MANILA, Philippines—With the new GE PJ1 digital camera, a lot of shutterbugs can now easily view and share their favorite photos or videos with relatives and friends anytime by projecting the images on a white wall or surface.
The GE PJ1 is actually the first point-and-shoot digital camera from GE Imaging that is equipped with a Pico projector using the Digital Light Processing (DLP) technology developed by Texas Instruments.
The built-in Pico projector features a 15 ANSI lumens and an image projection distance of 70 inches or 5.83 feet with a WVGA (848 x 480) resolution.
This camera is equipped with a 14.1-megapixel charged couple device (CCD) sensor for sharp and high image quality.
It is also equipped with an image stabilization feature and 7X optical zoom (equivalent to 28-196mm, f/3.9-f5.8), allowing the photographer to shoot pictures from various distances and even at awkward angles.
This camera is also capable of capturing HD video quality at 720-pixel resolution. This camera accepts both SD and SDHC memory cards. It has a suggested retail price of P14,995.
The GE PJ1 is also ideal for business use as it can be linked to a laptop. It may be used as a handy and portable projector for small group sales presentations.
The new GE DV1 digital HD video camera is ideal for those who love the the outdoor life.
The GE DV1 isn’t just dustproof, it is shockproof as well. It can survive a drop of up to 1.5 meters and can operate underwater by 5 meters.
It has the ability to capture still images and videos simultaneously. It is fitted with a built-in USB plug for easy transfer of photos or videos to a PC. It can also accept both SD and SDHC memory cards of up to 32 GB.
This camcorder can capture videos in three movie modes. A user can record in 1080p, 720p or 640x480 at 30fps. It also has a high frame rate mode of 720p at 60 frames per second. The DV1 can take still images at 5 megapixels. It is equipped with image stabilization and 4X optical zoom.
The DV1 has a built-in accelerometer, and flips to landscape automatically when you turn the camcorder on its side.
The DV1 comes in orange, grey, blue and green. It has a suggested retail price of P5,995. Outdoor lovers will now be able to capture every exciting moment of their adventure with the new GE DV1 digital camcorder without too spending much.
2011年4月17日 星期日
2011年4月14日 星期四
How to interpret LED lamp data
To make the best lighting product choice, consumers must understand how to interpret lamp performance data. Jeanine Chrobak-Kando explains what kind of data is available, and how to use that data to make the best LED lighting choice.
LED lamps are now rapidly replacing conventional incandescent lamps and compact fluorescent lamps (CFLs) in domestic and commercial lighting. Understanding the data that is presented with respect to lamp performance and operating life is the key to making informed product choices.
Data on LED lamps is to be found on their packaging, or in data sheets. Some of the information is based on verifiable facts but some marketing claims may not be based on sound engineering principles. A number of major global brands are now competing for a share of the general LED lighting market. Prices are falling as the technology matures, manufacturing process become more refined and the economics of high volume manufacturing and supply chain management come into play. For a given product, prices from these reputable suppliers will be found to be within a range of perhaps ±20%. Products from lesser-known brands, or even those of unbranded LED lamps, may at first appear to be significantly lower. However, to be able to sell at these lower prices, compromises will have been made in the quality of materials and components employed - it is unlikely that significant cost advantages in manufacturing can be realized. The quality of components in the electronic circuits inside LED lamps are critical in determining product life, so you can expect early failures in cheap lamps and a poor return on capital outlay. The reputation of the whole LED lamp industry is dependent upon consumers understanding this argument.
A typical LED lamp specification will include mandatory information, as demanded by EU or FTC legislation, including its power rating, the equivalent incandescent lamp rating, the operating voltage and frequency, the light colour emitted, its colour rendering index (CRI), luminous flux, operating life time, fitting type and whether the lamp is dimmable. In the case of directional lamps, the luminous intensity and beam angle may also be quoted, although this is not a legal requirement.
