side monitors up to 20 pounds. Installation is done via desk clamp or grommet mounting and cable clips control wires.
An optional work surface accessory is available for $49.95.
OmniMount is also launching three full-motion TV mounts at the show that are part of the ActionMount series.
The Play20, Play20X and Play40 feature the Ergotron Constant Force technology for fluid, omnidirectional TV movement. The products are designed for users who get off the couch to interact with their televisions.
TVs can be raised up to 21 inches for gaming or group viewing or lowered 21 inches for fitness or floor seating. The range of pan allows the mount to be viewable from multiple rooms or seating areas, Omni- Mount said, adding that the mount can be used high over a fireplace and then lowered to achieve the proper viewing angle when in use. CF technology reportedly ensures that the force required for movement always remains minimal.
The Play40 fits TVs 60 inches and larger, panel weight not exceeding 40 pounds, and offers up to 21 inches of vertical and horizontal movement. The Play20 and Play20X fit TVs up to 32 inches and 20 pounds and offers up to 15 inches of vertical and horizontal adjustment. The Play20X also comes with a 9-inch arm extension for greater viewing flexibility. Each mount features post installation leveling, tilt and pan, and cable management.
The Play20, Play20X and Play40 will ship in January, offered at suggested retails of $129, $149 and $299, respectively.
Sanus will be introducing the newly redesigned Component 100-series A/V racks. Offered in various sizes — including a 15U model, 27U model , 36U model , and a 44U model — the new 100-series racks feature removable side and back panels for easier access to components.
A 3U panel located at the back of the racks can be placed on top or bottom of the rack’s rear door for customization in wiring. Vented shelves with backstops, and cooling shelves at the top and bottom of each rack, ensure proper airflow for A/V equipment, Sanus said.
The company will be debuting two new Super Slim wall mounts for flat-panel TVs. The Super Slim mount category offers brackets that allow TVs to be mounted as close to the wall as possible, Sanus said.
The new VLF320 and VMF322 mounts allow TV placement incredibly close to the wall while also offering full-motion capabilities. The VLF320 offers 20 inches of extension for TVs 37 inches to 65 inches. The VMF322 offers 22 inches of extension for TVs 26 inches to 47 inches. Both models feature an integrated cable- management system and will be available in early 2012.
The VMA401 on-wall shelf is engineered to hold components up to 15 pounds. It features integrated cable management. and multiple VMA401 units can be combined to provide a one-piece look, Sanus said.
Also at the show will be three new offerings from the company’s Basic series of furniture. All of the new Basic-series furniture can be assembled without tools, Sanus said. New additions to the line include the BFAV546, which includes a modern two-tone walnut finish and dual pullout media drawers for storage; the BFV157, which features a heavy-gauge steel construction and open design to maximize airflow; and the BFV348, designed with a classic look and feel with a distressed black finish. All will be available this month.
Several consumer electronics accessories will also be on display in the Sanus booth, including new Super Slim HDMI cables models ELM4303, ELM4306 and ELM4308. The cables feature an ultra-flexible design, meant for use for connections behind ultra-thin TVs. All three models are Ethernet enabled and can handle 1080p video resolution and beyond for future-generation displays, Sanus said. All of these models are now shipping.
Sanus is also using the show to announce that its Install Kit app, which was previously available only for the iPad, is now also available for iPhone and iPod Touch. The free app is designed as a mount-installation assistant for both the professional installer and the doit- yourselfer.
Video Mount Products has begun shipping its latest midsize flat-panel wall mount, the FP-MFTB Multi-Just with tilt.
The low-profile mount supports flat panels from 27 inches to 42 inches and up to 100 pounds. It has an adjustable tilt range of -5 degrees to +15 degrees, a vertical height adjustment of one inch, list adjustment to +/-3 degrees, a 2.3-inch wall profile and black powder coat finish.
Bell’O is introducing ultra-thin, flexible HDMI cables as well as new A/V furniture for flat-panel TVs.
The new 5000 series of high-speed HDMI cables feature a connector head that is shorter than the connectors of most HDMI cables, Bell’O said, and a flexible design that allows for easy bending. These features are necessary for use behind mounted ultra-thin flat-panel TVs, where space between the TV and the wall is limited, it noted.
They are TruSpeed-tested to deliver a guaranteed 10.2Gbps bandwidth stream, according to the company, and are capable of supporting all enhanced refresh rates, 1080p, 3D and 4k resolution, and 12-bit color. They are also Ethernet enabled.
