Tech start-up BryteWerks LLC announces the launch of a product line poised to establish a new category of intelligent, hybrid media centers based on an advanced high-definition digital projector platform. The BryteWerks Model One line of Intel Core CPU-based digital projectors merge state-of-the-industry computer, digital, and optical technologies with superior connectivity capabilities and innovative industrial design into a cost-effective and intuitive multimedia control and exhibition powerhouse.
Designed for either consumer or professional applications, the BryteWerks Model One line delivers exhibition-quality 16:10 widescreen 1920x1200 resolution , through a LCD Native WUXGA panel. The projectors also feature an ultra-high brightness of 6,000 - 11,000 lumens, a 1000:1 True Contrast Ratio, and a 1:1 throw of 1 foot to 50 feet, making them the very best, all-purpose digital projectors in their class. Internally, the BryteWerks Model One projectors feature , a fully-integrated Intel Core i3 to i7 HTPC CPU, a full featured, slot-loaded Blu-ray player, up to 2 terabytes of internal storage, including a 500 gigabyte Solid State Drive, unequaled connectivity options, and a custom version of XBMC, an open source media organization and playback application, making the Model One a revolutionary and unsurpassed media center.
Ease-of-operation in any application was paramount in the design criteria for the BryteWerks Model One. Highly intuitive and non-linear system and content management (including the ability to operate numerous BryteWerks projectors and connected devices simultaneously), is controlled from the 720p 8.9-inch touch panel display on the back of the projector, a provided RF remote control, or the free XBMC remote app for Android and iOS devices, as well as existing Wifi & Bluetooth devices – from keyboards to smartphones to tablets - already on the market.
The BryteWerks Model One Projector offers the ability to build a professional cinema experience effortlessly, seamlessly and transparently in any environment or application without playback interruption. Operational features, to name only a few, include customized media playlist creation, variable frame rate control up to 60 fps, pre-rendered transitions, and independent control of ‘connected devices’ and/or daisy-chained BryteWerks projectors (or a combination of the two). Professional post-production applications include editing, visual effects creation and color grading. The open-source Python-based XBMC offers infinite feature and plug-in development allowing users infinite customization options.
Connectivity via 802.11n Wifi, Bluetooth and gigabit Ethernet provides seamless two-way communication with other BryteWerks projectors, as well as a wide variety of other peripherals, including, but not limited to, gaming devices, flatscreen displays, external hard drives, computers, handheld smart devices, and digital video and signal processing and routing equipment. The unique power and I/O interface, which also features dual USB and HDMI ports, 5.1 individual analog surround sound outputs and AC power, is a fully-upgradeable, patent-pending cable management system that conceals all cable interfaces in the projector's Mag-Snap feet.
The ultra-wide 105 mm adjustable prime lens provides greater picture fidelity and a brighter image with less optical distortion. The 1:1 Lens Throw Ratio eliminates the need for a lens throw calculator, thereby reducing set-up time in both an Imperial and Metric environment. Aftermarket lenses can adjust the projector’s throw to any size screen in any size room or theater. Optical Keystone Correction of +/- 20 degrees vertical is distortion-free with no interpolated or cropped pixels - common with digital keystone correction – and provides a more accurate picture.
The open source, industry standard Metal Halide lamp allows the user the choice of replacement bulbs from multiple inexpensive vendors, thereby reducing long term operating costs. Bulb replacement is fast and easy, without the need for tools, by simply releasing the Model One’s magnetically-latched lid and unscrewing the bulb from the projector’s light engine.
The Model One uses the BryteWerks proprietary AirHeart airflow management system consisting of multiple chambers with discreet fans and plenums that result in superior cooling at an ultra quiet operating noise level as low as 27dB .
The sleek and sophisticated black aluminum and steel enclosure, built on a robust aluminum chassis, is only 17-inches cubed, weighs only 28 pounds, and is devoid of mechanical buttons. In addition, the forward compatibility design criteria allows for simple and inexpensive future data and power management upgrades, resulting in a long and low-cost operational lifespan. The BryteWerks Model One product line is backed by a standard 1-year warranty against manufacturer’s defects, which can be upgraded to an unlimited 3-year warranty.
The BryteWerks Model One is a dazzling and sophisticated centerpiece for a home theater as well as a rugged, if not bulletproof, ultra-reliable tool in a performing arts center, museum, church, indie film theater, corporate boardroom, military applications or AV rental inventory.
2011年12月28日 星期三
Optoma HD8300
You don't have to look any further than the $4,499 list price to know that the Optoma HD8300 is aimed at serious videophiles rather than typical consumers. In fact, it's sold primarily by the sort of custom dealer who will normally install and calibrate the projector for you, if not build your entire home theater. If that's the class of projector you're looking for, the HD8300 is easily up to job, with great-looking images in both 2D and 3D at up to 1080p resolution.
Not too surprisingly, the HD8300 shares some important features with the Optoma HD33 ($1,500, 4 stars) that I recently reviewed. In particular it offers a similar frame interpolation feature to eliminate judder—the slightly jerky motion that's built into filmed content because of the standard 24 frame per second speed for film. It also shares the HD33's 3D support for both DLP-link glass and RF glasses, which are currently less common.
