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.
2012年1月31日 星期二
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.
2012年1月8日 星期日
He knows the score on lumberjack culture
Sumner McKane remembers second grade in Damariscotta when a teacher wheeled in a film projector and showed a grainy black-and-white movie about Maine lumberjacks.
The film was called from "Stump to Ship," and it chronicled a Machias River log drive in the 1920s. McKane can't recall another instance during his education when he learned about the woodsmen of Maine who helped give the state its character.
McKane, a singer-songwriter who specializes in folk-rock and Americana music, wants to change that with a new music and movie experience he has created, "In the Blood." He and bandmate Joshua Robbins will present "In the Blood" on Saturday at Space Gallery in Portland and on Feb. 3 at Bates College in Lewiston.
McKane spent three years researching the lumberjack culture in Maine around the turn of the 20th century. He assembled a montage of films from those days, as well as still photographs, then composed a score to accompany the visuals.
"In the Blood" is presented in two acts, with an intermission. He and Robbins perform music live as the visuals project on two screens.
McKane's goal is to create an entertainment and educational experience that honors the Maine woodsman.
"Many Maine towns owe a lot of their existence to these guys," says McKane, 34, who now lives in Wiscasset. "Their character, their skills and their integrity made the whole system work. Their way of life has gone by the wayside, but that character also seems to be dwindling, where work came first along with a sense of self-responsibility."
McKane describes the lumberjacks as the backbone of Maine's old society. Their work drove the economy, and helped build the state from the dirt up. They had character, strength and resilience, and worked dangerous jobs under horrid conditions. They lived difficult, crude lives, and survived among themselves deep in the woods on a steady diet of beans. In winter.
They were resilient and gritty, and now mostly overlooked.
The movies McKane has compiled demonstrate their existence. Viewers see the camps, the roads, landing yards, rivers and lakes, and in some instances can hear the voices of the men. To add texture to the visual experience, McKane composed a score with music that matches the action on screen.
"I tend to write music that is pretty ambient and sparse. The cold, frigid Maine woods connotes a melancholic mood, so I wrote music to match it," he said.
McKane plays electric guitar; Robbins plays bass. McKane also has sequenced percussive elements, which include samples of woods sounds -- leaves crunching, axes cracking, trees falling.
Most of the movies, which he mined from the files of Northeast Historic Film, are from 1905 to about 1920. The stills go back a little earlier, to the late 19th century. He found many of the photos from the archives of the Maine Folklife Center.
McKane debuted "In the Blood" with a live concert experience at the Opera House in Boothbay Harbor, and now is attempting to tour it around the state. He wants to get into schools so he can help today's students understand the role of the lumberjack in Maine.
Other than that single 36-minute film that he saw in second grade, McKane said his education lacked any context about the men who worked in the Maine woods.
He has a few school showings lined up, in Lewiston and at Deer Isle. But he has found that most schools lack money to support this project. To address that issue, McKane is seeking donations that will be matched dollar for dollar by the Maine Arts Commission.
"I am trying to put a tour together, but it's not easy to do," he said. "I must say, I have newfound respect for booking agents. It's very hard, and is proving difficult. I really want to get it into the schools. Kids should be introduced to this stuff, and I am surprised that they aren't."
The film was called from "Stump to Ship," and it chronicled a Machias River log drive in the 1920s. McKane can't recall another instance during his education when he learned about the woodsmen of Maine who helped give the state its character.
McKane, a singer-songwriter who specializes in folk-rock and Americana music, wants to change that with a new music and movie experience he has created, "In the Blood." He and bandmate Joshua Robbins will present "In the Blood" on Saturday at Space Gallery in Portland and on Feb. 3 at Bates College in Lewiston.
McKane spent three years researching the lumberjack culture in Maine around the turn of the 20th century. He assembled a montage of films from those days, as well as still photographs, then composed a score to accompany the visuals.
"In the Blood" is presented in two acts, with an intermission. He and Robbins perform music live as the visuals project on two screens.
McKane's goal is to create an entertainment and educational experience that honors the Maine woodsman.
