Active and Passive 3-D Projectors: What’s the Difference?

January 16, 2015 Leave a comment

In the last decade, technological advances have greatly improved 3-D projection. Now, 3-D viewing is possible anywhere and anyone can set up a 3-D projector at home for a few hundred dollars.
But there are many different types of 3-D projectors. How can you determine which one is right for you?
First, you should know there are two main types of 3-D projectors: Active 3-D or Passive 3-D projectors. Both work in a similar way. They create the 3-D image by showing each eye a slightly different picture. By displaying these slightly different images – either via the projector or with special shuttering glasses – depth is created and the picture jumps off the screen.

Here are a few things you should know about passive and active 3-D projectors:

Active 3-D Projectors

Active 3-D, also known as powered 3-D, is most commonly used for home theater or gaming set-ups. The reason: It’s more affordable and it can be easier to set up. Plus, almost all of today’s active projectors have 2-D and 3-D capabilities, like the BenQ W1070, which make them great for home theaters.
Active 3-D projection relies on special glasses. The lenses of these glasses are designed to quickly alternate between opened and closed, so that each eye sees a slightly different picture. A high-speed projector capable of showing 60 or more frames per second is required in active 3-D projection. If not, the image begins to flicker.
There are several advantages to active 3-D projection. First, each eye sees a full HD image, which as I’ll explain later, isn’t possible with passive 3-D. Plus, any screen works, i.e. a wall or a bed sheet. Passive 3-D, on the other hand, requires a special screen.
The disadvantages? First, the glasses are more expensive. They also must be charged and they can fail. Although prices have come down, a pair of premium glasses can cost $100 or more. The lenses also are darker, and thus, the image can be darker.

Passive 3-D Projectors

If you’ve ever seen a 3-D movie at the theater, you’re familiar with passive 3-D projection. With this set-up, the projector creates two simultaneous images – either with light polarization or spectral decomposition – and the viewer’s glasses make these different images visible to each eye.
To create these two images, some set-ups include two different projectors to display the different images. But today’s movie theaters use a single projector that uses circular polarization to achieve the two images. That’s a main reason these set-ups are more expensive; they require advanced projectors to achieve the image.
Passive 3-D is also more expensive because it requires a specialized silver screen, although the most advanced projection systems don’t require the screen. Although the silver screen reflects more of image, in turn creating a brighter picture, it can add to start-up costs.
The main advantage is the cheaper glasses; they cost just a few dollars per pair or less. That’s one reason theaters opt for passive projectors. Plus, prices are coming down, which is making these more economical for home use. For instance, the Epson PowerLite W16SK 3D 3LCD costs just under $2,000, and while costly, it makes the set-up possible for home theaters.

Which 3-D Projector Is Best for Home Theaters?

High-speed active 3-D set-up makes the most sense for home theaters and gaming rooms. Why? First, the majority of today’s projectors are 3-D ready and they’re affordable: i.e. the 3-D ready Optoma HD131X costs about $600. Plus, active 3-D glasses don’t cost as much as they used to; there are budget, third-party glasses available in the $15 to $35 range.
That’s why active 3D projectors are ideal for home theaters: budget set-ups won’t break the bank, and technology has improved the image quality greatly. Today, you can truly achieve an immersive 3-D experience in your living room.

Is My Projector Lamp Original?

January 16, 2015 Leave a comment

There are many different options when shopping online for a projector lamp. Did you know there are fake and copycat lamps? MyProjectorLamps ONLY sells original replacement projector lamps. Watch this video to become informed with the available choices on the market and make sure you purchase the proper original lamp for your projector. For all your projector lamp needs, be sure to visit www.myprojectorlamps.com for the BEST prices found online.