The cables will ship in February in 4-foot lengths for $29.99 and 8-foot lengths for $34.99.
Bell’O has also added to its Curved Wood collection with the CW52AM flat-panel A/V system. It has tinted tempered safety-glass shelves that can accommodate most flat-panel TVs up to 56 inches plus at least four A/V components.
The open-architecture design provides plenty of ventilation for convection cooling of components while the integrated CMS Cable Management System hides and manages power cords and interconnect cables, resulting in a clean, unobstructed showcase of the room’s A/V equipment, Bell’O said.
It will be available in February at a $299 suggested retail.
Bell’O will also be launching the TPC2133, its newest addition to the Triple Play collection of A/V furniture. This new model offers three configuration options, and can reportedly be assembled without any tools.
The TPC2133 (April, $399) blends dark espresso finished solid wood legs with a brushed-nickel front frame. The Triple Play system can accommodate most flat-panel TVs up to 60 inches or 125 pounds, Bell’O said, and the three black tempered safety glass shelves hold up to four or more audio/video components.
The rear mounting frame and universal swivel mounting system can be removed so that the system can be used as a three-shelf standalone table, or the swivel mounting system can be removed and hung with the included wall mount bracket.
The open architecture design provides plenty of ventilation, and an integrated CMS cable -management system hides and organizes unsightly wires and interconnect cables, according to the company.
Chief will be showing at its suite in the Wynn new SKUs in its Automated Swing Arm line, new Fusion Pull-Out mounts, additions to its Fit-series hinge mounts, as well as its Raxxess line of rack solutions for custom installers.
Chief also recently introduced its VCMU universal projector mount with a solid steel construction. It’s designed for mounting heavy LCD and CRT projectors. Features include a three-step installation process, integrated cable management, and quick connect/disconnect for convenient lamp and filter access on most projectors.
Included with the mount is a universal HBU bracket compatible with most heavy-duty projectors. Multiple installation options are available: flush mount to ceiling; 0.5- inch threaded rods, and a 1.5-inch NPT extension column.
OmniMount is debuting a number of workstations at the show, including the Work15 and Work20 sit-to-stand workstations. These are part of the ActionMount series and are designed to offer flexibility for users in multi-purpose workspaces.
They feature Ergotron Constant Force technology that’s said to provide simple, light-touch adjustments of the keyboard, mouse and monitor. Users can easily move between sitting and standing positions while working, and the full-motion functionality allows the monitor to move up and out of the way for storage, to utilize more desk space, or to share screen information, OmniMount said.
They are available in two configurations: Work15 supports a single monitor up to 15 pounds and Work20 ($429) supports two side-by-side monitors up to 20 pounds. Installation is done via desk clamp or grommet mounting and cable clips control wires.
An optional work surface accessory is available for $49.95.
OmniMount is also launching three full-motion TV mounts at the show that are part of the ActionMount series.
The Play20, Play20X and Play40 feature the Ergotron Constant Force technology for fluid, omnidirectional TV movement. The products are designed for users who get off the couch to interact with their televisions.
TVs can be raised up to 21 inches for gaming or group viewing or lowered 21 inches for fitness or floor seating. The range of pan allows the mount to be viewable from multiple rooms or seating areas, Omni- Mount said, adding that the mount can be used high over a fireplace and then lowered to achieve the proper viewing angle when in use. CF technology reportedly ensures that the force required for movement always remains minimal.
The Play40 fits TVs 60 inches and larger, panel weight not exceeding 40 pounds, and offers up to 21 inches of vertical and horizontal movement. The Play20 and Play20X fit TVs up to 32 inches and 20 pounds and offers up to 15 inches of vertical and horizontal adjustment. The Play20X also comes with a 9-inch arm extension for greater viewing flexibility. Each mount features post installation leveling, tilt and pan, and cable management.
The Play20, Play20X and Play40 will ship in January, offered at suggested retails of $129, $149 and $299, respectively.
Sanus will be introducing the newly redesigned Component 100-series A/V racks. Offered in various sizes — including a 15U model, 27U model , 36U model , and a 44U model — the new 100-series racks feature removable side and back panels for easier access to components.
A 3U panel located at the back of the racks can be placed on top or bottom of the rack’s rear door for customization in wiring. Vented shelves with backstops, and cooling shelves at the top and bottom of each rack, ensure proper airflow for A/V equipment, Sanus said.