As with the HD33, the HD8300's DLP-Link support is built into the projector. The RF support uses an external RF emitter that comes with the projector and plugs into its VESA 3D port. The advantage for RF glasses is that you don't have to maintain a line of sight connection to keep the glasses synched for 3D, which means you won't lose sync if you look away from the screen for a moment. Note too that the projector doesn't come with any glasses, so whichever kind you want, you'll have to buy them separately, at $100 each for the rechargeable Optoma models.
Because it's worth it
Of course, at roughly three times the price, you would expect the HD8300 to deliver some significant advantages over the HD33 as well, and it does. Among other features, it offers a 1.5x manual zoom to give you far more flexibility in how far you can put the projector from the screen for a given size image. It also offers both vertical and horizontal lens shift, so you can shift the image up, down, left, and right without moving the projector.
Optoma says the vertical shift is plus or minus 65% from the midpoint, and the horizontal shift is less than plus or minus 10% from the midpoint. That's less than with some other projectors, like the somewhat less expensive Sony VPL-HW30ES ($3,700 street, 4 stars) or the Epson PowerLite Home Cinema 8350 ($1299 direct, 4 stars), for example, but it's enough to be helpful.
A much more important advantage for the HD8300 over the HD33 is that it has still less of a rainbow effect. Rainbow artifacts, with light areas breaking up into little red-green-blue rainbows, are a potential issue for any single-chip DLP projector, because of the way the technology creates colors, showing each primary color in sequence, rather that showing them all at once.
When I reviewed the HD33, I pointed out that I saw rainbow artifacts with it less often than with most DLP projectors. I saw them even less often with the HD8300. I'd still rather have a projector that doesn't show rainbow artifacts at all, but unless you—or someone you regularly watch with—are extremely sensitive to seeing the rainbow effect (as I am), you probably won't see them with the HD8300.
Setup and Brightness
Setup isn't much of an issue, given that the dealer is likely to be doing it for you. Even so, it's worth knowing that this is a relatively big projector, at 7.6 by 14.6 by 19.3 inches (HWD), and it offers a fairly typical set of connectors, including two HDMI ports for video sources or a computer, a VGA port for a computer or component video, three phono plugs for component video, and a composite video port. As is common with home theater projectors, there are no audio ports, and no audio system.
Optoma rates the projector in its brightest mode at 1,500 lumens. That would make it far too bright for the size screen you're most likely to have in the projector's natural home, which is a traditional home theater setup with theater-dark lighting. With that in mind, the default lamp setting uses the lowest brightness for the lamp, which Optoma calls the standard setting. And, as is typical with projectors, the Cinema mode setting is noticeably dimmer than the brightest mode.
With these default settings, the projector offers the appropriate brightness for the 78-inch wide image (90-inch diagonal at 1080p) that we generally use for testing. For a larger screen, or for a room with ambient light, you can switch to a brighter setting.
Our 2D tests include both DVDs upscaled to 1080p and Blu-ray discs. The HD8300 showed just a hint of posterization (shading changing suddenly where it should change gradually) in one scene that many projectors have problems with, but if I weren't looking for it, I might not have noticed. In every other scene, and in every other way, the image quality was excellent. The projector did a good job with color, skin tones, shadow detail (maintaining details based on shading in dark areas), and maintaining details in bright areas. I also saw little to no noise.
As I already noted, the projector scored remarkably better than most DLP projectors for rainbow artifacts. I saw them in black and white footage in night scenes, but hardly at all otherwise. It's unlikely that even those who are sensitive to seeing the artifacts will find them objectionable.
Optoma's PureMotion feature, the frame interpolation that I mentioned earlier, worked as promised to remove judder. As with the same feature in the HD33 and the equivalent MotionFlow feature in the Sony VPL-HW30ES, however, it also adds artifacts in its highest setting that I find distracting. I found the lowest setting in all three projectors to be the best compromise, and I found the low setting in the two Optoma projectors more watchable than the low setting for the VPL-HW30ES. However, this is a matter of personal taste, and you may feel differently.
You may even want to turn the feature off altogether. Adding the interpolated frames gives movies much the same look and feel as live video. Some people, including me, find that the improvement just doesn't look right, a reaction that can make it hard to ignore how the image looks and simply watch the movie.
The HD8300 also did well on 3D tests. It offers HDMI 1.4a ports so you can show 3D from a Blu-ray player, cable, FIOS, or equivalent source without needing a video converter. More important, with both 3D Blu-ray discs and a direct connection to FIOS, the HD8300 delivered good image quality and I saw only an occasional hint of crosstalk (the blurriness, or ghost image, that shows when the frame meant for one eye leaks through to the other eye as well.)
Ultimately, the Optoma HD8300 gets high marks and an enthusiastic recommendation, but with an important hedge. If you see rainbow artifacts easily, you might find them all the more annoying after spending this much on a projector. In that case, you might prefer an alternative, like the Sony VPL-HW30ES, which is based on a technology that can't show rainbow artifacts. But for those who aren't sensitive to the effect, or don't mind seeing an occasional rainbow, the enthusiastic recommendation stands.