TRANSCRIPT:
Hello There! Thank you for tuning in for another MyProjectorLamps video.
Today, I am going be looking at the differences between an aftermarket lamp and an original lamp. Don’t be fooled, these two products might look identical, but they are far from it!
I can’t tell you how many phone calls I get from angry consumers who have been burnt by aftermarket products.
It’s always the same story. “I bought my lamp from Amazon”. “It didn’t work”. “My lamp exploded!”
So why did the customer buy from them in the first place? It has to do with price. Lamps on Amazon can be found at Rock Bottom prices. But these lamps are low quality aftermarket goods.
So what is an aftermarket product? A counterfeit/aftermarket lamp will contain no manufacturer branded parts.
Third parties will collect spare parts from various sources and assemble the product in a factory with very low quality controls.
Here are some “fun” facts about aftermarket lamps:
1. The brightness sucks! The lamp brightness is only 60-70% as bright as the original.
2. The life or hours on the lamp will never reach what its original counterpart will obtain
3. Lastly, a third party lamp could over heat inside your projector and explode!
So clearly, there are risks. Let me give you the best kept secret in the industry to avoid these risks…… ASK!
That’s it. That’s all. Pick up the phone and call the company you are dealing with. Ask them to confirm what they are selling to you. Make sure you speak to a human being, and get them to verify the lamp on the inside is original.
There are four major manufacturers of lamps in the marketplace: Philips, Osram, Ushio, Phoenix
(image of original lamps appears)
All products from MyProjectorLamps will have these original bulbs on the inside of the housing. You can verify this by seeing this label on all of our lamp pages.
(image of original lamp decal appears)
We will never sell you used parts. The lamp on the inside will always be original. This means your lamp will have the exact same lumens and lamp life hours as the lamp that came with your projector. Win-win!
All of our staff are highly trained in identifying aftermarket products.
Call us today. We’ll help you out and we’ll do it with a smile.

How to Install a Projector Lamp

January 13, 2015 Leave a comment

Installing a projector lamp is very easy. Watch this video to learn how simple it truly can be to install your projector lamp without the help of a technician. Changing the projector lamp by yourself will save money, time, and extend the life of your projector. For all your projector lamp needs, be sure to visit www.myprojectorlamps.com for the BEST prices found online.

TRANSCRIPT:
My name is Manny and I am a technician at MyProjectorLamps.com
Today I am going to show YOU How to Install and Change a Projector Lamp.
The only tool you will need is a Phillips Head Screw driver. You do not require any special gloves or electrical tools.
Are you ready? I am! Let’s get started!
Make sure the projector is powered down and unplugged from electricity. For safety, be sure to wait at least 20-30 minutes to give the projector time to cool down. Those buggers get hot – we don’t want anyone burning themselves. Do you know where the lamp is in your projector? It’s easy! Simply look for the panel, often found on the bottom or top of the projector.
First you want to remove this screw. The lamp is going to be held in place with two anchoring screws. You’re going to have to loosen those too, to remove the lamp.
The lamp might be snug as a bug in the projector. Good thing I brought some muscle with me to get the job done. Don’t be scared to use some bicep power to pull the lamp out.
Look inside the projector. There might be dust. If you see dust, you can do one of two things:

Use compressed air

Use a cloth to remove the dust

(uses cloth to wipe face, and also inside the projector)
Inspect the new lamp and ensure there is no damage. Don’t be afraid to hold and touch the lamp on the housing or plastics parts. Do not touch the glass surface.
(camera zooms in on lamp only, showing Manny’s fingers on the outside of the module)
The new lamp will “plug in-to” the projector. Line up the plugs and the grooves.
Push the lamp into the projector until you hear this noise. This noise. This noise.
Still got your screw driver handy? Use it to tighten the anchoring screws. Here’s a tip! Don’t tighten the screws too tightly as this could break or damage the housing.
Get the panel and screw the lid shut. You must do this before turning on the projector. Some projectors will not turn on until the panel of the projector is closed shut.
Have any of that compressed air left? Take one last chance to wipe away any dust collected on the surface of the projector.
(sprays the compressed air over the surface of the projector)
And Voila! You’re finished!!
For more tips, videos, and the best prices of projector lamps online, be sure to visit MyProjectorLamps.com for all of your lamp needs.
Thank you for watching!

How To Set Up A Home Theater In Your Backyard

December 17, 2014 Leave a comment

An outdoor home theater makes entertaining friends and family easy. There’s nothing quite like sitting outside and watching your favorite movie on a 12-foot screen. It’s like having your own drive-in theater, without ever leaving the house.
Fortunately, home theater technology has come a long way. Just a few years ago, an outdoor home theater would have cost a small fortune. Today, you can set up an outdoor cinema in your backyard, on just about any budget. In fact, it might be easier than you think, especially if you already own an HD projector.