The company will be debuting two new Super Slim wall mounts for flat-panel TVs. The Super Slim mount category offers brackets that allow TVs to be mounted as close to the wall as possible, Sanus said.
The new VLF320 and VMF322 mounts allow TV placement incredibly close to the wall while also offering full-motion capabilities. The VLF320 offers 20 inches of extension for TVs 37 inches to 65 inches. The VMF322 offers 22 inches of extension for TVs 26 inches to 47 inches. Both models feature an integrated cable- management system and will be available in early 2012.
The VMA401 on-wall shelf is engineered to hold components up to 15 pounds. It features integrated cable management. and multiple VMA401 units can be combined to provide a one-piece look, Sanus said.
Also at the show will be three new offerings from the company’s Basic series of furniture. All of the new Basic-series furniture can be assembled without tools, Sanus said. New additions to the line include the BFAV546, which includes a modern two-tone walnut finish and dual pullout media drawers for storage; the BFV157, which features a heavy-gauge steel construction and open design to maximize airflow; and the BFV348, designed with a classic look and feel with a distressed black finish. All will be available this month.
Several consumer electronics accessories will also be on display in the Sanus booth, including new Super Slim HDMI cables models ELM4303, ELM4306 and ELM4308. The cables feature an ultra-flexible design, meant for use for connections behind ultra-thin TVs. All three models are Ethernet enabled and can handle 1080p video resolution and beyond for future-generation displays, Sanus said. All of these models are now shipping.
Sanus is also using the show to announce that its Install Kit app, which was previously available only for the iPad, is now also available for iPhone and iPod Touch. The free app is designed as a mount-installation assistant for both the professional installer and the doit- yourselfer.
Video Mount Products has begun shipping its latest midsize flat-panel wall mount, the FP-MFTB Multi-Just with tilt.
The low-profile mount supports flat panels from 27 inches to 42 inches and up to 100 pounds. It has an adjustable tilt range of -5 degrees to +15 degrees, a vertical height adjustment of one inch, list adjustment to +/-3 degrees, a 2.3-inch wall profile and black powder coat finish.
2012年1月10日 星期二
Valencia Distributor Introduces High-Intensity LED Light
Wavien’s RLT technology allows narrow, high intensity beams to be generated. The recycling of light allows the otherwise wasted light to be directed toward the target, increasing the intensity. This technology has been applied to spot lights, flashlight, and projector applications. The application of the RLT technology to the Point Light product made by WattWorks provides very impressive performance compared to previously available products.
“Wavien’s LED light recycling technology offers outstanding brightness by recovering high angle light from the LED that is normally wasted with traditional LED coupling systems,” stated Dr. Kenneth Li, President and CEO of Wavien, Inc., who is also the inventor of the recycling technology. Dr. Li added: “This unique design enables LED-based products to be able to increase total brightness by over 80%. This performance improvement is provided by adding a reflector with an aperture to the standard LED package. The diameter of the opening, which determines the amount of recycling, can be scaled to meet the user’s needs,” stated Dr. Li.
One of the plant engineers from a customer of WattWorks stated that, “The folks here at the Bellefontaine plant seem to be very impressed on how well LED technology (Wavien’s RLT technology) works for our application. In fact it is a win-win in all aspects compared to the old generation of point lights. I want to say thanks again to you and all involved, for their diligent work in the development to final product.” George Anderson, CEO of WattWorks, Inc., added, “The Wavien RLT reflecting collar, when added to the Luminus single chip high brightness LED, resulted in sufficient intensity for the application that we could not quite achieve with the LED alone. Together, the solution is superior in several ways to the arc lamps previously used for quality control inspections in the production line environment where variable intensity and rapid on/off controls are important. Reduced energy consumption is a bonus.”
Wavien, based in Valencia, California, is a technology licensing company developing long-life, high-performance light sources and engine prototypes for the projection and general lighting industries. Wavien currently offers its unique “Dual Paraboloid Reflector” (“DPR”) technology using ultra-high-pressure arc lamps. Wavien has also entered the LED illumination market with its “Premien” recycling and non-imaging optical technology. These technologies improve lamp life, brightness, and efficiency when teamed with applications in the projection display, fiber optics, entertainment, and general lighting markets.
