At the heart of the new retail departures area at Auckland International Airport in New Zealand is Pou Manawa, a huge tree of architectural fabric onto which colour and traditional Maori designs are reflected using Martin Exterior 410 wash lights and Martin smartMAC image projecting moving heads.
Ignite Architects developed the idea of a 'heart' space - an interactive and engaging area that people could gravitate to - and, as much of the imagery symbolizing what New Zealanders hold dear is focused on trees, the Pou Manawa was born.
"We had an exhaustive period of early testing to get the best fixture for the projection," says Chris McKenzie of Martin distributor Kenderdine Electrical. "We had other colour changing fixtures specified but when the Exterior 410s became available we changed the specification to use them. The 410s were the perfect solution for the wash units and whilst an indoor installation, the passive cooling on the units was a major bonus."
Working with the Exterior 410s are smartMACs, a bright profile light and image projector with six indexable rotating gobos. The designs float across the complex patterned internal surface of the tree in a continuous 360-degree rotation.
"The smartMAC won out for its long lamp life and low maintenance needs," states McKenzie. "We had a large area of south-facing glass pouring light into the area and after treatment of the glass, the smartMAC was able to generate enough light to do the job successfully."
Twenty-four smartMACs and a like number of Exterior 410s are used in the installation, which runs 21 hours per day, 365 days per year. Programming was done on a Martin Maxxyz PC and Martin M1 console with initial design and renderings completed using the Martin ShowDesigner. All gobos are Apollo stock steel and glass or custom glass.
2012年1月31日 星期二
2012年1月30日 星期一
The Apple Doesn’t Fall Far From the Tree
Over 10 million viewers tuned in to this week’s episode, “Fruit of the Poisonous Tree,” to discover the Magic Mirror’s origins and see where Sydney Glass’ true allegiance lies.
King Leopold stumbles upon a magic lamp and unleashes a downtrodden Genie (aka the Man in the Magic Mirror). The genie grants him three wishes, but the kind-hearted king has everything he wants so he uses his first wish to the give the Genie what he deeply desires – his freedom. The King then generously uses his second wish to transfer his third wish over to Genie. He is grateful for his freedom, but explains that he will not use his wish because in all of the 1001 wishes he has granted, all of them have ended poorly and all of them come with price (sound familiar?). Besides, what Genie wants most is to find true love and as we learned from Aladdin, you can’t wish for true love because it has to happen organically. Cut to Genie’s introduction to Queen Regina and it is love at first sight.
Later that night in the King’s court, King Leopold gushes over his beloved Snow White, saying how she is the fairest of them all, just like her mother was. Crushed Queen Regina leaves the room to seek comfort by the apple tree that was brought over from her mother’s garden and Genie is quick to console her. The two are kindred spirits, for both know how it feels to live a cruelly confined existence. Genie gives her a mirror, so that she can see herself through his loving eyes. Unfortunately, that ends up being a huge mistake.
King Leopold finds the mirror and an entry in the Queen’s diary alluding to their blossoming love affair and he asks Genie to seek out the man behind the mirror. While Genie waits for the Queen, her father approaches him with a box to take to her room, in it is the only thing that can set her free. Genie rushes to Queen Regina’s side and she opens the box to reveal a double-headed poisonous viper from his homeland. She reaches inside to commit suicide, but he stops her and declares that he shall kill the King instead so that they may be together.
Genie creeps into King Leopold’s room while he is sleeping, thanks him for his kindness, then unleashes the vipers. With his dying breathe the king confesses his regret for that wish. Genie then returns to his beloved Queen only to be disappointed because she set him up. She says he should be thankful that she is even giving him a chance to escape before the guards capture him, but he refuses to leave. Instead, he uses his one wish to be with the Queen forever and thus he becomes trapped in her mirror.
As Henry digs up his book from its hiding place under the crumbling castle where Henry and Emma have their secret pow-wows, Regina appears and sneers at Emma for allowing her son to play in such a hazardous environment. She tells Henry to get in the car and he doesn’t have a chance to move his book to a safer spot. The next day, Regina tears down Henry’s fortress and he discovers that the book is missing. This pushes Emma over the edge and she agrees to work with Sydney on knocking Regina off of her mayoral pedestal.
Sydney discovered that Regina has stolen $50,000 from the city and Emma, being a bounty-hunter and all, can use her cunning means to unfold Regina’s endgame. Emma hesitates to play dirty, but Sydney justifies it by saying that sometimes it is okay to do a bad thing if it is for a good reason. This is where we get a snippet of how Mary Margaret feels about her affair; she has just come from a romantic picnic with David at “their” spot by the toll bridge. Although she feels guilty for having an affair with a married man, she uses Sydney’s logic to justify their actions because their love for each other feels right. Nonetheless, Emma insists on giving Regina one fair chance to come clean before sinking to her level.