What you’ll need:

• An HD Projector
• A Receiver and Speakers
• DVD or Blu-ray Player
• A Portable Screen
• Cables and Extension Cords
1. Projector: It would be a challenge to set up an outdoor theater without a projector. And although the projector will likely be one of the more expensive pieces of hardware, affordable options are available. You can choose a short-throw or long-throw projector. But a short-throw projector can be placed closer to the screen, which leads to better image results and can diminish shadows.
A few other factors to consider: Projector brightness and resolution. Brighter projectors deliver excellent image quality even without total darkness. Therefore, you can start your backyard movie at dusk, rather than waiting until the sun is all the way down. Plus, due to the large screen, the better your projector’s resolution, the better the image will be. Choose a 1080p or 720p projector for the best results.
2. Screen: You have a little flexibility when it comes to a screen. The options range from blow-up movie screen kits, which cost a hundred dollars or more, to homemade screens. The kits include everything you’ll need, including stakes and a machine to blow it up and keep it inflated. DIY screens, on the other hand, can be as inexpensive as a bed sheet hung over a fence or something you build yourself.
3. Sound System: A home theater wouldn’t be complete without high-quality sound. For the best results, you’ll need a receiver and a set of speakers that are compatible with your projector and DVD or Blu-ray player. Home theater receivers deliver great sound, but even a stereo receiver works. You can achieve theater-quality sound without breaking the bank.

Tips for Getting the Best Image

Once you’ve found all the pieces, you’re ready to setting up your outdoor theater. The key is getting your image just right. First, you’ll want to find the best “throw distance,” which is the distance from the projector to the screen.
Long-throw projectors, for instance, have a longer throw and must be placed further from the screen. Unfortunately, although you get a larger image if the projector is further away, you also run the risk of casting shadows. That’s why a short-throw projector like the BenQ W1080ST works better for outdoor cinemas. You can move the projector closer or further away from the screen to test.
Also, depending on the projector you’re using, you might have to get the alignment just right. For instance, some projectors have a vertical offset, which means they must be placed a certain distance above or below the screen. If that’s the case, you’ll want to build a secure stand to hold your projector, and floor-mounts are usually the easiest option for outdoor theaters. (Learn more about mounting your projector for the perfect picture here.)
Plus, a few other quick things to consider:
• Try to avoid direct light from street lamps or other exterior home lights.
• Don’t forget some good seats and good food.
• And one last piece of advice: Don’t forget a flash light!

FILM REVIEW: 28 DAYS LATER

December 12, 2014 Leave a comment

Has the zombie movie craze reached its peak? Think about it: Until the early 2000s, zombie flicks were specialty movies, a small horror sub-genre hidden in the back corner of Blockbuster.
Now, they’re everywhere. This isn’t a sub-genre anymore, and there’s plenty of evidence that we’re reaching a zombie-movie fever pitch. The latest season premiere of The Walking Dead drew in more than 10 million viewers, and Barnes and Noble recently called the last decade “the golden age of zombie fiction.”
How did we get here? What was the zombie movie that set the trend in motion? There’s one that many cite: Danny Boyle’s “28 Days Later.” Now nearly a decade later, Boyle’s end-of-days thriller serves as one of the best examples in this now-gigantic genre.
We know how the story starts. An extremely contagious, rapidly-spreading virus escapes from the lab and devastates the general population. Panic ensues. Society as we know it is forever lost. And that’s how 28 Days Later begins. In the movie, the virus is different; it’s called Rage and causes humans to act violently and eat people. Panic ensures. Society is forever lost.
You get the idea.

That’s the world Jim – played by a then-unknown Cillian Murphy – wakes up to 28 days after the outbreak. (Murphy’s career took off after this movie; you might know him as “Scarecrow” from the Batman trilogy.) Jim soon discovers that England is abandoned and only inhabited by night-walking, Rage-infected humans. He begins wandering an eerily silent, abandoned London. These early scenes alone capture the gloom, doom and isolation beautifully.
Eventually, Jim teams up with Selena (Naomie Harris) and a father and daughter team played by Christopher Ecceleston and Megan Burns. And they make a break from zombie-infested London to Manchester, where they hoping to find a survivors’ camp. They have to fight off the attacks, they don’t know who to trust, they’re scared, etc.
You get the idea.
What makes 28 Days Later work so well is that it subverts the genre it helped catapult into mega-popularity. The story flows rapidly, albeit with a few tried-and-true clichés. It’s an edge-of-your-seat thriller, but the drama still works and you care if the characters make it out of end of the world alive. And the cinematography is effective and captivating, especially when I watched it on my Panasonic PT-DW6300 projector. It captivates you and keeps you guessing.
Today, that plot might sound familiar. We’ve seen zombies and post-apocalyptic thrillers done in so many ways now – from special-effects spectacles like World War Z to laugh-out-loud spoofs like ZombieLand. 28 Days Later reminds us how little the genre has changed in the last decade. It starts with a virus, and destruction, and the end of humanity. You get the idea. But still, when done right, it’s fun to watch.