Not too surprisingly, the HD8300 shares some important features with the Optoma HD33 ($1,500, 4 stars) that I recently reviewed. In particular it offers a similar frame interpolation feature to eliminate judder—the slightly jerky motion that's built into filmed content because of the standard 24 frame per second speed for film. It also shares the HD33's 3D support for both DLP-link glass and RF glasses, which are currently less common.
As with the HD33, the HD8300's DLP-Link support is built into the projector. The RF support uses an external RF emitter that comes with the projector and plugs into its VESA 3D port. The advantage for RF glasses is that you don't have to maintain a line of sight connection to keep the glasses synched for 3D, which means you won't lose sync if you look away from the screen for a moment. Note too that the projector doesn't come with any glasses, so whichever kind you want, you'll have to buy them separately, at $100 each for the rechargeable Optoma models.
Because it's worth it
Of course, at roughly three times the price, you would expect the HD8300 to deliver some significant advantages over the HD33 as well, and it does. Among other features, it offers a 1.5x manual zoom to give you far more flexibility in how far you can put the projector from the screen for a given size image. It also offers both vertical and horizontal lens shift, so you can shift the image up, down, left, and right without moving the projector.
Optoma says the vertical shift is plus or minus 65% from the midpoint, and the horizontal shift is less than plus or minus 10% from the midpoint. That's less than with some other projectors, like the somewhat less expensive Sony VPL-HW30ES ($3,700 street, 4 stars) or the Epson PowerLite Home Cinema 8350 ($1299 direct, 4 stars), for example, but it's enough to be helpful.
A much more important advantage for the HD8300 over the HD33 is that it has still less of a rainbow effect. Rainbow artifacts, with light areas breaking up into little red-green-blue rainbows, are a potential issue for any single-chip DLP projector, because of the way the technology creates colors, showing each primary color in sequence, rather that showing them all at once.
When I reviewed the HD33, I pointed out that I saw rainbow artifacts with it less often than with most DLP projectors. I saw them even less often with the HD8300. I'd still rather have a projector that doesn't show rainbow artifacts at all, but unless you—or someone you regularly watch with—are extremely sensitive to seeing the rainbow effect (as I am), you probably won't see them with the HD8300.
Setup and Brightness
Setup isn't much of an issue, given that the dealer is likely to be doing it for you. Even so, it's worth knowing that this is a relatively big projector, at 7.6 by 14.6 by 19.3 inches (HWD), and it offers a fairly typical set of connectors, including two HDMI ports for video sources or a computer, a VGA port for a computer or component video, three phono plugs for component video, and a composite video port. As is common with home theater projectors, there are no audio ports, and no audio system.
Optoma rates the projector in its brightest mode at 1,500 lumens. That would make it far too bright for the size screen you're most likely to have in the projector's natural home, which is a traditional home theater setup with theater-dark lighting. With that in mind, the default lamp setting uses the lowest brightness for the lamp, which Optoma calls the standard setting. And, as is typical with projectors, the Cinema mode setting is noticeably dimmer than the brightest mode.
With these default settings, the projector offers the appropriate brightness for the 78-inch wide image (90-inch diagonal at 1080p) that we generally use for testing. For a larger screen, or for a room with ambient light, you can switch to a brighter setting.
Our 2D tests include both DVDs upscaled to 1080p and Blu-ray discs. The HD8300 showed just a hint of posterization (shading changing suddenly where it should change gradually) in one scene that many projectors have problems with, but if I weren't looking for it, I might not have noticed. In every other scene, and in every other way, the image quality was excellent. The projector did a good job with color, skin tones, shadow detail (maintaining details based on shading in dark areas), and maintaining details in bright areas. I also saw little to no noise.
As I already noted, the projector scored remarkably better than most DLP projectors for rainbow artifacts. I saw them in black and white footage in night scenes, but hardly at all otherwise. It's unlikely that even those who are sensitive to seeing the artifacts will find them objectionable.
Optoma's PureMotion feature, the frame interpolation that I mentioned earlier, worked as promised to remove judder. As with the same feature in the HD33 and the equivalent MotionFlow feature in the Sony VPL-HW30ES, however, it also adds artifacts in its highest setting that I find distracting. I found the lowest setting in all three projectors to be the best compromise, and I found the low setting in the two Optoma projectors more watchable than the low setting for the VPL-HW30ES. However, this is a matter of personal taste, and you may feel differently.
You may even want to turn the feature off altogether. Adding the interpolated frames gives movies much the same look and feel as live video. Some people, including me, find that the improvement just doesn't look right, a reaction that can make it hard to ignore how the image looks and simply watch the movie.
The HD8300 also did well on 3D tests. It offers HDMI 1.4a ports so you can show 3D from a Blu-ray player, cable, FIOS, or equivalent source without needing a video converter. More important, with both 3D Blu-ray discs and a direct connection to FIOS, the HD8300 delivered good image quality and I saw only an occasional hint of crosstalk (the blurriness, or ghost image, that shows when the frame meant for one eye leaks through to the other eye as well.)