Regina lies to Emma and Sydney, so she plants a bug in the mayor’s office. They overhear a conversation about a money hand-off and drive off to catch her secret rendezvous. Unfortunately, Emma’s car breaks have been cut and they crash into the woods to find Mr. Gold. Turns out Regina bought his land, so Emma and Sydney break into Regina’s office to steal the blueprints and related files. While going over the evidence, Emma feels guilty for breaking her promise to Henry and stooping to Regina’s level, but Sydney reassures her that what she is doing is necessary because Regina always destroys what people loves most and she must be stopped.
While Emma and Sydney head off to expose Regina at the City Counsel meeting, we get to check back in on Henry’s quest. He hasn’t found his book, so he is in the diner frantically sketching every story he can remember when the Stranger pokes his nose into Henry’s business. When he asks what the book is about, Henry cryptically replies “stuff,” so Mr. Stranger coyly smiles, wishes the kid luck on his “stuff” and leaves. Back at City Hall, Emma calls Regina a selfish thug and reveals her plans to build a lavish palace for herself in the woods. Regina displays the plans on a projector and says she is building a playhouse for the kids, leaving Emma speechless. After the meeting, Regina threatens to issue Emma a restraining order if she doesn’t stay away from Henry.
Emma explains to Henry via their walkie-talkies that they must be apart for a while, but she promises to find his storybook. Cue the big reveal we’ve been waiting for – Mr. Writer Stranger has Henry’s book! But, that is not the only twist this week. The episode concludes with Regina thanking Sydney for his excellent work on gaining Emma’s trust because now they will know everything she will be up to.
King Leopold stumbles upon a magic lamp and unleashes a downtrodden Genie (aka the Man in the Magic Mirror). The genie grants him three wishes, but the kind-hearted king has everything he wants so he uses his first wish to the give the Genie what he deeply desires – his freedom. The King then generously uses his second wish to transfer his third wish over to Genie. He is grateful for his freedom, but explains that he will not use his wish because in all of the 1001 wishes he has granted, all of them have ended poorly and all of them come with price (sound familiar?). Besides, what Genie wants most is to find true love and as we learned from Aladdin, you can’t wish for true love because it has to happen organically. Cut to Genie’s introduction to Queen Regina and it is love at first sight.
Later that night in the King’s court, King Leopold gushes over his beloved Snow White, saying how she is the fairest of them all, just like her mother was. Crushed Queen Regina leaves the room to seek comfort by the apple tree that was brought over from her mother’s garden and Genie is quick to console her. The two are kindred spirits, for both know how it feels to live a cruelly confined existence. Genie gives her a mirror, so that she can see herself through his loving eyes. Unfortunately, that ends up being a huge mistake.
King Leopold finds the mirror and an entry in the Queen’s diary alluding to their blossoming love affair and he asks Genie to seek out the man behind the mirror. While Genie waits for the Queen, her father approaches him with a box to take to her room, in it is the only thing that can set her free. Genie rushes to Queen Regina’s side and she opens the box to reveal a double-headed poisonous viper from his homeland. She reaches inside to commit suicide, but he stops her and declares that he shall kill the King instead so that they may be together.
Genie creeps into King Leopold’s room while he is sleeping, thanks him for his kindness, then unleashes the vipers. With his dying breathe the king confesses his regret for that wish. Genie then returns to his beloved Queen only to be disappointed because she set him up. She says he should be thankful that she is even giving him a chance to escape before the guards capture him, but he refuses to leave. Instead, he uses his one wish to be with the Queen forever and thus he becomes trapped in her mirror.
As Henry digs up his book from its hiding place under the crumbling castle where Henry and Emma have their secret pow-wows, Regina appears and sneers at Emma for allowing her son to play in such a hazardous environment. She tells Henry to get in the car and he doesn’t have a chance to move his book to a safer spot. The next day, Regina tears down Henry’s fortress and he discovers that the book is missing. This pushes Emma over the edge and she agrees to work with Sydney on knocking Regina off of her mayoral pedestal.
Sydney discovered that Regina has stolen $50,000 from the city and Emma, being a bounty-hunter and all, can use her cunning means to unfold Regina’s endgame. Emma hesitates to play dirty, but Sydney justifies it by saying that sometimes it is okay to do a bad thing if it is for a good reason. This is where we get a snippet of how Mary Margaret feels about her affair; she has just come from a romantic picnic with David at “their” spot by the toll bridge. Although she feels guilty for having an affair with a married man, she uses Sydney’s logic to justify their actions because their love for each other feels right. Nonetheless, Emma insists on giving Regina one fair chance to come clean before sinking to her level.
Regina lies to Emma and Sydney, so she plants a bug in the mayor’s office. They overhear a conversation about a money hand-off and drive off to catch her secret rendezvous. Unfortunately, Emma’s car breaks have been cut and they crash into the woods to find Mr. Gold. Turns out Regina bought his land, so Emma and Sydney break into Regina’s office to steal the blueprints and related files. While going over the evidence, Emma feels guilty for breaking her promise to Henry and stooping to Regina’s level, but Sydney reassures her that what she is doing is necessary because Regina always destroys what people loves most and she must be stopped.