"Many Maine towns owe a lot of their existence to these guys," says McKane, 34, who now lives in Wiscasset. "Their character, their skills and their integrity made the whole system work. Their way of life has gone by the wayside, but that character also seems to be dwindling, where work came first along with a sense of self-responsibility."
McKane describes the lumberjacks as the backbone of Maine's old society. Their work drove the economy, and helped build the state from the dirt up. They had character, strength and resilience, and worked dangerous jobs under horrid conditions. They lived difficult, crude lives, and survived among themselves deep in the woods on a steady diet of beans. In winter.
They were resilient and gritty, and now mostly overlooked.
The movies McKane has compiled demonstrate their existence. Viewers see the camps, the roads, landing yards, rivers and lakes, and in some instances can hear the voices of the men. To add texture to the visual experience, McKane composed a score with music that matches the action on screen.
"I tend to write music that is pretty ambient and sparse. The cold, frigid Maine woods connotes a melancholic mood, so I wrote music to match it," he said.
McKane plays electric guitar; Robbins plays bass. McKane also has sequenced percussive elements, which include samples of woods sounds -- leaves crunching, axes cracking, trees falling.
Most of the movies, which he mined from the files of Northeast Historic Film, are from 1905 to about 1920. The stills go back a little earlier, to the late 19th century. He found many of the photos from the archives of the Maine Folklife Center.
McKane debuted "In the Blood" with a live concert experience at the Opera House in Boothbay Harbor, and now is attempting to tour it around the state. He wants to get into schools so he can help today's students understand the role of the lumberjack in Maine.
Other than that single 36-minute film that he saw in second grade, McKane said his education lacked any context about the men who worked in the Maine woods.
He has a few school showings lined up, in Lewiston and at Deer Isle. But he has found that most schools lack money to support this project. To address that issue, McKane is seeking donations that will be matched dollar for dollar by the Maine Arts Commission.
"I am trying to put a tour together, but it's not easy to do," he said. "I must say, I have newfound respect for booking agents. It's very hard, and is proving difficult. I really want to get it into the schools. Kids should be introduced to this stuff, and I am surprised that they aren't."
2012年1月5日 星期四
What's a Klieg Light?
During the last week or so, there have been at least six mentions in the press of the phrase "Klieg lights," preceded by words such as "under," "in front of," "blinded by," "glare of," or "blasted with."
The intent of the reference seems to be to describe the environment of show business, to take the reader behind the scenes and to give one the feeling of being an "insider." The expression is not really part of the lexicon of people who actually do stage, film or TV entertainment lighting, but certainly is very common in the vocabulary of writers who report on the industry. Where in the world did this term "Klieg lights" come from, and what does it mean?
In the history of electric lighting, there is no "before the incandescent lamp." Yes, it started with Edison, a loop of carbon filament in a vacuum heated to a point that it glowed. It actually didn't glow too much, but since the benchmark was the light from a wax candle or a gas lamp, the results were accepted as revolutionary and as a technological breakthrough.
Meanwhile, in the back room of his laboratory, Edison, the "Genius of Menlo Park" as he was known, was developing a motion-picture device he called the "Kinetoscope." After the introduction of the Kinetoscope came that gradual but unstoppable development of motion pictures and the insatiable appetite of audiences for this entertainment product.
As you would expect, the film stock at the time left a lot to be desired. Not only did it need a lot of light (they built mammoth contraptions to rotate the scenery so it was properly faced toward the sun), but the film was not all that sensitive to red. Talk about under-exposed faces!
These early hardy pioneers also realized the necessity and convenience of a "studio." As a result, they needed a light source that could produce great amounts of light. At the time (early 1900s) not much was available. Certainly the incandescent sources were not in the running; they couldn't provide enough light.
Even in the beginning, it was recognized that direct, high-intensity lighting fixtures were required—as opposed to an uncontrolled wash of light from fixtures available in those very early days.
I cannot resist mentioning one of the early commercial light sources in the era of flooded illumination that was adapted to film studio use: the Cooper-Hewitt Mercury Vapor Arc Lamp. The name is always hyphenated; in actuality, it was the invention of a man whose full name was Peter Cooper Hewitt, no hyphen.
