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Volume 5, Issue 17 – September 13, 2007 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Introduction Welcome to rAVe Pro Edition – Volume 5, Issue 17
Feature Article Angles of Reflection |
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Welcome to another edition of rAVe! We’re just back from CEDIA. As we’ve said in the past, it seems the home theater market is the trendsetter these days – delivering products and technologies that eventually make their way into the Pro market. So you’ll want to make note of the 50,000:1 contrast ratio projector that Epson announced, the tiny (3.7 inches high!) HD projector from projectiondesign, and more. You can read the stories below. Thanks to Blake Brubaker for his continued Angles of Reflection series of articles about screen technology. This time, he takes on the trend toward widescreen and its impact on the rest of your decisions. Also, remember Gateway being a huge threat in the education market? Not any more! You can read that below, too! –Gary Kayye, CTS
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Feature Article Angles of Reflection Wider is Better, Right? To answer those questions, let us first look at what has occurred and why we are talking about wider screens. The U.S. television broadcast industry started many years ago and was given, by the Federal Communications Commission (FCC), a set of analog frequencies under which it could operate. In 1940, the FCC then established what we now know as the NTSC (National Television Standards Committee) to help standardize the broadcast industry and the types of signals being transmitted. Since many of the original members of the NTSC came from the film industry, the standard chosen for picture size was identical to that of film at the time, and they decided to use the 4:3 format. Until now, the standards set forth by the NTSC have served us well and likely helped promote the video industry to where it is today. The search for always being innovative and creating new and more advanced technology is what has brought about the latest changes in the broadcast industry. Couple those advances with the need for the FCC to “free up” many of the frequencies used by the analog television industry and you get the push for DTV and HDTV. Common sense tells us that an image that consists of either 720 or 1080 lines of vertical resolution will be better than one that is only 480 vertical lines. This is where the new technology benefits us as consumers. The images being broadcast, providing they were recorded properly, are stunning and nearly lifelike, all from a television. The benefit to the FCC, however, may be a bit more difficult to understand. You see the analog frequencies that are currently being used by many broadcasters are very precious. Years ago when the FCC issued those frequencies, they never considered that nearly every person would have their own portable telephone that would need to operate in a designated area of the communications spectrum. Nor did they consider the growth of our population back then and the communication needs of emergency service providers to support the population growth. Since television in it’s analog form takes up an entire frequency, that ties up much needed space in the communications spectrum and limits not only the number of television channels but also limits the number of frequencies available for other much needed communication needs. That is why the U.S. Congress passed a law on February 1, 2006 that provides a final mandate for television broadcasters to cease their analog communications on February 1, 2009 and use the new “digital” means of sending out their signals. By converting to digital signals, they can now break up those analog frequencies into digital sub-frequencies and absorb only a fraction of the space that was once needed to provide us with television broadcasts. So, what does all of that have to do with us in the audiovisual industry? Well, since the broadcast industry is part of the audiovisual equation, they have quite an impact on what we do, not only in the residential industry, but also in the commercial audiovisual world as well. After all, where does much of the new technology that we use in corporate boardrooms and home theater systems come from? Yes, a great deal of it comes from the broadcast industry. Hence, since they are changing from the analog 4:3 NTSC systems to a new more advanced digital 16:9 HDTV format, we too will need to follow their lead. Since we are now faced with the task of designing systems in the 16:9 format, we must consider a few things. First of all, the images are now one third wider than what we have used in the past. This, in itself, can have a significant impact on not only our screen size but also the type of screen surface that should be chosen. We determined that our screen size decision, whether in a commercial application or in a residential home theater, should be made taking the height into consideration first and the width second. Well, with 16:9 that is not different. First we determine the screen size based on the most distant viewer divide by the appropriate factor (6, 4 or 3) to determine the height. The width then is based on the 16:9 aspect ratio. Therefore, simply divide our height by 9 and multiply that result by 16 to determine the width of our screen. Alright, so far everything seems pretty normal with regard to changing to the 16:9 aspect ratio. However, when we begin to choose a screen surface and a throw distance from our projector that is where the normalcy ends.