While Emma and Sydney head off to expose Regina at the City Counsel meeting, we get to check back in on Henry’s quest. He hasn’t found his book, so he is in the diner frantically sketching every story he can remember when the Stranger pokes his nose into Henry’s business. When he asks what the book is about, Henry cryptically replies “stuff,” so Mr. Stranger coyly smiles, wishes the kid luck on his “stuff” and leaves. Back at City Hall, Emma calls Regina a selfish thug and reveals her plans to build a lavish palace for herself in the woods. Regina displays the plans on a projector and says she is building a playhouse for the kids, leaving Emma speechless. After the meeting, Regina threatens to issue Emma a restraining order if she doesn’t stay away from Henry.
Emma explains to Henry via their walkie-talkies that they must be apart for a while, but she promises to find his storybook. Cue the big reveal we’ve been waiting for – Mr. Writer Stranger has Henry’s book! But, that is not the only twist this week. The episode concludes with Regina thanking Sydney for his excellent work on gaining Emma’s trust because now they will know everything she will be up to.
2012年1月29日 星期日
Searching for the Cape's old movie theaters
It's a 30-mile drive from his home in East Falmouth to the Cape Cinema. Kind of a long way for a part-time job, but being a projectionist is in his blood, Chip Gelmini said.
The steep climb up the iron stairs to the projection booth is more ladder than stairs, especially when carrying a 40-pound box containing six reels of 35 mm film. The void between rungs is like a frame of film, each with its own bedraggled winter spider web and drab brown occupant, a Chaplinesque tramp surviving on slim pickings.
The air in the projection booth is thick with the toasted incense of 70 years of popped corn. Built like a pillbox with slits for windows, cement walls and a heavy fireproof door, it's a reminder that, not so long ago, highly flammable film threading through the projectors was illuminated by an open flame, a bright arc like the intense white heat of a welder's torch.
The heavy metal door, with its movie poster framed by strips of masking tape bearing the names of films gone by, was designed to seal off the booth until a fire went out on its own or help arrived.
Still, it wasn't fire that doomed the Cape's many old movie houses. Once dubbed movie palaces, they were the focal point of almost every Main Street.
Boxy, sometimes fronted by outsized garish facades, these buildings once drew sold-out audiences to see their dreams writ large, in black and white, and then color.
"It was definitely something that you went to every Friday or Saturday night. It was almost like a religion," said Cape Cinema manager Eric Hart.
Whether you remember a larger than life Betty Grable or Faye Dunaway, or you just recall the bubble gum that plastered the bottom of the seats and the fossilized soda that plastered the floors like a tar pit, going to the local movie house was a shared experience for many growing up in the years before TV.
"In the winter, it was the only thing we had," said Falmouth resident Eric Turkington, 64, a former state representative, of the Elizabeth Theater. "I remember occasionally there were live local acts appearing there. Do recall a lot of bubble gum under the seats and the sticky floor, but to us it was a palace."
It was entertainment for the masses, and Cape towns, like many across the country in the years leading up to World War I, became a little less isolated. Between 1914 and 1922, 4,000 movie theaters were built in towns and cities across the U.S., including many that linger in the memories of Cape moviegoers.
"That was the place to go," Mary Sicchio of the Falmouth Historical Commission said of the Elizabeth Theater, now a clothing store.
It's not ancient history we're talking about here. Even with the advent of television in the 1950s and VCRs, most of these theaters — like the Elizabeth, the Tudor-themed Summer Theater on Main Street in Hyannis, the Port Cinema in Harwichport, the Orleans Cinema on Route 6A and others — were still in operation in the mid-'70s, early '80s. Corporate ownership, and the decision that audiences preferred brand-new multiplexes to the threadbare movie palaces, spelled the end for many.
For some, their size and interior space proved amenable to retail. Chatham's Orpheum, the Orleans Cinema and others became CVS stores. Others met a harsher fate, demolished like the Port, or the Idle Hour, which opened in 1911 on Main Street in Hyannis and was destroyed by fire set by vagrants in 1972. There's still an empty lot still where it once stood.
But a new appreciation for the village cinema seems to be taking hold. Last week, a committee dedicated to bringing back Chatham's old Orpheum Theater announced they had collected more than a million dollars in pledges and donations for a proposed $2.7 million purchase and renovation after a CVS store recently moved out.
A 2010 survey of Orleans residents and homeowners found that nearly 60 percent wanted to see a movie theater back in the center of town, the highest consensus rating of any project. The Orleans Community Partnership does want some kind of theater venue as part of its plan to revitalize the downtown, but may be leaning toward a performance center that shows movies and can host live performances, said partnership spokesman Steve Bornemeier.
"It would be great to have some of those theaters come back," said Paul Schneider, a television and movie director and producer who teaches film at Boston University, "but it's tough to compete with things like 3D."
Both he and Hart agree that film quality varies widely from one 35 mm film copy to the next, depending on how they've been handled. Digital and other newer technology projectors at least promise consistency, but can be difficult to squeeze into old theaters, Schneider said. Hart thinks there may be a market for smaller theaters that run both commercial and more artistic films, but Schneider cautioned against banking on nostalgia.