“Wavien’s LED light recycling technology offers outstanding brightness by recovering high angle light from the LED that is normally wasted with traditional LED coupling systems,” stated Dr. Kenneth Li, President and CEO of Wavien, Inc., who is also the inventor of the recycling technology. Dr. Li added: “This unique design enables LED-based products to be able to increase total brightness by over 80%. This performance improvement is provided by adding a reflector with an aperture to the standard LED package. The diameter of the opening, which determines the amount of recycling, can be scaled to meet the user’s needs,” stated Dr. Li.
One of the plant engineers from a customer of WattWorks stated that, “The folks here at the Bellefontaine plant seem to be very impressed on how well LED technology (Wavien’s RLT technology) works for our application. In fact it is a win-win in all aspects compared to the old generation of point lights. I want to say thanks again to you and all involved, for their diligent work in the development to final product.” George Anderson, CEO of WattWorks, Inc., added, “The Wavien RLT reflecting collar, when added to the Luminus single chip high brightness LED, resulted in sufficient intensity for the application that we could not quite achieve with the LED alone. Together, the solution is superior in several ways to the arc lamps previously used for quality control inspections in the production line environment where variable intensity and rapid on/off controls are important. Reduced energy consumption is a bonus.”
Wavien, based in Valencia, California, is a technology licensing company developing long-life, high-performance light sources and engine prototypes for the projection and general lighting industries. Wavien currently offers its unique “Dual Paraboloid Reflector” (“DPR”) technology using ultra-high-pressure arc lamps. Wavien has also entered the LED illumination market with its “Premien” recycling and non-imaging optical technology. These technologies improve lamp life, brightness, and efficiency when teamed with applications in the projection display, fiber optics, entertainment, and general lighting markets.
2012年1月9日 星期一
Sony HDR-CX740VE, HDR-CX730E en HDR-TD20VE HD
De nieuwe Sony HDR-CX740VE, HDR-CX730E en HDR-TD20VE bieden meer stabiele, scherpere films en foto’s, zelfs tijdens het inzoomen.
Hard windgeruis krijgt nu volgens de fabrikant geen grip meer op de verstaanbaarheid van het opgenomen geluid.
Er is nu een nieuwe serie Handycams met ingebouwde projector die elke muur, elk plafond of elk ander handig oppervlak in een filmzaal verandert. Wil je een extra dimensie toevoegen bij het vastleggen van speciale gelegenheden? Dan biedt de kleinste 3D Handycam uitkomst.
Het volledige assortiment omvat 13 nieuwe modellen. Hieronder bespreken we alleen de 3 high-end modellen.
Met de high-end modellen introduceert Sony de zogenaamde Balanced Optical SteadyShot, een geavanceerd nieuw stabilisatiesysteem dat meer stabiele, professioneel uitziende beelden geeft met video in HD TV kwaliteit of foto’s. De stabilisatie wordt nu in het hele optische systeem toegepast, waaronder in het objectief en Exmor R CMOS-beeldsensor. Het resultaat is volgens Sony de beste bewegingscompensatie ooit, die tot 13x efficinter is – in standaardmodus – dan voorgaande modellen. Deze is effectief bij alle zoominstellingen, van groothoek tot telefoto.
Drie nieuwe Sony PJ-modellen hebben een ingebouwde projector die in het uitklapbare lcd-paneel van de camcorder werd gentegreerd. Stereo luidsprekers met Clear Phase- en S-Master Digital Amplifier-technologie leveren een helder, dynamisch geluid, terwijl je geniet van zelfgemaakte films die geprojecteerd worden op een muur, plafond of een ander oppervlak.
Handycam legt niet alleen perfect Full HD video en foto’s vast, maar deze klinkt ook beter. Ondersteund door een nieuwe Advanced Sound Processor, herkent de Handycam automatisch het storende windgeruis als je buitenopnames aan het maken bent. Een slim algoritme verbetert de lage en middenfrequenties – waar de wind het meeste grip op heeft – zodat menselijke stemmen beter klinken. De Closer Voice-technologie optimaliseert het geluid door gebruik te maken van Face Detection om mensen op een foto te herkennen en de microfoon op hun stemmen te richten.
In het voorgaande Cyber-shot-assortiment deed ‘By Pixel Super Resolution’ z’n intrede. Deze functie analyseert aangrenzende pixels en detecteert patronen. Handycam gebruikt deze extra technologie om zeer gedetailleerde foto’s met een uiterst hoge resolutie te produceren.
De nieuwe generatie ‘Double Full HD’ 3D camcorder, HDR-TD20VE, is ongeveer 33 % kleiner en lichter dan zijn voorganger. Dit toestel combineert twee stereoscopische G objectieven met 10x optische zoom (12x verlengde zoom in 3D en 17x verlengde zoom in 2D) met twee Exmor R CMOS- sensoren en twee BIONZ-beeldprocessors.