Take a look at Figures 1 and 2. You will notice that both of the rooms are identically sized. However, Figure 1 has a 4:3 screen located on its front wall and figure 2 has a 16:9 screen located on its front wall. The projector used in Figure 1 is an ordinary 4:3 XGA projector with a throw distance that is equal to 1.67 times the screen width. Let us also consider that the throw distance shown is the middle of its range. From that, you will see that the light impinging upon the left and right most portions of the screen are doing so at a 73º angle. Now, let us look more closely at Figure 2. It is shown using the same size room but with a 16:9 sized screen. The projector used in Figure 2 is a common 16:9 projector with 768 x 1280 resolution and a throw distance equal to 1.32 times the screen width. It too has been placed in the middle of the throw range for demonstration purposes. With the 16:9 image size and the throw distance chosen, you can see that the angle of the light striking the left and right most sides of this particular screen are doing so at a 60º angle. What does this mean? In order to answer this question, let us first go back to Volume 1 of “Angles of View”. Here we learned that all screen surfaces with a gain higher than 1.0 reflect light based on its angle of incidence. Therefore, the starting point for determining the off axis viewing cone of those outer most light rays is equal to the angle of incidence. That in turn will narrow the ideal viewing area when that angle is more severe. Conversely, if we were to use a longer focal length lens and decrease that angle of incidence, our ideal viewing area will increase. This phenomena also has the potential of creating a “hot spot” within the image. Some projector manufacturers have decided to use shorter focal length lenses on their 16:9 units in order to allow installation where the previous 4:3 projector has been placed. This in turn increases the severity of the incident angles for the far most left and right sides of the screen. While this is not a problem when we are utilizing a screen that has a gain of say 1.0, it can become an issue if we increase the gain of the screen. The reason this occurs is because a Matte White screen will diffuse the light evenly regardless of the incident angle and the resulting image will appear uniform. However, if we have decided to use a screen with a higher gain, say 1.3 or higher, then the potential for creating dim areas or a hot spot increases. The ideal design when using a 16:9 projector and a high gain screen is to use as little zoom as possible. In other words, if a projector has a zoom range of 1.37-1.64 times the screen width, we should design our system to utilize a throw distance that is as close to 1.64 times the screen width as possible. This will ensure that the angles of incidence are not too great at the extremities of the image and create a much more uniform image. Figure 3 displays how the longer throw distance provides us with a much better incident angle.
Based on extensive testing done by Da-Lite’s Chemists and Optical Engineers, it has been established that the nominal focal length of the projection path should be 1.6 times the screen width or greater to ensure a uniform image with even the higher gain rear projection surfaces. So, is wider better? As long as we take into consideration the gain of the screen, the focal length of the projector and the placement of our viewing audience, the answer is most definitely, Yes! — Blake Brubaker bbrubaker@da-lite.com
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New CEO for InFocus
Mr. O’Malley holds a BS degree in aerospace engineering from the University of Minnesota, and an MBA from Arizona State University. Also in the announcement is that the company “suspended the strategic alternatives process initially announced in October 2006.” So, unless a really great offer comes in, don’t expect an InFocus acquisition any time soon. For more information, go to http://www.infocus.com/Company/PressReleases/2007/091107_OMalley.aspx HD VMD Shipping in Europe
They actually tell an interesting story. They say DVD plants need only an upgrade in order to produce HD VMD discs rather than a whole replacement. The price of the DVDs will be just a bit more, not a lot more, than current pricing. You can play your standard DVDs on their players. And these discs hold up to 20GB storage capacity for a single sided disc, (HD VMD also has industrial capability for 25, 30 and 40GB using NME's 2p process method, says the company). Finally, they use a diode laser that isn’t hard to procure, as opposed to the blue ones that aren’t plentiful. What is intriguing about this is that Blu-ray and HD DVD are doing a lot of marketing to consumers, yet their players are still so expensive and until recently, really out of reach, especially for anyone who wants to wait and see who wins this war. Meanwhile, with this, they may just plop down the $199 to get HD, even if it’s HD VMD, since it’s not a huge investment, figuring they can get the other once they make up their minds which one will be standard. Or, maybe they won’t want to change at all. While they just announced shipping in Europe, NME says they will hit the market worldwide in the fourth quarter. For more information, go to http://www.truehighdefinition.com/ Visix Opens NOC
