ViewSonic, a leading global provider of computing, consumer electronics and communications solutions, dynamically displays the full spectrum of projector offerings from home entertainment, data projector to high brightness installation. ViewSonic also unveils the new Laser Hybrid LED projector at ISE 2012, full HD 1080P projection.
Product Highlights Expanding its projector product portfolio, ViewSonic announces the world first full HD 1080p home cinema Laser Hybrid LED projector.
ViewSonic's latest Laser Hybrid LED projectors incorporate a state-of-the-art hybrid light engine which facilitates vivid colour display and performance. The LEDs and lasers combine as a light source to create vibrant and rich display colour, which generate a colour spectrum exceeding that of normal mercury light projectors. Furthermore, this new technology delivers a longer light source life of up to 20,000 hours for greater energy and cost savings.
In addition to longer lamp life, ViewSonic Laser Hybrid LED projectors also provide versatile colour modes and 1,200 lumens of brightness for the best effect at home. The projection performance is absolutely radiant with exceptional colour accuracy. Coupled with the high lumen output and pure colour correction and filter, it presents an absolutely authentic level of the three primary colours, red, green and blue which significantly expands the colour gamut and presents clear and concise images, even in the brighter ambient.
Moreover, the instant on/off function eliminates the need for a cool down period associated with conventional lamp-based projectors, providing a user experience as friendly and trouble-free as possible.
ViewSonic Laser Hybrid LED projectors feature Full HD 1080p high resolution, the ideal solution for top of the range home cinema performance. Also, full analog and digital connectivity allows easy setup concerning all media and DVD players.
2012年1月31日 星期二
Daily Online News
At the heart of the new retail departures area at Auckland International Airport in New Zealand is Pou Manawa, a huge tree of architectural fabric onto which colour and traditional Maori designs are reflected using Martin Exterior 410 wash lights and Martin smartMAC image projecting moving heads.
Ignite Architects developed the idea of a 'heart' space - an interactive and engaging area that people could gravitate to - and, as much of the imagery symbolizing what New Zealanders hold dear is focused on trees, the Pou Manawa was born.
"We had an exhaustive period of early testing to get the best fixture for the projection," says Chris McKenzie of Martin distributor Kenderdine Electrical. "We had other colour changing fixtures specified but when the Exterior 410s became available we changed the specification to use them. The 410s were the perfect solution for the wash units and whilst an indoor installation, the passive cooling on the units was a major bonus."
Working with the Exterior 410s are smartMACs, a bright profile light and image projector with six indexable rotating gobos. The designs float across the complex patterned internal surface of the tree in a continuous 360-degree rotation.
"The smartMAC won out for its long lamp life and low maintenance needs," states McKenzie. "We had a large area of south-facing glass pouring light into the area and after treatment of the glass, the smartMAC was able to generate enough light to do the job successfully."
Twenty-four smartMACs and a like number of Exterior 410s are used in the installation, which runs 21 hours per day, 365 days per year. Programming was done on a Martin Maxxyz PC and Martin M1 console with initial design and renderings completed using the Martin ShowDesigner. All gobos are Apollo stock steel and glass or custom glass.
Ignite Architects developed the idea of a 'heart' space - an interactive and engaging area that people could gravitate to - and, as much of the imagery symbolizing what New Zealanders hold dear is focused on trees, the Pou Manawa was born.
"We had an exhaustive period of early testing to get the best fixture for the projection," says Chris McKenzie of Martin distributor Kenderdine Electrical. "We had other colour changing fixtures specified but when the Exterior 410s became available we changed the specification to use them. The 410s were the perfect solution for the wash units and whilst an indoor installation, the passive cooling on the units was a major bonus."
Working with the Exterior 410s are smartMACs, a bright profile light and image projector with six indexable rotating gobos. The designs float across the complex patterned internal surface of the tree in a continuous 360-degree rotation.