Ultimately, the Optoma HD8300 gets high marks and an enthusiastic recommendation, but with an important hedge. If you see rainbow artifacts easily, you might find them all the more annoying after spending this much on a projector. In that case, you might prefer an alternative, like the Sony VPL-HW30ES, which is based on a technology that can't show rainbow artifacts. But for those who aren't sensitive to the effect, or don't mind seeing an occasional rainbow, the enthusiastic recommendation stands.
2011年12月27日 星期二
The gentleman hacker's 1903 lulz
A century ago, one of the world’s first hackers used Morse code insults to disrupt a public demo of Marconi's wireless telegraph
LATE one June afternoon in 1903 a hush fell across an expectant audience in the Royal Institution's celebrated lecture theatre in London. Before the crowd, the physicist John Ambrose Fleming was adjusting arcane apparatus as he prepared to demonstrate an emerging technological wonder: a long-range wireless communication system developed by his boss, the Italian radio pioneer Guglielmo Marconi. The aim was to showcase publicly for the first time that Morse code messages could be sent wirelessly over long distances. Around 300 miles away, Marconi was preparing to send a signal to London from a clifftop station in Poldhu, Cornwall, UK.
Yet before the demonstration could begin, the apparatus in the lecture theatre began to tap out a message. At first, it spelled out just one word repeated over and over. Then it changed into a facetious poem accusing Marconi of "diddling the public". Their demonstration had been hacked - and this was more than 100 years before the mischief playing out on the internet today. Who was the Royal Institution hacker? How did the cheeky messages get there? And why?
It had all started in 1887 when Heinrich Hertz proved the existence of the electromagnetic waves predicted by James Clerk Maxwell in 1865. Discharging a capacitor into two separated electrodes, Hertz ionised the air in the gap between them, creating a spark. Miraculously, another spark zipped between two electrodes a few metres away: an electromagnetic wave from the first spark had induced a current between the second electrode pair. It meant long and short bursts of energy - "Hertzian waves" - could be broadcast to represent the dots and dashes of Morse code. Wireless telegraphy was born, and Marconi and his company were at the vanguard. Marconi claimed that his wireless messages could be sent privately over great distances. "I can tune my instruments so that no other instrument that is not similarly tuned can tap my messages," Marconi boasted to London's St James Gazette in February 1903.
That things would not go smoothly for Marconi and Fleming at the Royal Institution that day in June was soon apparent. Minutes before Fleming was due to receive Marconi's Morse messages from Cornwall, the hush was broken by a rhythmic ticking noise sputtering from the theatre's brass projection lantern, used to display the lecturer's slides. To the untrained ear, it sounded like a projector on the blink. But Arthur Blok, Fleming's assistant, quickly recognised the tippity-tap of a human hand keying a message in Morse. Someone, Blok reasoned, was beaming powerful wireless pulses into the theatre and they were strong enough to interfere with the projector's electric arc discharge lamp.
Mentally decoding the missive, Blok realised it was spelling one facetious word, over and over: "Rats". A glance at the output of the nearby Morse printer confirmed this. The incoming Morse then got more personal, mocking Marconi: "There was a young fellow of Italy, who diddled the public quite prettily," it trilled. Further rude epithets - apposite lines from Shakespeare - followed.
The stream of invective ceased moments before Marconi's signals from Poldhu arrived. The demo continued, but the damage was done: if somebody could intrude on the wireless frequency in such a way, it was clearly nowhere near as secure as Marconi claimed. And it was likely that they could eavesdrop on supposedly private messages too.
Marconi would have been peeved, to say the least, but he did not respond directly to the insults in public. He had no truck with sceptics and naysayers: "I will not demonstrate to any man who throws doubt upon the system," he said at the time. Fleming, however, fired off a fuming letter to The Times of London. He dubbed the hack "scientific hooliganism", and "an outrage against the traditions of the Royal Institution". He asked the newspaper's readers to help him find the culprit.
He didn't have to wait long. Four days later a gleeful letter confessing to the hack was printed by The Times. The writer justified his actions on the grounds of the security holes it revealed for the public good. Its author was Nevil Maskelyne, a mustachioed 39-year-old British music hall magician. Maskelyne came from an inventive family - his father came up with the coin-activated "spend-a-penny" locks in pay toilets. Maskelyne, however, was more interested in wireless technology, so taught himself the principles. He would use Morse code in "mind-reading" magic tricks to secretly communicate with a stooge. He worked out how to use a spark-gap transmitter to remotely ignite gunpowder. And in 1900, Maskelyne sent wireless messages between a ground station and a balloon 10 miles away. But, as author Sungook Hong relates in the book Wireless, his ambitions were frustrated by Marconi's broad patents, leaving him embittered towards the Italian. Maskelyne would soon find a way to vent his spleen.