Dit dubbele opnamesysteem legt 3D video vast in 1920×1080 Full HD, die je op je 3D tv met een Active Shutter-bril kan bekijken. Of je kan het 8,8 cm (3,5-inch) Xtra Fine 3D LCD-aanraakscherm zonder bril gebruiken. De nieuwe AUTO 3D-Depth Adjustment garandeert een meer natuurlijke, comfortabele 3D kijkervaring. De afstand tussen elk camcorderobjectief is geoptimaliseerd voor een meer realistisch, stereoscopisch effect. En de minimale camera-tot-onderwerp-afstand is nu 30 cm waar dit bij het vorige model nog 80 cm bedroeg.
Overige HDR-TD20VE-functies die ook op geselecteerde 2D Handycam-modellen terug te vinden zijn: iAUTO met Auto Wind Noise Reduction; geotagging met gps; veelzijdige manuele instellingen en een ingebouwde usb-kabel om gemakkelijk bestanden uit te wisselen en je pc snel op te laden.
De nieuwe HVL-LE1 is een veelzijdige LED Battery Video Light voor geavanceerde beeldcreatie. De videolamp biedt zowel horizontale als verticale belichtingsmogelijkheden, de helderheid kan handmatig ingesteld worden en de lamp wordt geleverd met twee conversiefilters die de kleurtemperatuur wijzigen.
De HVL-LE1, die de ruimte met zestig superlichtgevende LED’s verlicht, is te bevestigen aan de accessoireklem van je Handycam NEX-VG of camera. Hij werkt op infoLITHIUM V- of M-serie herlaadbare batterijen, standaard Ni-MH AA of alkaline AA-batterijen.
De VCT-MP1 ‘Multipod’ is een veelzijdige ’4-wegs’ ondersteunende oplossing met een aanpasbare monostatief, ministatief, standaard en koffer. Hij is ideaal om je camcorder of camera te stabiliseren, zelfs in actieve opnamesituaties.
Perfect voor de Handycam: de nieuwe reeks SDHC-kaarten van Sony zijn verkrijgbaar vanaf maart 2012 in capaciteiten tot 32GB. De kaarten zijn bestand tegen rntgenstraling, schokken en temperatuursverschillen en zijn daarom een betrouwbare keuze voor op reis, speciale gelegenheden en dagelijkse opnames.
De prestatie van de kaarten is gepgraded naar gegevenssnelheden tot 30MB/s. De nieuwe kaarten garandeert niet alleen een snellere overdracht van grotere bestanden tussen computers, maar voldoet ook moeiteloos aan de eisen voor Full HD en 3D video-opnames met de Handycams van dit seizoen.
Met ‘s werelds eerste File Rescue-software van Sony kan je nu per ongeluk verwijderde of beschadigde 3D films en foto’s, zowel als 2D beeldbestanden terughalen. File Rescue-software is beschikbaar als gratis download voor geregistreerde kaarthouders.
Hard windgeruis krijgt nu volgens de fabrikant geen grip meer op de verstaanbaarheid van het opgenomen geluid.
Er is nu een nieuwe serie Handycams met ingebouwde projector die elke muur, elk plafond of elk ander handig oppervlak in een filmzaal verandert. Wil je een extra dimensie toevoegen bij het vastleggen van speciale gelegenheden? Dan biedt de kleinste 3D Handycam uitkomst.
Het volledige assortiment omvat 13 nieuwe modellen. Hieronder bespreken we alleen de 3 high-end modellen.
Met de high-end modellen introduceert Sony de zogenaamde Balanced Optical SteadyShot, een geavanceerd nieuw stabilisatiesysteem dat meer stabiele, professioneel uitziende beelden geeft met video in HD TV kwaliteit of foto’s. De stabilisatie wordt nu in het hele optische systeem toegepast, waaronder in het objectief en Exmor R CMOS-beeldsensor. Het resultaat is volgens Sony de beste bewegingscompensatie ooit, die tot 13x efficinter is – in standaardmodus – dan voorgaande modellen. Deze is effectief bij alle zoominstellingen, van groothoek tot telefoto.