LED lamps are now rapidly replacing conventional incandescent lamps and compact fluorescent lamps (CFLs) in domestic and commercial lighting. Understanding the data that is presented with respect to lamp performance and operating life is the key to making informed product choices.
Data on LED lamps is to be found on their packaging, or in data sheets. Some of the information is based on verifiable facts but some marketing claims may not be based on sound engineering principles. A number of major global brands are now competing for a share of the general LED lighting market. Prices are falling as the technology matures, manufacturing process become more refined and the economics of high volume manufacturing and supply chain management come into play. For a given product, prices from these reputable suppliers will be found to be within a range of perhaps ±20%. Products from lesser-known brands, or even those of unbranded LED lamps, may at first appear to be significantly lower. However, to be able to sell at these lower prices, compromises will have been made in the quality of materials and components employed - it is unlikely that significant cost advantages in manufacturing can be realized. The quality of components in the electronic circuits inside LED lamps are critical in determining product life, so you can expect early failures in cheap lamps and a poor return on capital outlay. The reputation of the whole LED lamp industry is dependent upon consumers understanding this argument.
A typical LED lamp specification will include mandatory information, as demanded by EU or FTC legislation, including its power rating, the equivalent incandescent lamp rating, the operating voltage and frequency, the light colour emitted, its colour rendering index (CRI), luminous flux, operating life time, fitting type and whether the lamp is dimmable. In the case of directional lamps, the luminous intensity and beam angle may also be quoted, although this is not a legal requirement.
2011年4月13日 星期三
BenQ W1100 en W1200 Full HD projectoren
Met de W1100 en W1200 breidt BenQ zijn assortiment van DLP-projectoren voor thuisgebruik uit. Beide modellen bieden volgens de fabrikant een Full HD bioscoopervaring waar de entertainment-liefhebber en AV-fanaticus voor warm zal moeten lopen. De adviesprijzen variëren van €999 tot €1299.
De W1100 is, zoals de nummering al doet vermoeden, de goedkopere van de twee. Desondanks is de projector eenvoudig te installeren en bestaat het optische systeem uit twaalf lenselementen teneinde een haarscherp beeld met een diagonaal van 24- tot 300-inch te produceren. De lamp heeft een lichtopbrengst van 2000 ANSI lumens en een opgegeven contrastverhouding van 4500:1. De levensduur varieert naar gelang de normale of spaarmodus van 2500 tot 4000 branduren.
De projector kan overweg met alle gangbare resoluties tussen 480i en 1080p, zowel in NTSC, PAL als SECAM indeling. Beeld doorgeven aan de W1100 is mogelijk via D-sub, twee HDMI-ingangen, S-video en zowel component als composiet. Ook zijn er analoge audioconnectors van de partij waarmee geluid via de twee ingebouwde 10 watt speakers met SRS WOW HDT technologie afgespeeld kan worden. Uitgangen zijn aanwezig in de vorm van D-sub en een stereo mini-jack voor audio.
BenQ's W1100 meet net als de W1200 139 x 139 x 260 mm, weegt zo'n 3,9 kilogram en verstookt maximaal 290 watt. Het verschil tussen de twee zit hem dan ook primair in het binnenwerk, want ook de aansluitmogelijkheden zijn identiek. De projectielamp moet met een opgegeven helderheid van 1800 ANSI lumens iets toegeven, maar het contrast is verhoogd tot 5000:1. Verder herbergt de W1200 volgens BenQ meer geavanceerde functies om een scherper en levendiger beeld te realiseren, waaronder frame-interpolatie en een uitgebreid kleurbeheer.
Op het moment van schrijven zijn de twee thuisprojectoren van BenQ is onze prijsvergelijker terug te vinden voor bedragen vanaf respectievelijk €971 en €1299.