LATE one June afternoon in 1903 a hush fell across an expectant audience in the Royal Institution's celebrated lecture theatre in London. Before the crowd, the physicist John Ambrose Fleming was adjusting arcane apparatus as he prepared to demonstrate an emerging technological wonder: a long-range wireless communication system developed by his boss, the Italian radio pioneer Guglielmo Marconi. The aim was to showcase publicly for the first time that Morse code messages could be sent wirelessly over long distances. Around 300 miles away, Marconi was preparing to send a signal to London from a clifftop station in Poldhu, Cornwall, UK.
Yet before the demonstration could begin, the apparatus in the lecture theatre began to tap out a message. At first, it spelled out just one word repeated over and over. Then it changed into a facetious poem accusing Marconi of "diddling the public". Their demonstration had been hacked - and this was more than 100 years before the mischief playing out on the internet today. Who was the Royal Institution hacker? How did the cheeky messages get there? And why?
It had all started in 1887 when Heinrich Hertz proved the existence of the electromagnetic waves predicted by James Clerk Maxwell in 1865. Discharging a capacitor into two separated electrodes, Hertz ionised the air in the gap between them, creating a spark. Miraculously, another spark zipped between two electrodes a few metres away: an electromagnetic wave from the first spark had induced a current between the second electrode pair. It meant long and short bursts of energy - "Hertzian waves" - could be broadcast to represent the dots and dashes of Morse code. Wireless telegraphy was born, and Marconi and his company were at the vanguard. Marconi claimed that his wireless messages could be sent privately over great distances. "I can tune my instruments so that no other instrument that is not similarly tuned can tap my messages," Marconi boasted to London's St James Gazette in February 1903.
That things would not go smoothly for Marconi and Fleming at the Royal Institution that day in June was soon apparent. Minutes before Fleming was due to receive Marconi's Morse messages from Cornwall, the hush was broken by a rhythmic ticking noise sputtering from the theatre's brass projection lantern, used to display the lecturer's slides. To the untrained ear, it sounded like a projector on the blink. But Arthur Blok, Fleming's assistant, quickly recognised the tippity-tap of a human hand keying a message in Morse. Someone, Blok reasoned, was beaming powerful wireless pulses into the theatre and they were strong enough to interfere with the projector's electric arc discharge lamp.
Mentally decoding the missive, Blok realised it was spelling one facetious word, over and over: "Rats". A glance at the output of the nearby Morse printer confirmed this. The incoming Morse then got more personal, mocking Marconi: "There was a young fellow of Italy, who diddled the public quite prettily," it trilled. Further rude epithets - apposite lines from Shakespeare - followed.
The stream of invective ceased moments before Marconi's signals from Poldhu arrived. The demo continued, but the damage was done: if somebody could intrude on the wireless frequency in such a way, it was clearly nowhere near as secure as Marconi claimed. And it was likely that they could eavesdrop on supposedly private messages too.
Marconi would have been peeved, to say the least, but he did not respond directly to the insults in public. He had no truck with sceptics and naysayers: "I will not demonstrate to any man who throws doubt upon the system," he said at the time. Fleming, however, fired off a fuming letter to The Times of London. He dubbed the hack "scientific hooliganism", and "an outrage against the traditions of the Royal Institution". He asked the newspaper's readers to help him find the culprit.
He didn't have to wait long. Four days later a gleeful letter confessing to the hack was printed by The Times. The writer justified his actions on the grounds of the security holes it revealed for the public good. Its author was Nevil Maskelyne, a mustachioed 39-year-old British music hall magician. Maskelyne came from an inventive family - his father came up with the coin-activated "spend-a-penny" locks in pay toilets. Maskelyne, however, was more interested in wireless technology, so taught himself the principles. He would use Morse code in "mind-reading" magic tricks to secretly communicate with a stooge. He worked out how to use a spark-gap transmitter to remotely ignite gunpowder. And in 1900, Maskelyne sent wireless messages between a ground station and a balloon 10 miles away. But, as author Sungook Hong relates in the book Wireless, his ambitions were frustrated by Marconi's broad patents, leaving him embittered towards the Italian. Maskelyne would soon find a way to vent his spleen.
2011年12月26日 星期一
Your very handy entertainment buddy
Have you noticed that the price of watching a movie in movie houses is getting higher and higher? Sometimes, you just wish that you can bring the movie house and take it anywhere you like and watch movies to your heart’s content, especially if it’s with your family or loved ones. It’s like having your own entertainment buddy who’s always with you wherever you go.
Well, there is a bring-anywhere entertainment buddy right now courtesy of Acer’s C110 Pico travel series projector that offers exceptional performance regardless of content and in practically any type of environment. Its ultra lightweight and compact package (at 175g) promises extreme mobility but not cringing on providing brilliance in projecting movies or photos or just about any type of media despite its diminutive size.
The Acer C110 Pico projector also boasts of super convenient and advanced features that guarantees usability, provides you with flexibility in your presentations and even eco-friendliness.
Though smaller than most projectors, the power of the Acer C110 Pico projector lies in its 2000:1 high contrast ratio and 50 ANSI Lumens brightness that provides excellent image quality and comes in handy for your digital entertainment needs. Even for commercial viewing purposes, the Acer C110 Pico projector can hold its own against bigger and more powerful projector models.
