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.
2012年1月10日 星期二
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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