"Younger audiences don't have any nostalgia whatsoever. They are interested in the best quality, 3D, whatever," he said. "Alternative theaters like the Coolidge Corner (theater in Brookline), there will be allegiance, but I don't think it will be easy."
Gelmini, 51, knows the days of film, and of projectionists, may be drawing to a close, but he remains enthralled by his craft.
"If I'm not careful, I'll feel it," Gelmini said as he threw a series of copper-colored knife switches that pre-dated fuses and modern breaker panels and turned on the electricity in the booth. Fans connected to dryer vents that snaked to the ceiling drew the heat away from the xenon projector bulbs that recently had replaced the old carbon arc lamp. His afternoon was spent in a strictly timed and choreographed routine, switching projectors, threading new film, rewinding the spent reel, then cleaning and oiling the projectors and the film, if necessary.
If he was doing his job right, the audience would never know he was up there.
Hunched, peering through small panes of glass at the screen far below, the bulky 1942-vintage projectors will soon literally be pushed aside, moved a few feet over to make way for a digital HD projector whose films arrived as portable hard drives.
"I'll keep them around for another couple of years," Hart said.
Gelmini started out working in the small community movie theaters in the '70s, just as their stars were fading. His taste in film betrays his allegiance. Until "The Artist," a movie about making silent movies, pushed it aside, his favorite was "Grease," the first movie he ever showed.
The steep climb up the iron stairs to the projection booth is more ladder than stairs, especially when carrying a 40-pound box containing six reels of 35 mm film. The void between rungs is like a frame of film, each with its own bedraggled winter spider web and drab brown occupant, a Chaplinesque tramp surviving on slim pickings.
The air in the projection booth is thick with the toasted incense of 70 years of popped corn. Built like a pillbox with slits for windows, cement walls and a heavy fireproof door, it's a reminder that, not so long ago, highly flammable film threading through the projectors was illuminated by an open flame, a bright arc like the intense white heat of a welder's torch.
The heavy metal door, with its movie poster framed by strips of masking tape bearing the names of films gone by, was designed to seal off the booth until a fire went out on its own or help arrived.
Still, it wasn't fire that doomed the Cape's many old movie houses. Once dubbed movie palaces, they were the focal point of almost every Main Street.
Boxy, sometimes fronted by outsized garish facades, these buildings once drew sold-out audiences to see their dreams writ large, in black and white, and then color.
"It was definitely something that you went to every Friday or Saturday night. It was almost like a religion," said Cape Cinema manager Eric Hart.
Whether you remember a larger than life Betty Grable or Faye Dunaway, or you just recall the bubble gum that plastered the bottom of the seats and the fossilized soda that plastered the floors like a tar pit, going to the local movie house was a shared experience for many growing up in the years before TV.
"In the winter, it was the only thing we had," said Falmouth resident Eric Turkington, 64, a former state representative, of the Elizabeth Theater. "I remember occasionally there were live local acts appearing there. Do recall a lot of bubble gum under the seats and the sticky floor, but to us it was a palace."
It was entertainment for the masses, and Cape towns, like many across the country in the years leading up to World War I, became a little less isolated. Between 1914 and 1922, 4,000 movie theaters were built in towns and cities across the U.S., including many that linger in the memories of Cape moviegoers.
"That was the place to go," Mary Sicchio of the Falmouth Historical Commission said of the Elizabeth Theater, now a clothing store.
It's not ancient history we're talking about here. Even with the advent of television in the 1950s and VCRs, most of these theaters — like the Elizabeth, the Tudor-themed Summer Theater on Main Street in Hyannis, the Port Cinema in Harwichport, the Orleans Cinema on Route 6A and others — were still in operation in the mid-'70s, early '80s. Corporate ownership, and the decision that audiences preferred brand-new multiplexes to the threadbare movie palaces, spelled the end for many.
For some, their size and interior space proved amenable to retail. Chatham's Orpheum, the Orleans Cinema and others became CVS stores. Others met a harsher fate, demolished like the Port, or the Idle Hour, which opened in 1911 on Main Street in Hyannis and was destroyed by fire set by vagrants in 1972. There's still an empty lot still where it once stood.
But a new appreciation for the village cinema seems to be taking hold. Last week, a committee dedicated to bringing back Chatham's old Orpheum Theater announced they had collected more than a million dollars in pledges and donations for a proposed $2.7 million purchase and renovation after a CVS store recently moved out.
A 2010 survey of Orleans residents and homeowners found that nearly 60 percent wanted to see a movie theater back in the center of town, the highest consensus rating of any project. The Orleans Community Partnership does want some kind of theater venue as part of its plan to revitalize the downtown, but may be leaning toward a performance center that shows movies and can host live performances, said partnership spokesman Steve Bornemeier.
"It would be great to have some of those theaters come back," said Paul Schneider, a television and movie director and producer who teaches film at Boston University, "but it's tough to compete with things like 3D."
Both he and Hart agree that film quality varies widely from one 35 mm film copy to the next, depending on how they've been handled. Digital and other newer technology projectors at least promise consistency, but can be difficult to squeeze into old theaters, Schneider said. Hart thinks there may be a market for smaller theaters that run both commercial and more artistic films, but Schneider cautioned against banking on nostalgia.