The LED lamp of the Acer C110 Pico projector is also one of the plus factors that contribute to its popularity. Among the benefits of having an LED lamp is that being smaller in size offers design flexibility and the longer life span also helps reduce cost to deliver an always-available light source.
The Instant on/off capability of the Acer C110 Pico projector, meanwhile, means you can use the projector in less than 15 seconds after powering on, and there’s also no need for a cooling period to turn it off. For the mobile, always-on-the-go cyberprofessional shuttling in-between meetings, this means you can just turn off the projector, pack it in your bag and leave immediately. It’s that quick!
In terms of color benefits, an LED lamp, with a wide color gamut, offers better color saturation that is perceived as brighter by the human eye. An LED lamp also has high durability since there are no breakable filaments or tubes and no hazardous mercury vapor or halogen gases, which makes it more environment-friendly.
Another interesting feature of the Acer C110 Pico projector that sets it above the rest is the display over USB feature, which allows images to be displayed as soon as a USB cable is attached to connect the projector to a PC. This means you don’t need a power adapter anymore since the USB cable is the one that provides power to the projector. What more can you ask for from a projector that’s this ultra-mobile?
And to sweeten the pot further, as they say, Acer, one of the world’s most trusted PC manufacturers, throws in interesting optional accessories like the Acer foldable screen for brilliant presentations anywhere you are.
It’s simply a 26-inch screen that is perfect for small group viewings—or even movie marathons at home with your family in your room during lazy weekends. The foldable screen provides increased brilliance as it doubles the reflectivity of standard projection screens. And just like the Acer C110 Pico projector, it’s easy to pack in—just fold up to magazine size, slip into your bag and its’ ready for the next presentation.
Who would have thought that projectors can now be this small and can practically fit in your jacket pocket? Only from Acer, an acknowledged leader in IT innovation.
Well, there is a bring-anywhere entertainment buddy right now courtesy of Acer’s C110 Pico travel series projector that offers exceptional performance regardless of content and in practically any type of environment. Its ultra lightweight and compact package (at 175g) promises extreme mobility but not cringing on providing brilliance in projecting movies or photos or just about any type of media despite its diminutive size.
The Acer C110 Pico projector also boasts of super convenient and advanced features that guarantees usability, provides you with flexibility in your presentations and even eco-friendliness.
Though smaller than most projectors, the power of the Acer C110 Pico projector lies in its 2000:1 high contrast ratio and 50 ANSI Lumens brightness that provides excellent image quality and comes in handy for your digital entertainment needs. Even for commercial viewing purposes, the Acer C110 Pico projector can hold its own against bigger and more powerful projector models.
The LED lamp of the Acer C110 Pico projector is also one of the plus factors that contribute to its popularity. Among the benefits of having an LED lamp is that being smaller in size offers design flexibility and the longer life span also helps reduce cost to deliver an always-available light source.
The Instant on/off capability of the Acer C110 Pico projector, meanwhile, means you can use the projector in less than 15 seconds after powering on, and there’s also no need for a cooling period to turn it off. For the mobile, always-on-the-go cyberprofessional shuttling in-between meetings, this means you can just turn off the projector, pack it in your bag and leave immediately. It’s that quick!
In terms of color benefits, an LED lamp, with a wide color gamut, offers better color saturation that is perceived as brighter by the human eye. An LED lamp also has high durability since there are no breakable filaments or tubes and no hazardous mercury vapor or halogen gases, which makes it more environment-friendly.
Another interesting feature of the Acer C110 Pico projector that sets it above the rest is the display over USB feature, which allows images to be displayed as soon as a USB cable is attached to connect the projector to a PC. This means you don’t need a power adapter anymore since the USB cable is the one that provides power to the projector. What more can you ask for from a projector that’s this ultra-mobile?
And to sweeten the pot further, as they say, Acer, one of the world’s most trusted PC manufacturers, throws in interesting optional accessories like the Acer foldable screen for brilliant presentations anywhere you are.
It’s simply a 26-inch screen that is perfect for small group viewings—or even movie marathons at home with your family in your room during lazy weekends. The foldable screen provides increased brilliance as it doubles the reflectivity of standard projection screens. And just like the Acer C110 Pico projector, it’s easy to pack in—just fold up to magazine size, slip into your bag and its’ ready for the next presentation.
Who would have thought that projectors can now be this small and can practically fit in your jacket pocket? Only from Acer, an acknowledged leader in IT innovation.
2011年12月25日 星期日
Epson EH-TW6000 review
Epson’s stunning EH-TW6000 looks very similar to the Epson EH-TW5900. Both have a glossy plastic case and aggressive-looking vents, but one costs more than the other, and comes with a brighter 2,200-lumen lamp and higher claimed contrast ratio.