The device was a quartz glass enclosed arc resulting from igniting mercury vapor. This very familiar-sounding technology gives rise to the observation that nothing is new, as we are talking 1905. In fact, the patents read like they were written yesterday, patent legalese being what it is.
I recall shooting one time at a studio in New York on the top of an old turn-of-the-century six-story commercial building and observing an electrical busway running through the studio. I was told by some ancient in attendance that they were used in the studio during the distant past to distribute power to Cooper-Hewitt fixtures. They were never removed in the fear that the fixtures may come back!
Actually, mercury vapor lamps did come back and enjoy some success for a short period after World War II in industrial-fixture applications, before being displaced by the metal halide lamp, a more sophisticated reworking of the mercury vapor lamp with greatly improved operation.
The pioneers discovered the theatrical industry (as well as aircraft searchlights) used carbon arc sources that not only gave out a lot of light, but were contained in fixtures that allowed, at least in their limited experience, more control of beam.
In addition, again from their limited viewpoint, they were "automatic" and "portable." I date this breakthrough around 1912. The manufacturer of these arc fixtures was Kliegl Brothers Universal Stage Lighting Co. The amusing thing is that the term KliegLight was embossed on every fixture, whether arc or incandescent, and any type: floodlight, spotlight, music-stand light, etc.
As the early film industry production was in the New York area, the Kliegl brothers were right there to supply. The period of utilizing carbon arc sources of all sizes didn't last more than a few decades as larger incandescent "globes" became available—ones that were designed to fit new fixtures and resolve the problem of the inconvenience of the arc fixtures.
Fig. 1 shows a photo from the company's 1922 catalog, and certainly results in a very humbling feeling and appreciation for the skills of the lighting people of that era. One exception was the 225 amp "Brute" carbon arc from Mole-Richardson that remained with us for a much longer period because there was no equal to its size. It was eventually replaced by an equally large HMI lamp and fixture.
What is amazing to me is that, during the apparently very short period in which it was utilized in film, the Klieg light received such an elevated status—and then refused to go away. There was one unit, the Kliegl Sun-Light, which was made in the 1930s and used the principle of the beam projector for producing a tight collimated beam.
I recall seeing similar fixtures on the shelf of Paramount's set-lighting shop as late as the 1980s. I remember being told that the light was very popular, had a lot of penetration and was a favorite for lighting "greens."
Equally amazing is that the Kliegl brothers' fixtures were the accepted standard at the network—as well as at local television studios in New York—during the industry's onset. It was a very astute recognition by the offspring of the original Kliegl brothers that television would demand a lot of lighting fixtures. Sadly, these fixtures and the success of this old-line company were eclipsed by fixtures more applicable and of higher performance available from manufacturers of motion-picture lighting equipment, but the term "Klieg light" stayed.
The intent of the reference seems to be to describe the environment of show business, to take the reader behind the scenes and to give one the feeling of being an "insider." The expression is not really part of the lexicon of people who actually do stage, film or TV entertainment lighting, but certainly is very common in the vocabulary of writers who report on the industry. Where in the world did this term "Klieg lights" come from, and what does it mean?
In the history of electric lighting, there is no "before the incandescent lamp." Yes, it started with Edison, a loop of carbon filament in a vacuum heated to a point that it glowed. It actually didn't glow too much, but since the benchmark was the light from a wax candle or a gas lamp, the results were accepted as revolutionary and as a technological breakthrough.
Meanwhile, in the back room of his laboratory, Edison, the "Genius of Menlo Park" as he was known, was developing a motion-picture device he called the "Kinetoscope." After the introduction of the Kinetoscope came that gradual but unstoppable development of motion pictures and the insatiable appetite of audiences for this entertainment product.
As you would expect, the film stock at the time left a lot to be desired. Not only did it need a lot of light (they built mammoth contraptions to rotate the scenery so it was properly faced toward the sun), but the film was not all that sensitive to red. Talk about under-exposed faces!
These early hardy pioneers also realized the necessity and convenience of a "studio." As a result, they needed a light source that could produce great amounts of light. At the time (early 1900s) not much was available. Certainly the incandescent sources were not in the running; they couldn't provide enough light.