For more information, including personnel appointments, go to http://www.visix.com/news/articles/090507_noc.htm
Gateway to Sell Professional Business Segment to MPC Corporation
Gateway's Professional business generated $75 million in gross margin dollars over the past four quarters (Q3 2006 — Q2 2007). Once the deal closes, a significant portion of Gateway's Professional employees will join MPC and continue to work out of the North Sioux City, SD facility, according to the announcement. MPC will assume Gateway's ownership in its final assembly facility located in Nashville, Tenn., and will take full responsibility for this facility, including the assembly of Gateway Professional products produced there. MPC will also acquire the portion of Gateway's Consumer Direct unit that targets businesses with less than 100 employees. MPC’s website has this description: MPC Computers provides award-winning computer products and services to the small and medium business, government and education markets. MPC strives to provide its customers with a superior level of personalized service and support. MPC is a wholly owned subsidiary of MPC Corporation (AMEX: MPZ). MPC is headquartered in Nampa, Idaho. For more information, go to http://www.mpccorp.com/about/media/press_releases.html?id=090507_1 New Toshiba Projector Can Project a 60-Inch Image From Three Feet Away
The TDP-EX20U can be networked and controlled remotely via a wired LAN connection, which is password protected. Because of the TDP-EX20U projector’s Windows Vista network capabilities, presenters can wirelessly transfer JPEG files from a notebook. It uses IEEE 802.11g wireless. For more information, go to http://www.toshibadirect.com/td/b2c/pdet.to?seg=HHO&poid=392776 Toshiba also announced a $999 widescreen mobile projector, the TLP-WX2200U. This is specified at WXGA 1280 x 800 resolution, 600:1 contrast ratio and 2200 ANSI lumens. It is marketed as a cross-over projector for both business/education and consumer use.
The TLP-WX2200U projector also includes a removable palm-sized control panel on the projector specially designed with a self-assigned password for theft prevention. When the control panel is removed, the projector won’t work unless the password is entered on the remote control or when the control panel is replaced. For more information, go to http://www.toshibadirect.com/td/b2c/pdet.to?seg=HHO&poid=381813 Epson Shows at CEDIA a New Projector With 50,000:1 Contrast Ratio
It includes two HDMI 1.3 inputs, lens shift of 96 degrees vertical and 47 degrees horizontal, and has 14 lens options. And, interestingly, a spare lamp and a mount are included. This ships in December and pricing is TBA. It’s not yet up on the website, but you can check back at http://www.epson.com/cgi-bin/Store/ProductCategory.jsp?BV_UseBVCookie=yes&oid=-14286 DarkChip Gets an Upgrade
The DarkChip 4 process was first developed for the high brightness and contrast picture quality requirements of the digital cinema industry. Contrast improvements from DarkChip 4 are achieved by advances in mirror design lithography and other proprietary process changes, says TI. For more information, go to http://www.dlp.com/tech/press_releases_details.aspx?id=1333&year=2007 projectiondesign Debuts 3.7-Inch-High 1080p Projector
The Action! M25 projector is compatible with most control systems on the market today using IP or RS232 control. The new unit is specifically compatible with AMX Device Discovery, as well as with Crestron control systems. In addition, the Action! M25 model is supported by the proprietary projectiondesign ProNet.site 1.0 Asset Management system. It is marketed to the home market right now but don’t be surprised to see it in the ProAV market, too. For more information, go to http://www.projectiondesign.com/Default.asp?CatID=1628 InFocus Introduces Bright, Affordable Business Projector
This model is wireless-ready, and users can use it with the InFocus LiteShow II wireless adapter in order to stream audio and high-resolution video content simultaneously from any notebook or desktop. Ship date is late September. Pricing is MSRP of $1,999…. And according to the announcement, can be purchased from authorized resellers or directly from InFocus. For more information, go to http://www.infocus.com/Company/PressReleases/2007/090407_IN38.aspx Kramer Adds to Bulk Cable and Switcher Lines