"Younger audiences don't have any nostalgia whatsoever. They are interested in the best quality, 3D, whatever," he said. "Alternative theaters like the Coolidge Corner (theater in Brookline), there will be allegiance, but I don't think it will be easy."
Gelmini, 51, knows the days of film, and of projectionists, may be drawing to a close, but he remains enthralled by his craft.
"If I'm not careful, I'll feel it," Gelmini said as he threw a series of copper-colored knife switches that pre-dated fuses and modern breaker panels and turned on the electricity in the booth. Fans connected to dryer vents that snaked to the ceiling drew the heat away from the xenon projector bulbs that recently had replaced the old carbon arc lamp. His afternoon was spent in a strictly timed and choreographed routine, switching projectors, threading new film, rewinding the spent reel, then cleaning and oiling the projectors and the film, if necessary.
If he was doing his job right, the audience would never know he was up there.
Hunched, peering through small panes of glass at the screen far below, the bulky 1942-vintage projectors will soon literally be pushed aside, moved a few feet over to make way for a digital HD projector whose films arrived as portable hard drives.
"I'll keep them around for another couple of years," Hart said.
Gelmini started out working in the small community movie theaters in the '70s, just as their stars were fading. His taste in film betrays his allegiance. Until "The Artist," a movie about making silent movies, pushed it aside, his favorite was "Grease," the first movie he ever showed.
2012年1月19日 星期四
Shedding light on driving after dark
Xenon lights are those fancy-looking, often-colorful lights you see on high-end cars. But they’re far from a cosmetic-only feature.
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
Dad liked his present, and agreed that the Lumens bulbs improved his Legacy’s looks and safety at the same time. Not a bad deal for $130.Xenon lights are those fancy-looking, often-colorful lights you see on high-end cars. But they’re far from a cosmetic-only feature.
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces (like signs and cyclist safety-vests) from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
Dad liked his present, and agreed that the Lumens bulbs improved his Legacy’s looks and safety at the same time. Not a bad deal for $130.Xenon lights are those fancy-looking, often-colorful lights you see on high-end cars. But they’re far from a cosmetic-only feature.
Your writer has tested hundreds of cars over countless thousands of kilometers through a variety of weather across central and northern Ontario after dark. I have a conclusion: xenon lighting is better. Much better.
It lets you see more clearly with less strain, it projects light farther up the road, farther to the sides, and makes halogen lighting systems look dull, dim and yellow by comparison.
Halogen headlights work like the incandescent lightbulb you’ll find in a household lamp. An electric current passes through a filament, making it very hot and lighting it up.
Conversely, xenon lighting works with gas discharge. An “arc” is generated within a quartz cylinder that contains a mixture of gasses when electricity is passed through it.
Xenon engages reflective surfaces (like signs and cyclist safety-vests) from farther away, too. After a few hours of nighttime driving with xenon illumination, this writer’s eyes prove consistently less tired and worn-out. Yours will, too.
“The key benefits of xenon headlamps versus halogen headlamps include outstanding brightness compared to conventional headlamps, longer service life, significantly improved lighting range and broader illumination of the edges of the road,” Mercedes-Benz’s David Sherrard explained.
Trouble is, xenon is a relatively new lighting technology that’s only started becoming popular on affordable cars in recent years. But the automotive aftermarket has picked up on the benefits of xenon lighting, and numerous companies offer xenon retrofit kits.
One such company is Lumens. For between $100 and $200, they’ll sell you a xenon kit to replace the bulbs in virtually any vehicle. The kit typically includes xenon lamps that install in place of the standard halogen bulbs, wiring harnesses, and a set of “ballasts.”
Your writer recently picked up a Lumens H7 xenon kit to replace the low-beams on his father’s 2006 Subaru Legacy GT Wagon as a birthday present. This is a popular style of light bulb — and Sudbury Custom Auto on The Kingsway had the kit in stock. After picking it up and “stealing” dad’s car for the evening and arriving at my friend’s garage, we started the install.
On the Legacy, the airbox and washer fluid filler neck require removal to access the factory bulbs. These came out in a minute or so, and we separated them from their wiring harnesses.
Those harnesses plug into the Lumens ballasts (voltage transformers) which ramp up factory wattage to power the xenon lamps. We mounted the ballasts using zip-ties near the headlight housings and away from moving parts. Wiring built into the ballasts then plug back into the Lumens xenon lamps, which fit back into the headlight socket just like the standard bulbs. In effect, you’re basically inserting a ballast between the factory headlight switch and the new xenon lamp.
The Legacy uses a screw-on cap to seal moisture out of each headlight housing. For this install, we needed to drill a ?-inch hole into each cap to run the modified wiring through, though Lumens included a rubber grommet to maintain the seal after doing so. No wiring diagram was included with the kit, though the connections were straightforward. No splicing, soldering or electrical tape required. We finished up in about 90 minutes.
A quick before-and-after nighttime drive revealed a brighter, lighter and cleaner looking light discharge from the Legacy’s projector-style housings, thicker light saturation ahead of the car, and a notable improvement in light dispersion to either side. Translation? More high-quality light was cast ahead of the vehicle, as well as off to the sides to help reveal any roadside animals.