De W1100 is, zoals de nummering al doet vermoeden, de goedkopere van de twee. Desondanks is de projector eenvoudig te installeren en bestaat het optische systeem uit twaalf lenselementen teneinde een haarscherp beeld met een diagonaal van 24- tot 300-inch te produceren. De lamp heeft een lichtopbrengst van 2000 ANSI lumens en een opgegeven contrastverhouding van 4500:1. De levensduur varieert naar gelang de normale of spaarmodus van 2500 tot 4000 branduren.
De projector kan overweg met alle gangbare resoluties tussen 480i en 1080p, zowel in NTSC, PAL als SECAM indeling. Beeld doorgeven aan de W1100 is mogelijk via D-sub, twee HDMI-ingangen, S-video en zowel component als composiet. Ook zijn er analoge audioconnectors van de partij waarmee geluid via de twee ingebouwde 10 watt speakers met SRS WOW HDT technologie afgespeeld kan worden. Uitgangen zijn aanwezig in de vorm van D-sub en een stereo mini-jack voor audio.
BenQ's W1100 meet net als de W1200 139 x 139 x 260 mm, weegt zo'n 3,9 kilogram en verstookt maximaal 290 watt. Het verschil tussen de twee zit hem dan ook primair in het binnenwerk, want ook de aansluitmogelijkheden zijn identiek. De projectielamp moet met een opgegeven helderheid van 1800 ANSI lumens iets toegeven, maar het contrast is verhoogd tot 5000:1. Verder herbergt de W1200 volgens BenQ meer geavanceerde functies om een scherper en levendiger beeld te realiseren, waaronder frame-interpolatie en een uitgebreid kleurbeheer.
Op het moment van schrijven zijn de twee thuisprojectoren van BenQ is onze prijsvergelijker terug te vinden voor bedragen vanaf respectievelijk €971 en €1299.
2011年4月11日 星期一
What is Page 2?
What is Page 2? Page 2 is a compilation of stories and news tidbits, which for whatever reason, didn’t make the front page of /Film. After the jump we’ve included 46 different items, fun images, videos, casting tidbits, articles of interest and more. It’s like a mystery grab bag of movie web related goodness. If you have any interesting items that we might’ve missed that you think should go in /Film’s Page 2 – email us!
The website Mantia offers some awesome computer/iphone/ipad desktop wallpapers, including the wallpaper from Andy’s room from the Toy Story films (pictured above), the carpet from the Overlook Hotel in The Shining, among many others.
Forbes Magazine has published their list of the 15 wealthiest fictional characters of 2011. Topping the list is Scrooge McDuck who is now worth $44.1 billion due to the 30% increase in gold prices over the last year.
The Walt Disney Imagineers are replacing the hitchhiking ghost animatronics in Walt Disney World’s Haunted Mansion with interactive computer generated counterparts. Before you get angry, watch the clip above, and be amazed.
Sony has introduced its first 4K digital video camera, the CineAlta F65, at NAB (National Association of Broadcasters). Sony executives claim that “It’s only a mater of time before 4K becomes a standard in cinema,” and they are probably right. The camera, which is being aimed to replace 35mm cameras in movie productions, has an 8K 20-megapixel CMOS image sensor, with approximately 20 megapixels and 16-bit RAW output. The camera’s 4K resolution is four times the size of the commonly used 2K cameras being used today (note: RED cameras can handle 4K), and it offers a “wide dynamic range, wide color reproduction and low light sensitivity.”
The website Mantia offers some awesome computer/iphone/ipad desktop wallpapers, including the wallpaper from Andy’s room from the Toy Story films (pictured above), the carpet from the Overlook Hotel in The Shining, among many others.
Forbes Magazine has published their list of the 15 wealthiest fictional characters of 2011. Topping the list is Scrooge McDuck who is now worth $44.1 billion due to the 30% increase in gold prices over the last year.
The Walt Disney Imagineers are replacing the hitchhiking ghost animatronics in Walt Disney World’s Haunted Mansion with interactive computer generated counterparts. Before you get angry, watch the clip above, and be amazed.