"The smartMAC won out for its long lamp life and low maintenance needs," states McKenzie. "We had a large area of south-facing glass pouring light into the area and after treatment of the glass, the smartMAC was able to generate enough light to do the job successfully."
Twenty-four smartMACs and a like number of Exterior 410s are used in the installation, which runs 21 hours per day, 365 days per year. Programming was done on a Martin Maxxyz PC and Martin M1 console with initial design and renderings completed using the Martin ShowDesigner. All gobos are Apollo stock steel and glass or custom glass.
2012年1月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.
2011年11月24日 星期四
All-New 2013 GS Illustrates Fresh and Exciting Brand Identity
Lexus raised anticipations when the all-new GS debuted at the 2011 Pebble Beach Concours d’Elegance. The new 2013 GS combines bold, dynamic styling, precise handling, innovative technology, and a spacious interior.
In addition to the GS 350 that will be at dealerships early next year, Lexus completes the line-up with the GS 450h hybrid which goes on sale in spring 2012.
The new GS conveys an enhanced sense of confidence to the driver, with a redesigned chassis and a wide, strong stance that inspires and rewards driver participation with crisp and precise handling. Engineers developed a more spacious interior environment while leaving exterior dimensions virtually unchanged to ensure excellent maneuverability. Richly endowed with world-class features and premium details, the new GS is supported by advanced, performance-enhancing technology that makes it more than just a luxury car. The 2013 Lexus GS 350 is available in rear-wheel driveor all-wheel drive configurations, and can be equipped with the available Premium, Luxury or F SPORT packages for greater personalization.
The GS 450h was the first hybrid-powered luxury sport sedan to enter the market when it was originally introduced for the 2007 model year. Today, it is part of Lexus’ five-vehicle hybrid line-up, more than any other luxury brand.The new GS powertrains have been enhanced for 2013 to provide better fuel economy and more responsive performance. The GS 350 is powered by an advanced 3.5-liter V6, four cams, and four valves per cylinder engine with dual Variable Valve Timing with intelligence. At 306 horsepower, it is one of the most powerful base engines in the segment, as well as the only one with both port and direct injection. It propels the GS 350 from 0-60 mph in 5.7 seconds and at the same time, boosts its fuel economy to projected EPA-estimated ratings of 19 mpg city, 28 mpg highway and 23 mpg combined.
Acceleration from 30 to 50 mph can take just 3.0 seconds, and improved intake and exhaust sound characteristics via an intake sound generator and optimized muffler chamber complement the bolder, more energetic personality of the new GS. The six-speed sequential shift automatic transmission comes with paddle shifters and sport driving functions for enhanced driving pleasure. An optional electronically controlled all-wheel-drive system can vary front-to-rear torque balance from 50/50 to as much as 30/70, depending on driving conditions, for exceptional control.
The 2013 GS 450h incorporates improvements to its hybrid powertrain and is equipped with a second generation Lexus Hybrid Drive system.
With a total system power output of 338 horsepower, the GS 450h will accelerate effortlessly from 0-60 mph in 5.6 seconds. Conversely, fuel consumption is expected to be improved by more than 35 percent versus the previous version with projected EPA-estimated ratings of 29 mpg city, 34 mpg highway and 31 mpg combined. The GS 450h is expected to be certified as a Super-Ultra Low Emissions Vehicle which has lower emissions than clean diesels. For enhanced driving dynamics, the new GS hybrid also features a Drive Mode selector with Normal, Eco, Sport S, Sport S+ and EV modes.
As with all Lexus hybrid vehicles, the new GS 450h is a full hybrid capable of operating in gas-only or electric-only modes, as well as a combination of both. Its Lexus Hybrid Drive system features an ultra-smooth running, next generation D-4S direct and port fuel injection system with an Atkinson cycle 3.5-liter V6 engine mated to a compact, high-output, water-cooled permanent magnet electric motor powered by a high performance nickel-metal hydride battery pack. The two powerplants drive the rear wheels both independently and in tandem, as needed.