Dad commented “the new bulbs provided significantly improved night driving visibility on our dark northern roads. Driving in drifting snow was more comfortable knowing I could be seen by oncoming traffic earlier, and the low beams provided significant power to cut through the snow. This gave me an overall improved feeling of safety. Overall, conversion was a huge improvement over the originally installed headlight system.”
2012年1月18日 星期三
Learn with Epson EBX11 Projector
Learning is fun when lessons are received in clear, clean and entertaining manner. And you don’t have to pay more for this privilege as burden is literally eased with the Epson EBX11 Projector.
This projector combines a high White and Colour Light Output of 2,600 lumens with 3LCD technology for outstanding picture quality, natural colors and brightness, all the better for students to digest the lesson for the day.
Weighing no more than 2.3kg, this compact projector can easily be carried from one classroom to another. Running costs are kept low with the E-TORL lamp lasting 5,000 hours, and built-in security features such as the Kensington lock protect the projector against theft.
The Epson EB-X11 boasts of these key features:
Powerful 2,600 Lumens Light Output and Colour Light Output – All the power you need to create big, bold presentations.
Broad Connectivity – Enjoy the flexibility of a wide range of inputs. Whether you’re working from a computer, presenting from a USB or want to connect via RS-232C, the EB-X11 will always be able to deliver.
Horizontal and Vertical Keystone – Project from virtually any angle with the easy to use keystone correction system.
USB Plug ‘n Play – Transmit Images, Sound and Mouse Operation through one USB cable
Low Cost of Ownership – The EB-X11 utilizes a low priced lamp and makes use of a new High Efficiency Filter; extending the life of your projector.
The Epson EB-X11 projector gives images with deep, dark colors or a white screen with minimal text or graphics, so you get consistent light output. The projector is bright enough to be used as either an installation or desktop projector in even the brightest of rooms, without the need to dim the lights or close the curtains.
The USB Display function for Windows and Mac PC makes it possible to connect to a PC via a USB cable instead of an RGB cable. It is also possible to view a J-peg slide show file without a PC by simply inserting a USB memory device.
The Epson EBX11 Projector is compact and lightweight with a modern design.
So do away with classroom blues and snooze with the Epson EBX11 Projector.
This projector combines a high White and Colour Light Output of 2,600 lumens with 3LCD technology for outstanding picture quality, natural colors and brightness, all the better for students to digest the lesson for the day.
Weighing no more than 2.3kg, this compact projector can easily be carried from one classroom to another. Running costs are kept low with the E-TORL lamp lasting 5,000 hours, and built-in security features such as the Kensington lock protect the projector against theft.
The Epson EB-X11 boasts of these key features:
Powerful 2,600 Lumens Light Output and Colour Light Output – All the power you need to create big, bold presentations.
Broad Connectivity – Enjoy the flexibility of a wide range of inputs. Whether you’re working from a computer, presenting from a USB or want to connect via RS-232C, the EB-X11 will always be able to deliver.
Horizontal and Vertical Keystone – Project from virtually any angle with the easy to use keystone correction system.
USB Plug ‘n Play – Transmit Images, Sound and Mouse Operation through one USB cable
Low Cost of Ownership – The EB-X11 utilizes a low priced lamp and makes use of a new High Efficiency Filter; extending the life of your projector.
The Epson EB-X11 projector gives images with deep, dark colors or a white screen with minimal text or graphics, so you get consistent light output. The projector is bright enough to be used as either an installation or desktop projector in even the brightest of rooms, without the need to dim the lights or close the curtains.
The USB Display function for Windows and Mac PC makes it possible to connect to a PC via a USB cable instead of an RGB cable. It is also possible to view a J-peg slide show file without a PC by simply inserting a USB memory device.
The Epson EBX11 Projector is compact and lightweight with a modern design.
So do away with classroom blues and snooze with the Epson EBX11 Projector.
2012年1月17日 星期二
‘Emerging Artist Series’ with Koki Tanaka
“The Piano Played By Five Pianists at Once (First Attempt)” is the latest chapter in Koki Tanaka’s string of works.
Currently housed in UC Irvine’s Room Gallery, the artwork consists of a singular screen with long, wooden benches provided for viewers to sit on. A single paper lamp hangs in the doorway. Pale and poised, the orb of light beckons to visitors while another fluorescent fixture awkwardly hangs to the bottom half of the wall on the right.
The projector switches on and upon the screen are UC Irvine students, both film and music majors, undergoing a project of collaboration. The five performers sit around a table that holds a neatly-centered arrangement of cookies, oranges and water bottles. The mechanical setup, along with the formality of the beginning, add uniformity and tension to the work.
Set upon a motion capture studio, Tanaka stages the students to follow two rules: “a soundtrack for collective engagement” and “to play one piano with all the pianists playing together.”
One might think of it as a challenge of sorts. Five pianists equal five crammed bodies on a bench utilizing 10 hands. Of course, there exists no rule which states that all ten hands must be playing. Such exceptions to the rules provide creative leeway for the students.