Even in the beginning, it was recognized that direct, high-intensity lighting fixtures were required—as opposed to an uncontrolled wash of light from fixtures available in those very early days.
I cannot resist mentioning one of the early commercial light sources in the era of flooded illumination that was adapted to film studio use: the Cooper-Hewitt Mercury Vapor Arc Lamp. The name is always hyphenated; in actuality, it was the invention of a man whose full name was Peter Cooper Hewitt, no hyphen.
The device was a quartz glass enclosed arc resulting from igniting mercury vapor. This very familiar-sounding technology gives rise to the observation that nothing is new, as we are talking 1905. In fact, the patents read like they were written yesterday, patent legalese being what it is.
I recall shooting one time at a studio in New York on the top of an old turn-of-the-century six-story commercial building and observing an electrical busway running through the studio. I was told by some ancient in attendance that they were used in the studio during the distant past to distribute power to Cooper-Hewitt fixtures. They were never removed in the fear that the fixtures may come back!
Actually, mercury vapor lamps did come back and enjoy some success for a short period after World War II in industrial-fixture applications, before being displaced by the metal halide lamp, a more sophisticated reworking of the mercury vapor lamp with greatly improved operation.
The pioneers discovered the theatrical industry (as well as aircraft searchlights) used carbon arc sources that not only gave out a lot of light, but were contained in fixtures that allowed, at least in their limited experience, more control of beam.
In addition, again from their limited viewpoint, they were "automatic" and "portable." I date this breakthrough around 1912. The manufacturer of these arc fixtures was Kliegl Brothers Universal Stage Lighting Co. The amusing thing is that the term KliegLight was embossed on every fixture, whether arc or incandescent, and any type: floodlight, spotlight, music-stand light, etc.
As the early film industry production was in the New York area, the Kliegl brothers were right there to supply. The period of utilizing carbon arc sources of all sizes didn't last more than a few decades as larger incandescent "globes" became available—ones that were designed to fit new fixtures and resolve the problem of the inconvenience of the arc fixtures.
Fig. 1 shows a photo from the company's 1922 catalog, and certainly results in a very humbling feeling and appreciation for the skills of the lighting people of that era. One exception was the 225 amp "Brute" carbon arc from Mole-Richardson that remained with us for a much longer period because there was no equal to its size. It was eventually replaced by an equally large HMI lamp and fixture.
What is amazing to me is that, during the apparently very short period in which it was utilized in film, the Klieg light received such an elevated status—and then refused to go away. There was one unit, the Kliegl Sun-Light, which was made in the 1930s and used the principle of the beam projector for producing a tight collimated beam.
I recall seeing similar fixtures on the shelf of Paramount's set-lighting shop as late as the 1980s. I remember being told that the light was very popular, had a lot of penetration and was a favorite for lighting "greens."
Equally amazing is that the Kliegl brothers' fixtures were the accepted standard at the network—as well as at local television studios in New York—during the industry's onset. It was a very astute recognition by the offspring of the original Kliegl brothers that television would demand a lot of lighting fixtures. Sadly, these fixtures and the success of this old-line company were eclipsed by fixtures more applicable and of higher performance available from manufacturers of motion-picture lighting equipment, but the term "Klieg light" stayed.
2012年1月4日 星期三
Panasonic introduces three new portable projectors
Pico projectors are all the rage, but if you need some premium functionality in a package that’s more luggabble than pocketable, Panasonic’s got your back with a trio of new models. The PT-LW25HU, PT-LX30HU and PT-LX26HU projectors (catchy!) weigh in at a scant 6.6 pounds each, with dimensions that are just barely bigger than a college textbook at 13.7 by 4.1 by 9.7 inches. Ranging in price from $849 to $1,099, the projectors slide into the middle range of Panasonic’s line.
The cheapest is the PT-LX26HU, which makes due with a 2600 lumen lamp and a maximum resolution of 1024×768. Its brother the PT-LX30HU bumps up the lumens to 3000 with a $1099 price tag, but everything else remains the same. If you’re up for a wider experience in your semi-portable projection lifestyle, the PT-LW25HU increases the resolution to 1280×800 with a 16:10 aspect ration, but the lumen rating is lowered to 2500. The more cinematic of the three newbies retails for $899.