Improved fuel consumption is achieved through a high compression ratio of 13:1, a new mid-port intake tumble generator and the adoption of a Lexus four-stroke, direct injection technology, D-4S.
With one injector installed in the combustion chamber and a second mounted in the intake port, D-4S combines the strengths of both direct and port injection, realizing optimum engine efficiency throughout the power band and improving torque across the rev range, while minimizing fuel consumption and emissions.
The D-4S system features new slit-type injector nozzles with a modified port shape, a higher fuel pressure for more efficient combustion, and idle port injection for improved NVH characteristics.
The cooling performance of the hybrid system’s Power Control Unit helps reduce fuel consumption and has been improved through the adoption of dual cooling paths and a single-piece, integrated DC/DC converter.
In addition to the GS 350 that will be at dealerships early next year, Lexus completes the line-up with the GS 450h hybrid which goes on sale in spring 2012.
The new GS conveys an enhanced sense of confidence to the driver, with a redesigned chassis and a wide, strong stance that inspires and rewards driver participation with crisp and precise handling. Engineers developed a more spacious interior environment while leaving exterior dimensions virtually unchanged to ensure excellent maneuverability. Richly endowed with world-class features and premium details, the new GS is supported by advanced, performance-enhancing technology that makes it more than just a luxury car. The 2013 Lexus GS 350 is available in rear-wheel driveor all-wheel drive configurations, and can be equipped with the available Premium, Luxury or F SPORT packages for greater personalization.
The GS 450h was the first hybrid-powered luxury sport sedan to enter the market when it was originally introduced for the 2007 model year. Today, it is part of Lexus’ five-vehicle hybrid line-up, more than any other luxury brand.The new GS powertrains have been enhanced for 2013 to provide better fuel economy and more responsive performance. The GS 350 is powered by an advanced 3.5-liter V6, four cams, and four valves per cylinder engine with dual Variable Valve Timing with intelligence. At 306 horsepower, it is one of the most powerful base engines in the segment, as well as the only one with both port and direct injection. It propels the GS 350 from 0-60 mph in 5.7 seconds and at the same time, boosts its fuel economy to projected EPA-estimated ratings of 19 mpg city, 28 mpg highway and 23 mpg combined.
Acceleration from 30 to 50 mph can take just 3.0 seconds, and improved intake and exhaust sound characteristics via an intake sound generator and optimized muffler chamber complement the bolder, more energetic personality of the new GS. The six-speed sequential shift automatic transmission comes with paddle shifters and sport driving functions for enhanced driving pleasure. An optional electronically controlled all-wheel-drive system can vary front-to-rear torque balance from 50/50 to as much as 30/70, depending on driving conditions, for exceptional control.
The 2013 GS 450h incorporates improvements to its hybrid powertrain and is equipped with a second generation Lexus Hybrid Drive system.
With a total system power output of 338 horsepower, the GS 450h will accelerate effortlessly from 0-60 mph in 5.6 seconds. Conversely, fuel consumption is expected to be improved by more than 35 percent versus the previous version with projected EPA-estimated ratings of 29 mpg city, 34 mpg highway and 31 mpg combined. The GS 450h is expected to be certified as a Super-Ultra Low Emissions Vehicle which has lower emissions than clean diesels. For enhanced driving dynamics, the new GS hybrid also features a Drive Mode selector with Normal, Eco, Sport S, Sport S+ and EV modes.
As with all Lexus hybrid vehicles, the new GS 450h is a full hybrid capable of operating in gas-only or electric-only modes, as well as a combination of both. Its Lexus Hybrid Drive system features an ultra-smooth running, next generation D-4S direct and port fuel injection system with an Atkinson cycle 3.5-liter V6 engine mated to a compact, high-output, water-cooled permanent magnet electric motor powered by a high performance nickel-metal hydride battery pack. The two powerplants drive the rear wheels both independently and in tandem, as needed.