When they begin playing, the subjects’ nervousness is nearly palpable. The viewers can sense their heightened awareness of being in front of the camera. Under harsh, artificial lighting, the students uneasily shift in the plastic chairs.
At times, the notes can be characterized as glaringly discordant. Jarring noises provoke the audience to flinch at the students’ somewhat worthy attempts to harmonize. In certain moments, randomness rises to the surface and tonality falls out the window.
The subjects then go back to the drawing board.
A subject clad in a royal purple sweater suggests taking a “kind of minimalistic approach … like the person already there subtracts what he already does.” Another adds to not “be afraid to use more black keys.”
Just shooting out random ideas, they experiment and mold themselves to adjust to a particular format.
Yet, while the students engage and interact, the viewer sees the camera crew capturing each other’s movements. One sees the mirrored images of cameras and equipment upon the glossy body of the piano. Noticing the filmmakers’ obvious presence draws the work slightly backward and stimulates the question of whether Tanaka’s project can be classified as just an artwork. Nevertheless, the obvious, reflective qualities and the breaking of the fourth wall make a statement.
Whether he zooms in on the subjects or does a revolving shot, Tanaka has the audience personally engaged to peer into the step-by-step process of discussion and experience the trial and error procedure. The blurring effects also create the simulated, surreal mood and heighten the dizzying illusion.
The title of the work alone evokes reluctance. “First Attempt” elicits insecurity as an excuse of the lack of clarity or unsure beginnings of the project’s capability to be carried out. Or even, perhaps, it lightheartedly makes fun of itself.
As an experimentation not only on a collaborative level of getting the music right, but also on a social level of what interactions are needed and compromised, the artwork emphasizes collective engagement.
Finally, it appears: a moment when all the music flows. The notes align and the audience actually witnesses the melody working in balance amongst the many fingers as they move almost effortlessly over the keys. Ebbing in and out of the beat, they pick up the tempo. Haunting baritones and easy Sinatra one-liners blend well.
A short encounter with the artist himself can be an evident reflection of the work. Slightly stout and wearing a casual black jacket, Tanaka looks, well, just normal. Born and raised in Japan, he majored in art at Tokyo Zokei University and went on to receive his master’s degree at Tokyo National University of Fine Art and Music. Despite his ordinary appearance, Tanaka gives an impression of humble eagerness, flat-out seriousness and an aptitude for details.
Having asked if he had always created “new media,” Tanaka corrects the labeling of his work, saying, “[This is] a film, a creation and I am the producer.”
Tanaka has the viewer realize that perceptions and critiques play a huge role in reaching progression and cohesion. Although the performers do not reach a perfect melodious composition, understanding the possibility of the goal and ascertaining collaboration along the way demonstrate the importance placed on the film’s capturing of the process of attempt. That way, the students enjoy the rising satisfaction of progression.
Currently housed in UC Irvine’s Room Gallery, the artwork consists of a singular screen with long, wooden benches provided for viewers to sit on. A single paper lamp hangs in the doorway. Pale and poised, the orb of light beckons to visitors while another fluorescent fixture awkwardly hangs to the bottom half of the wall on the right.
The projector switches on and upon the screen are UC Irvine students, both film and music majors, undergoing a project of collaboration. The five performers sit around a table that holds a neatly-centered arrangement of cookies, oranges and water bottles. The mechanical setup, along with the formality of the beginning, add uniformity and tension to the work.
Set upon a motion capture studio, Tanaka stages the students to follow two rules: “a soundtrack for collective engagement” and “to play one piano with all the pianists playing together.”
One might think of it as a challenge of sorts. Five pianists equal five crammed bodies on a bench utilizing 10 hands. Of course, there exists no rule which states that all ten hands must be playing. Such exceptions to the rules provide creative leeway for the students.
When they begin playing, the subjects’ nervousness is nearly palpable. The viewers can sense their heightened awareness of being in front of the camera. Under harsh, artificial lighting, the students uneasily shift in the plastic chairs.
At times, the notes can be characterized as glaringly discordant. Jarring noises provoke the audience to flinch at the students’ somewhat worthy attempts to harmonize. In certain moments, randomness rises to the surface and tonality falls out the window.
The subjects then go back to the drawing board.
A subject clad in a royal purple sweater suggests taking a “kind of minimalistic approach … like the person already there subtracts what he already does.” Another adds to not “be afraid to use more black keys.”
Just shooting out random ideas, they experiment and mold themselves to adjust to a particular format.
Yet, while the students engage and interact, the viewer sees the camera crew capturing each other’s movements. One sees the mirrored images of cameras and equipment upon the glossy body of the piano. Noticing the filmmakers’ obvious presence draws the work slightly backward and stimulates the question of whether Tanaka’s project can be classified as just an artwork. Nevertheless, the obvious, reflective qualities and the breaking of the fourth wall make a statement.
Whether he zooms in on the subjects or does a revolving shot, Tanaka has the audience personally engaged to peer into the step-by-step process of discussion and experience the trial and error procedure. The blurring effects also create the simulated, surreal mood and heighten the dizzying illusion.