Sony has introduced its first 4K digital video camera, the CineAlta F65, at NAB (National Association of Broadcasters). Sony executives claim that “It’s only a mater of time before 4K becomes a standard in cinema,” and they are probably right. The camera, which is being aimed to replace 35mm cameras in movie productions, has an 8K 20-megapixel CMOS image sensor, with approximately 20 megapixels and 16-bit RAW output. The camera’s 4K resolution is four times the size of the commonly used 2K cameras being used today (note: RED cameras can handle 4K), and it offers a “wide dynamic range, wide color reproduction and low light sensitivity.”
EVITA wall lamp for Kundalini / Salone del Mobile 2011
Kundalini inaugurates the first collaboration with AquiliAlberg, presenting Evita, an innovative floor and wall lamps with an intense visual impact and strong poetic expression. As in a sartorial artwork, the metal is wrapped around the luminous body of Evita in a garment stitched together by a single continuous gesture, forming a spiral rotation of 90 degrees. It is characterized by a strong graphic style and a clean and refined image that easily becomes imprinted in one’s memory, as it unwinds in space and traces out curved lines and surfaces, lightness and dynamism.
With its fine lines, Evita clothes the light with its physical elusiveness, delicate elegance and stylistic cogency. Its name recalls the gracefulness and strength of far-reaching feminine figures such Evita Peron, whose character evoked the imagination of the whole world, inspiring writers, musicians and directors.
Similarly, the feminine image of delicate elegance of the luminous body stimulates the imagination and opens itself to multiple evocative interpretations. The result of a new poetic and dynamic quality that makes the produce versatile, original and geometrically complex, it diffuses light, thanks to its rotation, according to how it is placed. It is always in harmony with its environment, and generates unique atmospheres in any given space.
Evita is available as both a floor or wall version.
With its fine lines, Evita clothes the light with its physical elusiveness, delicate elegance and stylistic cogency. Its name recalls the gracefulness and strength of far-reaching feminine figures such Evita Peron, whose character evoked the imagination of the whole world, inspiring writers, musicians and directors.
Similarly, the feminine image of delicate elegance of the luminous body stimulates the imagination and opens itself to multiple evocative interpretations. The result of a new poetic and dynamic quality that makes the produce versatile, original and geometrically complex, it diffuses light, thanks to its rotation, according to how it is placed. It is always in harmony with its environment, and generates unique atmospheres in any given space.
Evita is available as both a floor or wall version.
2011年4月7日 星期四
Videowall and LED screens Buyer's Guide analysis: Applications call the tune
Things used to be simpler. Indoors, events producers stacked videowall 'cubes' – long boxes with a projector at one end and a screen at the other – to create large displays. Outdoors, they used devices such as Sony Jumbotron or, later, LED displays made up from multiple panels. But that was at least a decade ago. Now, there are many more technical options available for use in the videowall/large screen display market.
Conventional, stackable videowall cubes (mostly with LCD or DLP projects and mirrors to fold the projection path and make them more compact) are still available. Rigs using multiple projectors and mirrors are in common use. Flat screen displays with very narrow bezels can be mounted together to form a large, but very thin, indoor videowall. Indoor LED panels using high resolution displays are becoming increasingly available and affordable, while very large screen LED displays at resolutions ranging from 4mm to 25mm or 35mm are being used everywhere – in shop windows, on transportation systems, in tv studios and at sporting events.
And development hasn't stopped. This year's ISE show saw the launch of cheaper and lighter indoor LED screens such as the Nanolumens offering and the first showing of production versions of genuinely new technology screens such as the Mitsubishi large screen OLED display and Prysm's laser phosphor display (LPD) technology. Christie's stackable MicroTiles system – in principle, a small videowall cube – was also much in evidence and, a year after launch, it is being used in serious commercial applications.
As well as changes in technology, different application sectors now have clear requirements of their own. For example, the control room market, digital signage, public display, rock concerts and sports venues now have individual 'takes' on the technology that is right for them.