Improved fuel consumption is achieved through a high compression ratio of 13:1, a new mid-port intake tumble generator and the adoption of a Lexus four-stroke, direct injection technology, D-4S.
With one injector installed in the combustion chamber and a second mounted in the intake port, D-4S combines the strengths of both direct and port injection, realizing optimum engine efficiency throughout the power band and improving torque across the rev range, while minimizing fuel consumption and emissions.
The D-4S system features new slit-type injector nozzles with a modified port shape, a higher fuel pressure for more efficient combustion, and idle port injection for improved NVH characteristics.
The cooling performance of the hybrid system’s Power Control Unit helps reduce fuel consumption and has been improved through the adoption of dual cooling paths and a single-piece, integrated DC/DC converter.
2011年11月13日 星期日
Dell M110 Ultra Mobile Projector
The advancement of miniaturization technology has resulted in many things becoming far smaller without sacrificing on performance – and the same can be said of the projector. Even until now, projectors are still rather bulky in size, but then again they certainly have shed plenty of weight over the years, and at least you need not wait until the bulb cools down completely before turning off the main power in select models. What happens when you take a shrinking ray and point it towards a projector? Why, you end up with the Dell M110 Ultra Mobile Projector, of course!
The Dell M110 Ultra Mobile Projector is said to be more than just a projector, as it is a truly portable media hub that can see action either at home or at the office. It will tip the scales at a mere 0.8lbs, but despite the relatively small size, do not be deceived by its super small package – the M110 is still able to pack a punch!
Connectivity options are aplenty – you get VGA, HDMI and USB inputs, allowing you to present your fair share of multimedia slideshows as well as run audio-visual applications directly from your digital camera, DVD or DVR player, video game console, and perhaps select mobile devices – without having to own a computer or a notebook. Want to take the wireless route? That is not a problem, just add the optional wireless dongle and you are good to go.
The 1GB of internal memory might not sound like much, but it can definitely be augmented to 32GB thanks to the presence of a microSD memory card slot. As for audio, I would assume the traditional weakness of projectors (portable or otherwise) will remain – that is, the integrated 1W speaker would not amount to much – perhaps it is good enough for sit-in movies, but other than that, you might want to hook it up to an external speaker system. Dell claims that the M110 is good enough to work in a brightly lighted room (with ambient lighting), where the mercury-free LED technology used inside the M110 projector can deliver up to 20,000 hours of service sans a LED lamp or bulb replacement.
The Dell M110 Ultra Mobile Projector is said to be more than just a projector, as it is a truly portable media hub that can see action either at home or at the office. It will tip the scales at a mere 0.8lbs, but despite the relatively small size, do not be deceived by its super small package – the M110 is still able to pack a punch!
Connectivity options are aplenty – you get VGA, HDMI and USB inputs, allowing you to present your fair share of multimedia slideshows as well as run audio-visual applications directly from your digital camera, DVD or DVR player, video game console, and perhaps select mobile devices – without having to own a computer or a notebook. Want to take the wireless route? That is not a problem, just add the optional wireless dongle and you are good to go.
The 1GB of internal memory might not sound like much, but it can definitely be augmented to 32GB thanks to the presence of a microSD memory card slot. As for audio, I would assume the traditional weakness of projectors (portable or otherwise) will remain – that is, the integrated 1W speaker would not amount to much – perhaps it is good enough for sit-in movies, but other than that, you might want to hook it up to an external speaker system. Dell claims that the M110 is good enough to work in a brightly lighted room (with ambient lighting), where the mercury-free LED technology used inside the M110 projector can deliver up to 20,000 hours of service sans a LED lamp or bulb replacement.
2011年10月24日 星期一
Christie keeps a Tipping World in sharp focus
A to V (UK) have dipped into their inventory of Christie Roadster HD10K-M series projectors to help deliver one of the most unusual productions in their history.