Drie nieuwe Sony PJ-modellen hebben een ingebouwde projector die in het uitklapbare lcd-paneel van de camcorder werd gentegreerd. Stereo luidsprekers met Clear Phase- en S-Master Digital Amplifier-technologie leveren een helder, dynamisch geluid, terwijl je geniet van zelfgemaakte films die geprojecteerd worden op een muur, plafond of een ander oppervlak.
Handycam legt niet alleen perfect Full HD video en foto’s vast, maar deze klinkt ook beter. Ondersteund door een nieuwe Advanced Sound Processor, herkent de Handycam automatisch het storende windgeruis als je buitenopnames aan het maken bent. Een slim algoritme verbetert de lage en middenfrequenties – waar de wind het meeste grip op heeft – zodat menselijke stemmen beter klinken. De Closer Voice-technologie optimaliseert het geluid door gebruik te maken van Face Detection om mensen op een foto te herkennen en de microfoon op hun stemmen te richten.
In het voorgaande Cyber-shot-assortiment deed ‘By Pixel Super Resolution’ z’n intrede. Deze functie analyseert aangrenzende pixels en detecteert patronen. Handycam gebruikt deze extra technologie om zeer gedetailleerde foto’s met een uiterst hoge resolutie te produceren.
De nieuwe generatie ‘Double Full HD’ 3D camcorder, HDR-TD20VE, is ongeveer 33 % kleiner en lichter dan zijn voorganger. Dit toestel combineert twee stereoscopische G objectieven met 10x optische zoom (12x verlengde zoom in 3D en 17x verlengde zoom in 2D) met twee Exmor R CMOS- sensoren en twee BIONZ-beeldprocessors.
Dit dubbele opnamesysteem legt 3D video vast in 1920×1080 Full HD, die je op je 3D tv met een Active Shutter-bril kan bekijken. Of je kan het 8,8 cm (3,5-inch) Xtra Fine 3D LCD-aanraakscherm zonder bril gebruiken. De nieuwe AUTO 3D-Depth Adjustment garandeert een meer natuurlijke, comfortabele 3D kijkervaring. De afstand tussen elk camcorderobjectief is geoptimaliseerd voor een meer realistisch, stereoscopisch effect. En de minimale camera-tot-onderwerp-afstand is nu 30 cm waar dit bij het vorige model nog 80 cm bedroeg.
Overige HDR-TD20VE-functies die ook op geselecteerde 2D Handycam-modellen terug te vinden zijn: iAUTO met Auto Wind Noise Reduction; geotagging met gps; veelzijdige manuele instellingen en een ingebouwde usb-kabel om gemakkelijk bestanden uit te wisselen en je pc snel op te laden.
De nieuwe HVL-LE1 is een veelzijdige LED Battery Video Light voor geavanceerde beeldcreatie. De videolamp biedt zowel horizontale als verticale belichtingsmogelijkheden, de helderheid kan handmatig ingesteld worden en de lamp wordt geleverd met twee conversiefilters die de kleurtemperatuur wijzigen.
De HVL-LE1, die de ruimte met zestig superlichtgevende LED’s verlicht, is te bevestigen aan de accessoireklem van je Handycam NEX-VG of camera. Hij werkt op infoLITHIUM V- of M-serie herlaadbare batterijen, standaard Ni-MH AA of alkaline AA-batterijen.
De VCT-MP1 ‘Multipod’ is een veelzijdige ’4-wegs’ ondersteunende oplossing met een aanpasbare monostatief, ministatief, standaard en koffer. Hij is ideaal om je camcorder of camera te stabiliseren, zelfs in actieve opnamesituaties.
Perfect voor de Handycam: de nieuwe reeks SDHC-kaarten van Sony zijn verkrijgbaar vanaf maart 2012 in capaciteiten tot 32GB. De kaarten zijn bestand tegen rntgenstraling, schokken en temperatuursverschillen en zijn daarom een betrouwbare keuze voor op reis, speciale gelegenheden en dagelijkse opnames.
De prestatie van de kaarten is gepgraded naar gegevenssnelheden tot 30MB/s. De nieuwe kaarten garandeert niet alleen een snellere overdracht van grotere bestanden tussen computers, maar voldoet ook moeiteloos aan de eisen voor Full HD en 3D video-opnames met de Handycams van dit seizoen.
Met ‘s werelds eerste File Rescue-software van Sony kan je nu per ongeluk verwijderde of beschadigde 3D films en foto’s, zowel als 2D beeldbestanden terughalen. File Rescue-software is beschikbaar als gratis download voor geregistreerde kaarthouders.
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