There's still a place for videowall cubes with a projector in the back and a screen on the front but the main market for such products in now in control rooms which require very high resolution displays (up to UXGA or above) and can be operated 24×7 with very low failure rates and long periods between lamp changes. Front access via a hinged screen is usually provided for maintenance purposes.
Rear projection (RP) cubes developed for the needs of the control room market also feature sophisticated electronic set-up software to manage colour balance and brightness across the videowall. They use image processing and switching to manage the supply of different information (such as the images from traffic or surveillance cameras) to different 'windows' on the wall.
RP systems are also extensively used as a tv news studio backdrop but the more sophisticated broadcasters usually use a multi-projector rig on a seamless screen, rather than cubes. In this application, key requirements include colour and brightness/contrast balance between screens as well as very accurate picture alignment.
Conventional, stackable videowall cubes (mostly with LCD or DLP projects and mirrors to fold the projection path and make them more compact) are still available. Rigs using multiple projectors and mirrors are in common use. Flat screen displays with very narrow bezels can be mounted together to form a large, but very thin, indoor videowall. Indoor LED panels using high resolution displays are becoming increasingly available and affordable, while very large screen LED displays at resolutions ranging from 4mm to 25mm or 35mm are being used everywhere – in shop windows, on transportation systems, in tv studios and at sporting events.
And development hasn't stopped. This year's ISE show saw the launch of cheaper and lighter indoor LED screens such as the Nanolumens offering and the first showing of production versions of genuinely new technology screens such as the Mitsubishi large screen OLED display and Prysm's laser phosphor display (LPD) technology. Christie's stackable MicroTiles system – in principle, a small videowall cube – was also much in evidence and, a year after launch, it is being used in serious commercial applications.
As well as changes in technology, different application sectors now have clear requirements of their own. For example, the control room market, digital signage, public display, rock concerts and sports venues now have individual 'takes' on the technology that is right for them.
There's still a place for videowall cubes with a projector in the back and a screen on the front but the main market for such products in now in control rooms which require very high resolution displays (up to UXGA or above) and can be operated 24×7 with very low failure rates and long periods between lamp changes. Front access via a hinged screen is usually provided for maintenance purposes.
Rear projection (RP) cubes developed for the needs of the control room market also feature sophisticated electronic set-up software to manage colour balance and brightness across the videowall. They use image processing and switching to manage the supply of different information (such as the images from traffic or surveillance cameras) to different 'windows' on the wall.
RP systems are also extensively used as a tv news studio backdrop but the more sophisticated broadcasters usually use a multi-projector rig on a seamless screen, rather than cubes. In this application, key requirements include colour and brightness/contrast balance between screens as well as very accurate picture alignment.
2011年4月6日 星期三
Where did all the projectionists go?
Think of a film projectionist, and what comes to mind? Is it an image of a dumpy,
bearded bloke in an old waistcoat and beret? Does he share a grubby attic space with
tatty old film posters? Does he wind a battered 35mm print on to a spool and monitor
his work through a shaft of light which cuts through the dust of the auditorium?
Think of Philippe Noiret in 'Cinema Paradiso', Buster Keaton in 'Sherlock Jr', or
Robert Prosky in 'Last Action Hero'… Well, in reality, the image you should have in
mind is of a giant USB stick.
Why? Because projectionists as we imagine them are on the verge of extinction. This
is down to big changes in the world of exhibition: hulking hard drives – to which
films are sent digitally – are being installed in cinemas, while tactile, scratchy,
buzzing celluloid film prints are being tossed on the scrapheap.
We spoke to a spokesperson for Odeon who explains that the chain is in the middle of
replacing 35mm projectors at all its 110 sites across the country with digital
projectors. At the Cineworld chain, a projectionist tells us that the switch-over is
just as rapid. Phil Clapp of the Cinema Exhibitors' Association explains the
difference: 'While a 35mm projector is a mechanical device with moving parts, a
digital projector – aside from the lamp – is very much a piece of IT.