As The World Tipped is a new outdoor show, using five aerialists and climbers, which have been touring UK towns and cities throughout the summer as part of their festival celebrations. It made its world premier at the Norfolk & Norwich Festival in May.
Supported by an Arts Council grant, this stunning 45 minute-long outdoor spectacle, written and directed by Nigel Jamieson and featuring the breathtaking performers of the UK's Wired Aerial Theatre, combines dramatic film visuals with aerial performance over a huge stage which literally tips up from horizontal to vertical as, suspended above the audience in the night sky, the performers enact a struggle to control an increasingly precarious world. They stand, then slide, then eventually hang in front of a giant crane-manipulated moving stage onto which dramatic projections complement the aerial dance performance.
A grey-painted 10m x 10m steel sheeting provides the projection backdrop for the M-series projectors as A to V (UK) project manager Matt Bailey explained. His company had originally been contacted by stage manager Dolan Hewison, of Manchester-based production company, CDH Creatives, on the recommendation of lighting designer Jim Gee, who has worked with the projection company in the past.
The immediate challenge had been to interface with Jamie Ogilvie’s intricate, custom-designed stage design, including complex flying hardware and rig movement within the tight rehearsal time frames available at each venue.
The solution was to rig two stacked pairs of the HD10K-M on a front-of-house scaff structure, 40 metres from the stage, and fitted with 2.6:4.1 semi long throw HD zoom lens. The frame, constructed from standard box truss with steel plating screwed to it, starts horizontally on the ground and slowly gets lifted and tilts until it is in the vertical plane. “The base of the stage is 4m from the floor where we first project onto it. — but when it moves to its second position — 8m off the floor — it tilts back 45° before straightening … and that’s when we use the second set of projectors,” he said.
“Because the display is square we do a vertical blend of the lower and upper 1920 x 1080 sections, giving us a 240-pixel overlap.”
All the blending and keystoning takes place within the fully featured projectors themselves although Matt Bailey admits that lining up the projectors was a very easy and speedy process.
The compact, eco-friendly 3-chip DLP projector outputs 10, 000 ANSI lumens with dual 350W mercury lamps. Aside from its 1920 x 1080 native resolution and a variable contrast ratio of 2500-10,000:1 the M Series’ expanded suite of high-quality lenses includes two new zoom lenses – all with true Intelligent Lens System (ILS) capabilities.
“The projector has a great feature set but ease of use and the compact form factor are the fundamental reasons why we like this projector,” says Matt Bailey, whose company also runs a fleet of Christie WU12K-M (WUXGA) 1920 x 1200 M series devices.
On As The World Tipped, A to V have kept the signal path basic, firing the content, made by Inflammable Films from a MacBook Pro running PlayBack Pro, with just the aid of switchers and scalers.
Easy to carry and transport, the Christie projectors, he said had delivered vivid images to a soundtrack created by freelance composer, Patrick Dineen.
They had run flawlessly throughout and certainly delivered the wow factor, judging from feedback. “We managed to create a lot of depth of field over the throw distance thanks to the HD zoom lens, and there was no need to carry spare projectors as these are dual lamp projectors, which can be run in eco-mode, so we had full redundancy.”
Set within the Secretariat of the Copenhagen Climate Change Conference, As The World Tipped is co-produced by Without Walls and is a TippingPoint/Without Walls co-commission. The production has been so successful that producers, XTRAX are now looking to take it to Australia in 2012.
As The World Tipped is a new outdoor show, using five aerialists and climbers, which have been touring UK towns and cities throughout the summer as part of their festival celebrations. It made its world premier at the Norfolk & Norwich Festival in May.
Supported by an Arts Council grant, this stunning 45 minute-long outdoor spectacle, written and directed by Nigel Jamieson and featuring the breathtaking performers of the UK's Wired Aerial Theatre, combines dramatic film visuals with aerial performance over a huge stage which literally tips up from horizontal to vertical as, suspended above the audience in the night sky, the performers enact a struggle to control an increasingly precarious world. They stand, then slide, then eventually hang in front of a giant crane-manipulated moving stage onto which dramatic projections complement the aerial dance performance.