Panasonic claims up to 4,000 hours of use before the lamp needs replacing, and you can use the company’s proprietary Multi Projector Monitoring and Control Software to operate the controls remotely. Real-Time Keystone correction allows the image to square itself automatically. The new models should be available immediately at Panasonic’s retail partners, and it looks like they’re showing up an a few online retailers as well, at a significant discount in some cases.
The cheapest is the PT-LX26HU, which makes due with a 2600 lumen lamp and a maximum resolution of 1024×768. Its brother the PT-LX30HU bumps up the lumens to 3000 with a $1099 price tag, but everything else remains the same. If you’re up for a wider experience in your semi-portable projection lifestyle, the PT-LW25HU increases the resolution to 1280×800 with a 16:10 aspect ration, but the lumen rating is lowered to 2500. The more cinematic of the three newbies retails for $899.
Panasonic claims up to 4,000 hours of use before the lamp needs replacing, and you can use the company’s proprietary Multi Projector Monitoring and Control Software to operate the controls remotely. Real-Time Keystone correction allows the image to square itself automatically. The new models should be available immediately at Panasonic’s retail partners, and it looks like they’re showing up an a few online retailers as well, at a significant discount in some cases.
2012年1月3日 星期二
Digislide creditors sack administrator
Creditors voted to replace PPB Advisory partner Tim Clifton with BDO Australia on a show of hands.
The ASX-listed company appointed Mr Clifton on December 20 after talks to extend amounts payable on $500,000 in convertible notes with Sydney-based investor Multi Vendor Support Services (MVSS) broke down and two statutory demands were brought on the company.
But a proxy for MVSS managing director Mal Fraser-Clay yesterday said he had been out-voted by other creditors, led by Digislide chief financial officer Jeff King, to appoint BDO Australia as the new administrator.
Proxy Ian Brookfield said chief executive Luceille Outhred, as a creditor through related parties, had been unhappy about testing the market to gauge the value of the Digislide's assets.
"The reason why she got rid of the appointed administrator was because they said they should start looking to putting assets to market," Mr Brookfield said.
The new administrator, BDO Australia Melbourne-based partner Michael Humphris, was unavailable for comment yesterday.
Many of the 27 angry creditors emerged from the two-hour meeting yesterday unhappy with the board's standards of corporate governance and lack of disclosure.
The Advertiser was not permitted to attend the meeting and Ms Outhred did not make herself available for comment afterwards.
Meanwhile Mr Brookfield said MVSS had sent 70 letters to fellow creditors to gauge interest in forming a class action against Digislide directors, foundation shareholder Martin Place Securities and the Australian Securities Exchange to recover debts.
Digislide shares have been suspended from trading on the ASX since September 30 while the company said it was in talks to raise $20 million through a debt and equity raising with investors.
It managed to extend debt repayments with key creditors MVSS and Martin Place Securities before MVSS made its demands in December.
The company posted an annual loss of $2.41 million in the year to June 30, based on sales revenue of $325,904 - with director-related entities responsible for 70 per cent of sales throughout the year.
The ASX-listed company appointed Mr Clifton on December 20 after talks to extend amounts payable on $500,000 in convertible notes with Sydney-based investor Multi Vendor Support Services (MVSS) broke down and two statutory demands were brought on the company.
But a proxy for MVSS managing director Mal Fraser-Clay yesterday said he had been out-voted by other creditors, led by Digislide chief financial officer Jeff King, to appoint BDO Australia as the new administrator.
Proxy Ian Brookfield said chief executive Luceille Outhred, as a creditor through related parties, had been unhappy about testing the market to gauge the value of the Digislide's assets.
"The reason why she got rid of the appointed administrator was because they said they should start looking to putting assets to market," Mr Brookfield said.
The new administrator, BDO Australia Melbourne-based partner Michael Humphris, was unavailable for comment yesterday.