Projectionists who have been able to strip down and reassemble a 35mm projector with
their eyes closed are suddenly being presented with a box and an on-off switch.'
The roots of the digital takeover can be traced back to 2005, when 240 digital
projectors were given to UK cinemas on the back of the UK Film Council's Digital
Screen Network initiative. The hope was that on the back of that initial flurry, the
training wheels could come off and cinemas would embrace the digital revolution.
They didn't. The momentum of change was slow. Now, though, the digital boom has
finally happened, partly fuelled by the spiralling number of 3D titles, which can't
be projected on old equipment.
David Hancock of industry website Screen Digest illustrates the speed of change. 'In
2009 there were 650 digital screens in the UK. By 2010, there were 1,400, with 1,080
of them enabled for 3D. In 2010, 416 films were released wholly or partly on digital
prints in the UK, which is 80 per cent of all releases. This is by far the highest
number in the world. It compares to 20 per cent in France and 35 per cent in the
Netherlands.'
This means that gone are the days when a tired old print starts to show up scratches
and other signs of wear and tear. Audiences will barely notice the difference: every
film will look like new. The real effect on film-going may be more long-term as
cinemas take advantage of cheaper technology to offer a more flexible, varied
programme or find it difficult to show certain films, mostly archive titles, which
have not been transferred to digital.
bearded bloke in an old waistcoat and beret? Does he share a grubby attic space with
tatty old film posters? Does he wind a battered 35mm print on to a spool and monitor
his work through a shaft of light which cuts through the dust of the auditorium?
Think of Philippe Noiret in 'Cinema Paradiso', Buster Keaton in 'Sherlock Jr', or
Robert Prosky in 'Last Action Hero'… Well, in reality, the image you should have in
mind is of a giant USB stick.
Why? Because projectionists as we imagine them are on the verge of extinction. This
is down to big changes in the world of exhibition: hulking hard drives – to which
films are sent digitally – are being installed in cinemas, while tactile, scratchy,
buzzing celluloid film prints are being tossed on the scrapheap.
We spoke to a spokesperson for Odeon who explains that the chain is in the middle of
replacing 35mm projectors at all its 110 sites across the country with digital
projectors. At the Cineworld chain, a projectionist tells us that the switch-over is
just as rapid. Phil Clapp of the Cinema Exhibitors' Association explains the
difference: 'While a 35mm projector is a mechanical device with moving parts, a
digital projector – aside from the lamp – is very much a piece of IT.
Projectionists who have been able to strip down and reassemble a 35mm projector with
their eyes closed are suddenly being presented with a box and an on-off switch.'
The roots of the digital takeover can be traced back to 2005, when 240 digital
projectors were given to UK cinemas on the back of the UK Film Council's Digital
Screen Network initiative. The hope was that on the back of that initial flurry, the
training wheels could come off and cinemas would embrace the digital revolution.
They didn't. The momentum of change was slow. Now, though, the digital boom has
finally happened, partly fuelled by the spiralling number of 3D titles, which can't
be projected on old equipment.
David Hancock of industry website Screen Digest illustrates the speed of change. 'In
2009 there were 650 digital screens in the UK. By 2010, there were 1,400, with 1,080
of them enabled for 3D. In 2010, 416 films were released wholly or partly on digital
prints in the UK, which is 80 per cent of all releases. This is by far the highest
number in the world. It compares to 20 per cent in France and 35 per cent in the
Netherlands.'
This means that gone are the days when a tired old print starts to show up scratches
and other signs of wear and tear. Audiences will barely notice the difference: every
film will look like new. The real effect on film-going may be more long-term as
cinemas take advantage of cheaper technology to offer a more flexible, varied
programme or find it difficult to show certain films, mostly archive titles, which
have not been transferred to digital.
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