A grey-painted 10m x 10m steel sheeting provides the projection backdrop for the M-series projectors as A to V (UK) project manager Matt Bailey explained. His company had originally been contacted by stage manager Dolan Hewison, of Manchester-based production company, CDH Creatives, on the recommendation of lighting designer Jim Gee, who has worked with the projection company in the past.
The immediate challenge had been to interface with Jamie Ogilvie’s intricate, custom-designed stage design, including complex flying hardware and rig movement within the tight rehearsal time frames available at each venue.
The solution was to rig two stacked pairs of the HD10K-M on a front-of-house scaff structure, 40 metres from the stage, and fitted with 2.6:4.1 semi long throw HD zoom lens. The frame, constructed from standard box truss with steel plating screwed to it, starts horizontally on the ground and slowly gets lifted and tilts until it is in the vertical plane. “The base of the stage is 4m from the floor where we first project onto it. — but when it moves to its second position — 8m off the floor — it tilts back 45° before straightening … and that’s when we use the second set of projectors,” he said.
“Because the display is square we do a vertical blend of the lower and upper 1920 x 1080 sections, giving us a 240-pixel overlap.”
All the blending and keystoning takes place within the fully featured projectors themselves although Matt Bailey admits that lining up the projectors was a very easy and speedy process.
The compact, eco-friendly 3-chip DLP projector outputs 10, 000 ANSI lumens with dual 350W mercury lamps. Aside from its 1920 x 1080 native resolution and a variable contrast ratio of 2500-10,000:1 the M Series’ expanded suite of high-quality lenses includes two new zoom lenses – all with true Intelligent Lens System (ILS) capabilities.
“The projector has a great feature set but ease of use and the compact form factor are the fundamental reasons why we like this projector,” says Matt Bailey, whose company also runs a fleet of Christie WU12K-M (WUXGA) 1920 x 1200 M series devices.
On As The World Tipped, A to V have kept the signal path basic, firing the content, made by Inflammable Films from a MacBook Pro running PlayBack Pro, with just the aid of switchers and scalers.
Easy to carry and transport, the Christie projectors, he said had delivered vivid images to a soundtrack created by freelance composer, Patrick Dineen.
They had run flawlessly throughout and certainly delivered the wow factor, judging from feedback. “We managed to create a lot of depth of field over the throw distance thanks to the HD zoom lens, and there was no need to carry spare projectors as these are dual lamp projectors, which can be run in eco-mode, so we had full redundancy.”
Set within the Secretariat of the Copenhagen Climate Change Conference, As The World Tipped is co-produced by Without Walls and is a TippingPoint/Without Walls co-commission. The production has been so successful that producers, XTRAX are now looking to take it to Australia in 2012.
2011年7月14日 星期四
Casio launches eco-friendly 3D capable projectors
NEW DELHI: Casio India launched three feature rich, hybrid data projectors that it claims are the world's first mercury lamp free projectors.
The company already has 17 other models that it retails in India, but the new green projectors will give it an edge, it believes.
Standard Models: This mercury free Standard model projector series has an ANSI lumen upto 3000 and comes with a host of technological advancements to serve to its wide range of users. One unique feature is that these projectors are compatible with 3D content.
The standard model is equipped with a DLP 3D projection function that permits projection of 3D content onto a screen. Users can enjoy the high-impact 3D stereoscopic images of this model with 3D glasses.
The model also comes equipped with wireless LAN function with MobiShow compatibility and USB 2.0 host function to access data stored in USB memory. Wireless connection with smartphones and other mobile devices as well as with Windows PCs is also possible.
The price for Standard series ranges from Rs 66,995 to Rs 99,995.
Pro Models: Pro-Model projector series can achieve brightness of up to 3,500 ANSI lumens without a mercury lamp. This enables large screen projection in large conference rooms as well as clear projection of images in brightly lit rooms.