Many of the 27 angry creditors emerged from the two-hour meeting yesterday unhappy with the board's standards of corporate governance and lack of disclosure.
The Advertiser was not permitted to attend the meeting and Ms Outhred did not make herself available for comment afterwards.
Meanwhile Mr Brookfield said MVSS had sent 70 letters to fellow creditors to gauge interest in forming a class action against Digislide directors, foundation shareholder Martin Place Securities and the Australian Securities Exchange to recover debts.
Digislide shares have been suspended from trading on the ASX since September 30 while the company said it was in talks to raise $20 million through a debt and equity raising with investors.
It managed to extend debt repayments with key creditors MVSS and Martin Place Securities before MVSS made its demands in December.
The company posted an annual loss of $2.41 million in the year to June 30, based on sales revenue of $325,904 - with director-related entities responsible for 70 per cent of sales throughout the year.
2012年1月2日 星期一
Optoma ProScene projector met dubbele lamp
Optoma heeft in de ProScene serie de EH7500 projector gelanceerd. De projector is geschikt voor diverse professionele toepassingen zoals het gebruik in openbare ruimtes, collegezalen en in vergaderkamers voor presentaties. De projector heeft een dubbele lamp waarmee het beeld een helderheid heeft van 6500 ANSI Lumen in het midden. De contrastverhouding bedraagt 2000:1 en de resolutie van het beeld is maximaal 1920 bij 1200 pixels, hoewel ook kleinere resoluties gekozen kunnen worden.
Het beeldformaat is afhankelijk van gebruikte lens. Optoma heeft vijf verschillende lenzen met throw ratio's van 0,77 tot en met 6,98. Hierdoor kan de projector in zowel kleine kamers als grote zalen worden gebruikt. Om de EH7500 aan te sluiten zijn er onder andere twee HDMI aansluitingen aanwezig, een D-Sub aansluiting, component en composiet video evenals S-Video en een 4-pin RCA connector. Om de projector aan te sturen kan gebruik worden gemaakt van een RS232 9-pin D-Sub aansluiting of een netwerkaansluiting. Ook wordt een afstandsbediening meegeleverd waarmee de projector te bedienen is. Van afstand kan onder andere de lens, focus en zoom worden ingesteld en kunnen ook de kleuren worden aangepast.
Het energiegebruik van de projector is aanzienlijk door de dubbele projectorlamp en bedraagt 900 watt in de normale stand en 760 watt in de ECO modus. De levensduur van de lamp bedraagt minimaal 2000 uur en is afhankelijk van de gebruikte intensiteit. De projector is ontworpen om zo min mogelijk onderhouden te hoeven worden en bevat onder andere speciale voorzieningen tegen stof.
De Optoma EH7500 projector is direct verkrijgbaar en wordt standaard geleverd met drie jaar garantie.
Het beeldformaat is afhankelijk van gebruikte lens. Optoma heeft vijf verschillende lenzen met throw ratio's van 0,77 tot en met 6,98. Hierdoor kan de projector in zowel kleine kamers als grote zalen worden gebruikt. Om de EH7500 aan te sluiten zijn er onder andere twee HDMI aansluitingen aanwezig, een D-Sub aansluiting, component en composiet video evenals S-Video en een 4-pin RCA connector. Om de projector aan te sturen kan gebruik worden gemaakt van een RS232 9-pin D-Sub aansluiting of een netwerkaansluiting. Ook wordt een afstandsbediening meegeleverd waarmee de projector te bedienen is. Van afstand kan onder andere de lens, focus en zoom worden ingesteld en kunnen ook de kleuren worden aangepast.
Het energiegebruik van de projector is aanzienlijk door de dubbele projectorlamp en bedraagt 900 watt in de normale stand en 760 watt in de ECO modus. De levensduur van de lamp bedraagt minimaal 2000 uur en is afhankelijk van de gebruikte intensiteit. De projector is ontworpen om zo min mogelijk onderhouden te hoeven worden en bevat onder andere speciale voorzieningen tegen stof.
De Optoma EH7500 projector is direct verkrijgbaar en wordt standaard geleverd met drie jaar garantie.
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