Both the BC-XTP and BCP-XTP cables are UTP unshielded twisted pair cables designed to work with Kramer twisted pair transmitter-receiver sets. These cables offer high-resolution, long distance transmission of RGB/VGA signals to a variety of display devices. Both cables are constructed using 24 gauge solid copper conductors, and come in standard lengths of 330 feet and 990 feet (100 and 300 meters). The BCP-XTP is a plenum-rated version of the BC-XTP cable, and complies with more stringent flame and smoke resistance standards required for installation in plenum air return spaces. In addition, Kramer’s new BC-2S is a high quality 16 gauge speaker cable designed for connecting speakers and amplifiers in commercial or residential. The BC-2S is constructed using two unshielded 16 gauge stranded conductors for improved signal transmission and low capacitance. It is available in 990 foot reels (300 meters). All the cables are shipping now. For more information, go to http://www.kramerelectronics.com/news_full_story.asp?iNews=212
The VS-41HD has Kramer’s Active Input Indication reporting function. Each input button will light up when an active signal is detected to be present at the input connector. If an SDI signal is detected, the input button will light up green, and when an HD-SDI signal is detected, the input button will light up blue. The unit also incorporates Kramer’s re-Klocking technology. The switcher provides signal reclocking and equalization for each input to compensate for possible long cable runs. The VS-41HD SDI/HD-SDI switcher has a looping genlock input and when a genlock signal is provided, the unit can perform clean vertical interval switching. The switcher also has a front panel lock out button and an output disconnect button labeled as “Off” to turn off the output signals. The VS-41HD is housed in a rugged 1 RU standard 19” rack mountable enclosure. It has multiple control options. And the unit can be controlled via front panel buttons, IR, RS-232 or RS-485, contact closure or via the Ethernet port. The VS-41HD carries a list price of $3,295 in the United States and is in stock. For more information, go to http://www.kramerelectronics.com/indexes/item.asp?desc=684
New ATDEC Mount Allows 360-Degree Rotation
This mount comes in a silver powder-coated finish and it sits just 3 ¾ inches from the wall. Pan can be adjusted a full +/- 20 degrees. TELEHOOK TH-30-50-RW is currently shipping with an MSRP of $249.99. For more information, go to http://www.atdec.com/th_30-50_rw.html Barco Introduces High-Bright Backdrops, and Touch Technology for C&C
The new high-bright versions include the 50", XGA OV-508 and 70", XGA OV-708 video wall systems. In addition, the high-bright video walls have a built-in inter-cube video scaling system which allows resolution of up to full HD (1920 x 1080) scaled on to the full video wall. The scaling system requires no extra hardware or software. For more information, go to http://www.barco.com/corporate/en/pressreleases/show.asp?index=1951 Barco also added SMART Technology’s DViT technology to create the company’s new Display Wall Touch System. Users can access and manipulate data across a large screen area and is especially designed for collaborative decision-making, brainstorming, mind mapping, briefing and training applications. On the large screen area, users can write and save notes, save screen captures and interact with content on the display wall. For more information, go to http://www.barco.com/corporate/en/pressreleases/show.asp?index=1955
New Dukane AirSlate 2 Allows Teachers to Roam Room While Keeping Control of Computer
Twelve unique customizable macro keys that are located across the top of the tablet allow instant access to web sites, programs (annotation, MS Word, MS Excel, etc.) and other applications. Included programs use pencil, brush pen, and highlight color markers for annotations. The software includes three programs for annotation and drawing at various levels. The upgraded model isn’t yet on the website, but you can read about the current model at http://www.dukcorp.com/audiovisual/products/Item_Whiteboards.asp?Model=AirSlate%20AS1B New Pragmatic Hub Distributes Audio to 16 Zones Over Cat5
For more information, go to http://www.pragmatic1.com/ Well, that's it for this edition of rAVe! Thank you for spending time with me as we muse the industry's happenings. To continue getting my newsletter, or to sign up a friend, click the link below. To send me feedback, don't reply to this newsletter – instead, write to me at gkayye@kayye.com or for editorial: Denise Harrison at dharrison@kayye.com A little about me: Gary Kayye, CTS, founder of Kayye Consulting. Gary Kayye, an audiovisual veteran and columnist, began the widely-read KNews, a premier industry newsletter, in the late 1990s, and created the model for and was co-founder of AV Avenue – which later became InfoComm IQ. Kayye Consulting is a company that is committed to furthering the interests and success of dealers, manufacturers, and other companies within the professional audiovisual industry. Gary Kayye's rAVe was launched in February 2003. rAVe Home Edition co-sponsored by CEDIA launched in February, 2004. To read more about my background, our staff, and what we do, go to http://www.kayye.com
Copyright 2007 – Kayye Consulting – All rights reserved. For reprint policies, contact Kayye Consulting, 400 Meadowmont Village Circle, Suite 425 – Chapel Hill, NC 27517 – 919/969-7501. Email: dharrison@kayye.com Gary Kayye's rAVe contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. | |||||||||||||||||||||