This model has a 10W monaural speaker installed in the projector, which permits powerful sound output without an external speaker. A DLP 3D projection function adds a stereoscopic image projection capability.
The long life semiconductor light source reduces the maintenance requisite as compared with conventional models that require mercury lamp replacement.
The price for Pro-Model Series ranges from Rs 1,19,995 to Rs 1,34,995.
Short Throw Series
The Short Throw series with upto 3000 lumens is equipped with a set of applications, making it ideal for classroom teaching.
The Short Throw model can be equipped with a short-throw lens for projection of 60-inch images at a distance of 80 cm. The shorter projection distance provided by this close-up projection reduces shadows on the screen and eliminates the possible distraction of projector light shining in viewers' eyes, optimizing user and viewer comfort.
Short throw model is also equipped with a MobiShow compatible wireless LAN function and USB 2.0 host function which makes it ideal for business use also.
The company already has 17 other models that it retails in India, but the new green projectors will give it an edge, it believes.
Standard Models: This mercury free Standard model projector series has an ANSI lumen upto 3000 and comes with a host of technological advancements to serve to its wide range of users. One unique feature is that these projectors are compatible with 3D content.
The standard model is equipped with a DLP 3D projection function that permits projection of 3D content onto a screen. Users can enjoy the high-impact 3D stereoscopic images of this model with 3D glasses.
The model also comes equipped with wireless LAN function with MobiShow compatibility and USB 2.0 host function to access data stored in USB memory. Wireless connection with smartphones and other mobile devices as well as with Windows PCs is also possible.
The price for Standard series ranges from Rs 66,995 to Rs 99,995.
Pro Models: Pro-Model projector series can achieve brightness of up to 3,500 ANSI lumens without a mercury lamp. This enables large screen projection in large conference rooms as well as clear projection of images in brightly lit rooms.
This model has a 10W monaural speaker installed in the projector, which permits powerful sound output without an external speaker. A DLP 3D projection function adds a stereoscopic image projection capability.
The long life semiconductor light source reduces the maintenance requisite as compared with conventional models that require mercury lamp replacement.
The price for Pro-Model Series ranges from Rs 1,19,995 to Rs 1,34,995.
Short Throw Series
The Short Throw series with upto 3000 lumens is equipped with a set of applications, making it ideal for classroom teaching.
The Short Throw model can be equipped with a short-throw lens for projection of 60-inch images at a distance of 80 cm. The shorter projection distance provided by this close-up projection reduces shadows on the screen and eliminates the possible distraction of projector light shining in viewers' eyes, optimizing user and viewer comfort.
Short throw model is also equipped with a MobiShow compatible wireless LAN function and USB 2.0 host function which makes it ideal for business use also.
2011年5月18日 星期三
Super8 Projector Created From Lego (video)
If you like a little bit of retro film footage or have a few old Super8 reels of film you need to view but dont have a projector. You could always have a go at creating your very own Super8 projector from Lego.
This fully functional Super 8 Movie Projector was built using Lego Technic by Friedemann Wachsmuth. The only non-Lego parts within the whole Lego projector are the lens, the reel spindles and the lamp. Watch a video of the Super8 Projector in action after the jump.
Super8 Lego Projector
The projector uses just two engines and is fully featured with automatic feeding, 24 fps, fast rewind and 120m reel capabilities. Using a decent LED flashlight makes all the difference for an amazing projection show, according to its creator.
This fully functional Super 8 Movie Projector was built using Lego Technic by Friedemann Wachsmuth. The only non-Lego parts within the whole Lego projector are the lens, the reel spindles and the lamp. Watch a video of the Super8 Projector in action after the jump.
Super8 Lego Projector
The projector uses just two engines and is fully featured with automatic feeding, 24 fps, fast rewind and 120m reel capabilities. Using a decent LED flashlight makes all the difference for an amazing projection show, according to its creator.
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