How to Mount Your Projector for the Perfect View

December 5, 2014 Leave a comment

Where’s the best spot to mount your home theater projector? Well, it depends on several factors and the type of projector you’ll be using. For instance, short throw projectors must be closer to the screen, while long throw projectors are better positioned further away.

Projector: short and long throw — Long Throw vs. Short Throw

You can calculate the best position for your projector easily. First, you’ll need to know screen width, throw distance — or the distance between the projector’s lens and the screen — and “throw ratio.” Throw ratio is very important for home theater configuration, and it can be found by dividing the throw distance and screen width. For projectors with zoom capabilities, throw ratio is a range; for instance the 3M X50 has a throw ratio between 1.51 and 1.82.

Using the throw ratio, you can determine the screen size and throw distance. For example, a projector with a throw ratio of 2.0:1 placed 15 feet from the screen would project an image that is 7.5 feet wide. Here’s the equation: Throw Distance (D) / Throw Ratio (R) = Screen Width (W). Conversely, with screen width, you can determine throw distance: W R = D. So for a 7.5-foot-wide screen, your projector would need to be 15 feet away: 7.52= 15 feet.

Mounting Short Throw Projectors

Short throw projectors are perfect for home theaters, because they can be much closer to the screen and achieve great image results. These projectors have smaller throw ratios that are usually below 1:1. For example, a short throw projector with a 0.6:1 ratio could achieve a 7-foot-wide screen from just 4.2 feet away. Because of this, short throw projectors can achieve great image results even when mounted near the floor.

Mounting Long Throw Projectors

The throw ratio for long throw projectors is larger, and they must be further from the screen. That’s why long throw projectors are often used in conference halls and college classrooms. Here’s an example: If you wanted an 8-foot-wide screen at a 2.5:1 throw ratio, the projector would need to be 20 feet from the screen. Because of this larger distance, ceiling or tabletop mounts are often the best option to avoid casting shadows.

Aligning Projector Lens and the Screen

Depending on the type of projector you own, you can determine where to position the center of your projector lens. For instance, some projectors have an “vertical offset,” which means the center of the lens needs to be slightly above or below the screen. For instance, the Optoma H180X has an 112% offset. This means that for a 100-inch-tall screen, the center of the H181X lens would need to be 12 inches above or below the screen.

Conversely, some projectors have no offset. When there’s no offset, the center of the lens should be at the top or bottom of the screen. And finally, some projector lens must align horizontally with the center of the screen. Fortunately, many home theater projectors have horizontal or vertical shift capabilities. This means the picture can be adjusted to fit the screen. You could just look at the owner’s manual if you are doubtful or cautious.

Film Review: Drive

November 24, 2014 Leave a comment

Good evening, Joe again, for MyProjectorLamps.com and here is my review of Nicolas Winding Refn’s “Drive” – Here’s my setup of the second home theater in my house.
Home Theater Setup:
Screen: Da-Lite 120”
Projector: Sharp PGF267X-L
Blu-Ray Player: Toshiba BDX1400
Receiver: Marantz NR1603
Speakers: NHT Absolute 5.1 Surround System
Ryan Gosling does his best James Dean in Nicolas Winding Refn’s “Drive” – only this isn’t a little ditty ‘bout Jack and Diane. This is a neo-noir action thriller in what feels like a true break-out role for Gosling (because All Good Things wasn’t far enough outside his normal typecast).
Drive is one of those films that needs very few words exchanged from the main character to understand them. This is where I think Gosling pulls off being a brooding stuntman credited as simply ‘Driver’, who moonlights as a getaway driver for high end robberies. The directorial styles of Refn vary from Michael Mann (Heat), to John Woo (Hard Boiled), to Peter Yates (Bullitt) so the avid fans of gritty filmmaking are in for a real treat. Your average moviegoer might just think it’s just some strange 80’s timepiece set with modern cars and fashion (with exception to Gosling’s satin scorpion jacket, which is oddly nostalgic and became a cult Halloween costume).