An otherwise identical model with a built-in wireless HDMI receiver is also available, called the EH-TW6000W (pictured here). The idea is to make installation even easier, so you connect the wireless HDMI transmitter box to an HDMI output such as your A/V receiver and there’s no need to rout any cables (except power) to the projector. In our testing, we found that the transmitter needed an uninterrupted line of sight to the projector to send a crisp image – anything less and we saw pixellation or no signal at all, even just 6ft away. Because of this we'd recommend buying from a retailer with a good returns policy so you can test it out in your own home.
Another reason for the higher price is the pair of active shutter 3D glasses in the box. This means you can start watching 3D content straight away if you have a 3D Blu-ray player or other compatible hardware. That’s good news as the EH-TW6000W is one of the best active shutter 3D projectors we’ve seen. There was next to no screen flicker and colours remained vibrant. There was an inevitable lack of brightness, but we would have watched each of our test 3D movies all the way through, given the time.
In 2D mode, colours were bright and warm, although slightly muted at the default settings. There was virtually no pixellation, often a hallmark of LCD projectors, and images looked incredibly sharp. Contrast was good, although black levels still left a little to be desired – darker scenes looked grey rather than black, which we couldn’t fix by tweaking settings.
Image quality settings are comprehensive, with multiple picture modes, user presets and manual control over brightness, colour, contrast and sharpness. There are also advanced noise reduction, skin tone and keystone settings for even further tweaking.
The lens has the same horizontal keystone slider as the EH-TW5900 - so you can angle the projector diagonally across the room at the wall or screen and then adjust the image back to flat. This is no substitute for proper lens shift, which is sadly absent, even at this price. Virtually everything else can be adjusted via the remote control, which has a handy backlight for when you’re sat in the dark.
Like the TW5900, the TW6000 has a decent pair of integrated speakers. Music and speech sounded clear and there was even some bass, but it’s no competition for a dedicated speaker system. There are plenty of ports on the back of the unit, including component, VGA, S-Video and two HDMI ports.
Overall, the EH-TW6000 isn’t drastically different from its cheaper sibling. Picture quality is very similar, but the extra brightness gives the TW6000 the edge for watching 3D content. We'd recommend saving the extra cash and buying the Epson EH-TW5900 instead.
An otherwise identical model with a built-in wireless HDMI receiver is also available, called the EH-TW6000W (pictured here). The idea is to make installation even easier, so you connect the wireless HDMI transmitter box to an HDMI output such as your A/V receiver and there’s no need to rout any cables (except power) to the projector. In our testing, we found that the transmitter needed an uninterrupted line of sight to the projector to send a crisp image – anything less and we saw pixellation or no signal at all, even just 6ft away. Because of this we'd recommend buying from a retailer with a good returns policy so you can test it out in your own home.
Another reason for the higher price is the pair of active shutter 3D glasses in the box. This means you can start watching 3D content straight away if you have a 3D Blu-ray player or other compatible hardware. That’s good news as the EH-TW6000W is one of the best active shutter 3D projectors we’ve seen. There was next to no screen flicker and colours remained vibrant. There was an inevitable lack of brightness, but we would have watched each of our test 3D movies all the way through, given the time.
In 2D mode, colours were bright and warm, although slightly muted at the default settings. There was virtually no pixellation, often a hallmark of LCD projectors, and images looked incredibly sharp. Contrast was good, although black levels still left a little to be desired – darker scenes looked grey rather than black, which we couldn’t fix by tweaking settings.
Image quality settings are comprehensive, with multiple picture modes, user presets and manual control over brightness, colour, contrast and sharpness. There are also advanced noise reduction, skin tone and keystone settings for even further tweaking.
The lens has the same horizontal keystone slider as the EH-TW5900 - so you can angle the projector diagonally across the room at the wall or screen and then adjust the image back to flat. This is no substitute for proper lens shift, which is sadly absent, even at this price. Virtually everything else can be adjusted via the remote control, which has a handy backlight for when you’re sat in the dark.
Like the TW5900, the TW6000 has a decent pair of integrated speakers. Music and speech sounded clear and there was even some bass, but it’s no competition for a dedicated speaker system. There are plenty of ports on the back of the unit, including component, VGA, S-Video and two HDMI ports.
Overall, the EH-TW6000 isn’t drastically different from its cheaper sibling. Picture quality is very similar, but the extra brightness gives the TW6000 the edge for watching 3D content. We'd recommend saving the extra cash and buying the Epson EH-TW5900 instead.
2011年12月22日 星期四
Casio Announces Extended Five Year Warranty
Leading the digital projection industry with innovative and cutting-edge technology, Casio America, Inc. continues to raise the bar by extending its LASER & LED HYBRID Light Source warranty from three to five years. The improved warranty is good for five years or 10,000 hours of reliable operation – eliminating the hassle of replacing traditional mercury lamps. Based on the cost of bulb replacement, during the warranty period, professionals could save nearly as much as the cost of a new projector.
Casio is the only company offering a warranty on a light source for up to 10,000 hours, which further positions its status as the preferred provider of digital projection technology. With the cost of a replacement lamp being approximately 30% of the cost of a projector, in addition to the man hours to change out the projector bulb and the down time that occurs while the projector is not in service, this warranty is expected to be the benchmark for the future. The warranty applies to the Signature, Short Throw and Pro series of projectors.