The title of the work alone evokes reluctance. “First Attempt” elicits insecurity as an excuse of the lack of clarity or unsure beginnings of the project’s capability to be carried out. Or even, perhaps, it lightheartedly makes fun of itself.
As an experimentation not only on a collaborative level of getting the music right, but also on a social level of what interactions are needed and compromised, the artwork emphasizes collective engagement.
Finally, it appears: a moment when all the music flows. The notes align and the audience actually witnesses the melody working in balance amongst the many fingers as they move almost effortlessly over the keys. Ebbing in and out of the beat, they pick up the tempo. Haunting baritones and easy Sinatra one-liners blend well.
A short encounter with the artist himself can be an evident reflection of the work. Slightly stout and wearing a casual black jacket, Tanaka looks, well, just normal. Born and raised in Japan, he majored in art at Tokyo Zokei University and went on to receive his master’s degree at Tokyo National University of Fine Art and Music. Despite his ordinary appearance, Tanaka gives an impression of humble eagerness, flat-out seriousness and an aptitude for details.
Having asked if he had always created “new media,” Tanaka corrects the labeling of his work, saying, “[This is] a film, a creation and I am the producer.”
Tanaka has the viewer realize that perceptions and critiques play a huge role in reaching progression and cohesion. Although the performers do not reach a perfect melodious composition, understanding the possibility of the goal and ascertaining collaboration along the way demonstrate the importance placed on the film’s capturing of the process of attempt. That way, the students enjoy the rising satisfaction of progression.
2012年1月16日 星期一
Sharp's New XV-Z30000 3D HD DLP Projector Shines at CES
3D projectors remain hot segment of the high-end video display category and Sharp has announced a new beauty at the Consumer Electronics Show. Their latest 3D-capable, 1080p high-definition DLP XV-Z30000 Front Projector is poised to be the centerpiece of a dedicated home theater , bringing serious video performance born of some exceptional design
One of the secrets to the superior picture quality of the XV-Z30000 projector lies in the inherent DLP advantage. All Sharp front projectors incorporate mirror-based components that manipulate the light more efficiently, sending more of it from the lamp to the screen. This combines with Sharp's proprietary digital image integrated circuits to deliver a consistently strong three-dimensional image with less of the cross-talk and flicker that can plague 3D. The projector also boasts a six-segment, 5X-speed color wheel and an impressive 50,000:1 contrast ratio when in high-contrast mode. It is rated at 1600 ANSI lumens for more than adequate brightness.
The projector's lens functions also offer welcome versatility thanks to its center lens and lens shift. The center lens design allows for easy adjustment, while the wide-range horizontal and vertical lens shift function allows for flexible installation. Further, with the motorized lens shift function, customers can easily select their preferred setting position. The projector also has broad control compatibility, with Creston, Control 4 and AMX, along with an RS-232C port and LAN control via a home network.
Ease of use is impressive with the XV-Z30000 as well. The wide-range 2X optical zoom lens empowers users to choose from a variety of ceiling mount position in the home theater, depending upon specific wants/needs. Want to show a big, HD, 3D movie wherever, whenever? This projector is portable, and can be simply parked atop a table.
The resize function allows users to choose an optimized 2.35:1 aspect ratio image, to better reproduce Cinemascope widescreen films in the home theater environment. It also offers a One Touch Play function, which automatically turns on the projector when the user pushes the playback button of the connected playback gear. System Standby also places that playback equipment into energy-saving standby mode when the projector is switched off.
One of the secrets to the superior picture quality of the XV-Z30000 projector lies in the inherent DLP advantage. All Sharp front projectors incorporate mirror-based components that manipulate the light more efficiently, sending more of it from the lamp to the screen. This combines with Sharp's proprietary digital image integrated circuits to deliver a consistently strong three-dimensional image with less of the cross-talk and flicker that can plague 3D. The projector also boasts a six-segment, 5X-speed color wheel and an impressive 50,000:1 contrast ratio when in high-contrast mode. It is rated at 1600 ANSI lumens for more than adequate brightness.
The projector's lens functions also offer welcome versatility thanks to its center lens and lens shift. The center lens design allows for easy adjustment, while the wide-range horizontal and vertical lens shift function allows for flexible installation. Further, with the motorized lens shift function, customers can easily select their preferred setting position. The projector also has broad control compatibility, with Creston, Control 4 and AMX, along with an RS-232C port and LAN control via a home network.
Ease of use is impressive with the XV-Z30000 as well. The wide-range 2X optical zoom lens empowers users to choose from a variety of ceiling mount position in the home theater, depending upon specific wants/needs. Want to show a big, HD, 3D movie wherever, whenever? This projector is portable, and can be simply parked atop a table.
The resize function allows users to choose an optimized 2.35:1 aspect ratio image, to better reproduce Cinemascope widescreen films in the home theater environment. It also offers a One Touch Play function, which automatically turns on the projector when the user pushes the playback button of the connected playback gear. System Standby also places that playback equipment into energy-saving standby mode when the projector is switched off.
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