“Extending the warranty to five years further emphasizes Casio’s assurance in the reliability of our light source and demonstrates our commitment to next generation products by setting new standards,” said Matt Mustachio, general manager of Casio’s Business Projector Division. “The increased warranty also makes the projector’s total cost of ownership even more attractive as compared to lamp-based projectors. With a Casio projector you no longer have to worry about the cost of replacing lamp bulbs for up to five years.”
Casio’s LASER & LED HYBRID Light Source utilizes a hybrid combination of Laser and LED devices as well as a fluorescent element to generate high output red, green and blue light. A DLP chip is used to form the image which is passed through the projection lens. This technology achieves an increase in color spectrum compared with a mercury lamp, while lowering the projector’s total cost of ownership and maximizing investment.
Casio is the only company offering a warranty on a light source for up to 10,000 hours, which further positions its status as the preferred provider of digital projection technology. With the cost of a replacement lamp being approximately 30% of the cost of a projector, in addition to the man hours to change out the projector bulb and the down time that occurs while the projector is not in service, this warranty is expected to be the benchmark for the future. The warranty applies to the Signature, Short Throw and Pro series of projectors.
“Extending the warranty to five years further emphasizes Casio’s assurance in the reliability of our light source and demonstrates our commitment to next generation products by setting new standards,” said Matt Mustachio, general manager of Casio’s Business Projector Division. “The increased warranty also makes the projector’s total cost of ownership even more attractive as compared to lamp-based projectors. With a Casio projector you no longer have to worry about the cost of replacing lamp bulbs for up to five years.”
Casio’s LASER & LED HYBRID Light Source utilizes a hybrid combination of Laser and LED devices as well as a fluorescent element to generate high output red, green and blue light. A DLP chip is used to form the image which is passed through the projection lens. This technology achieves an increase in color spectrum compared with a mercury lamp, while lowering the projector’s total cost of ownership and maximizing investment.
2011年12月21日 星期三
Digital Light Processing
The Dell 4210X that has Digital Light Processing (DLP) will surely make the work of its user’s shine with its DLP and the BrilliantColor technology. The Digital Light Processing Technology is especially made to render consistent and reliable image quality with a long lamp life.BrilliantColor Technology means the accuracy brightness and contrast for images that are riveting in a various lighting conditions. The 2000:1 Contrast ratio typical ensures rich, sharp image quality, deep colors and it makes the text easy to read. The cost of the printer is also reasonable.
The resolution (1024×768 pixels) of this Dell 4210X projector is so effective and is designed to provide marvelous images with dazzling picture quality and stunning color’s. As it comes with a couple of stunning technologies such as DLP & BrilliantColor, this multimedia projector makes it capable of casting images with pretty high color consistency and fidelity. It has a remarkable maximum brightness of 3500 ANSI lumens, this all new projector from Dell projects captivating, stunning and bright images from anywhere in a room.
This amazing projector comes with HDMI support and dual VGA connectors, it also offers additional connectivity options that provide easy and smooth switching between the presentation hosts delivering enhanced visual experience. The extensive connectivity options includes HDMI, S-Video, VGA & composite video that allow the amazing facility to connect electronic devices such as DVD players, set top boxes and also gaming consoles like Play stations.
This amazing Dell 4210X projector comes with a couple of 5W in built speakers, the Dell 4210X will help to further improve your presentations with stunning audio quality. Moreover, it’s also incorporated with the closed captioning facility that will provide users with hearing impairments by displaying the audio portions of a program as text on the screen, just like subtitles in movies.It’s a real surprise that this little box comes with such great features in it.Product’s from Dell undergo thorough testing for brilliant performance, durability, compatibility and reliability with Dell systems.
The resolution (1024×768 pixels) of this Dell 4210X projector is so effective and is designed to provide marvelous images with dazzling picture quality and stunning color’s. As it comes with a couple of stunning technologies such as DLP & BrilliantColor, this multimedia projector makes it capable of casting images with pretty high color consistency and fidelity. It has a remarkable maximum brightness of 3500 ANSI lumens, this all new projector from Dell projects captivating, stunning and bright images from anywhere in a room.
This amazing projector comes with HDMI support and dual VGA connectors, it also offers additional connectivity options that provide easy and smooth switching between the presentation hosts delivering enhanced visual experience. The extensive connectivity options includes HDMI, S-Video, VGA & composite video that allow the amazing facility to connect electronic devices such as DVD players, set top boxes and also gaming consoles like Play stations.
This amazing Dell 4210X projector comes with a couple of 5W in built speakers, the Dell 4210X will help to further improve your presentations with stunning audio quality. Moreover, it’s also incorporated with the closed captioning facility that will provide users with hearing impairments by displaying the audio portions of a program as text on the screen, just like subtitles in movies.It’s a real surprise that this little box comes with such great features in it.Product’s from Dell undergo thorough testing for brilliant performance, durability, compatibility and reliability with Dell systems.
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