We get to see Bryan Cranston, fresh from season four as Walter ‘Heisenberg’ White in the smash TV hit, Breaking Bad. He plays Driver’s mentor and handler of sorts who through his own dealings owes mobsters some long dough. The mobsters are played by Ron Perlman (Sons of Anarchy, Hellboy) and Albert Brooks (The Simpsons, Finding Nemo) steals the show as a menacing villain, which is something I never thought we’d get to see. There’s a love interest between Driver and his neighbor Irene (Carey Mulligan), who is raising her daughter alone since her beau is in prison. When her boyfriend gets out of prison, he owes someone on the inside for protection he received while incarcerated. Driver decides to help because it is his only way of showing affection. Things go South during what should be a well-planned, routine holdup at a pawn shop. Now Driver has to use his cunning and expert driving skills to survive.

Somehow the otherwise dazzling Christina Hendricks (Mad Men) was frumpy and trashy in this film and it works! There is a shotgun blast reminiscent of Willem Dafoe’s in Wild at Heart, so prepare yourself for this scene, if cautious. The chase scenes are extraordinary as we’re taken to some of the lesser-seen areas of Los Angeles – at maximum speed. Ronin (1998) is the only film that comes close to the octane action thrills of “Drive”. I would sum the action part of the movie as a hybrid between Cobra (1986), starring Sylvester Stallone, and Ronin (1998) starring Robert DeNiro. I think what separates this film from them is the score/soundtrack. Kavinsky’s ‘Nightcall’ in the opening credits and then other modern renditions of 80’s synth pop from College, the Chromatics, and others.
This film was nominated and won several prestigious awards for Refn (as director) and Brooks (as supporting actor) and when you watch you can see why. In film school I learned about how to try to get emotional charges from the actors in their facial expressions and mannerisms instead of telling us how they feel. I had yet to see this done properly since Jim Jarmusch’s “Dead Man” (1995) and this one tops it. Co-star Carey Mulligan said of filming, “staring longingly at Ryan Gosling for hours each day”, which may be the easiest money she’s ever made. Check out this film if you’re into gritty crime thrillers with chase scenes that rival some of the best on film. Once again, thanks for reading and please share if you liked it.

Film Review: Lost Highway

November 11, 2014 Leave a comment

Good evening, I’m Joe and this is my review of David Lynch’s “Lost Highway” – but first – I’m an A/V nerd so let me give you the rundown of my home theater setup.
Screen: Elite Spectrum2 125”
Projector: InFocus IN3128HD
Blu-Ray Player: Pioneer Elite BDP-33FD
Receiver(s): Nakamichi AV-8 Main Receiver, Carver AV-806X Preamp
Speakers:
• Center: Velodyne CHT-FRSGV
• Front: JBL Northridge Series N38
• Rear: Polk Audio – FXi A4
• Subwoofer(s): Velodyne VLF 810 (2)
David Lynch, an American enigma, and his films are even more of a conundrum than he is. In 1997’s “Lost Highway” he continues his usual modus operandi which takes us into the unknown and blurs the lines of reality and dreams. Bill Pullman plays Fred Madison, a saxophonist who is terrorized by a man who enters his house when he’s asleep and videotapes him and his girlfriend Renee (Patricia Arquette) as they sleep.
At a party, he meets a strange mystery man played in ghastly white makeup by Robert Blake, who declares he is behind the videos Madison received. Mystery Man invites Fred to dial his own phone number and to listen as he, who is standing right in front of him, “answers” at the other end of the call.

There’s also a grisly murder, a fire, a transformation of physical being – right out of a Kafka novel involving auto mechanic Pete Dayton (played by Balthazar Getty), a gangster’s pornstar arm trophy, also played by Arquette, who convinces Pete to commit a crime, a memory lapse by Getty, a reappearance by Fred Madison and a series of bizarre foreshadowing and precognitive images that add to the mystery of “Lost Highway.”
The film’s end result is a world that is part film noir and part nightmarish delight/classic Lynch, in which you feel as though something is wrong throughout the whole movie but you can’t quite put your finger on it.
Suffice to say, it is a weird movie in that spooky, stomach-turning, deadpan delivery that Lynch’s movies always are and it’s guaranteed to perplex anyone who likes narrative films to be wrapped in tidy resolutions and optimistic fade- outs. The striking visuals, combined with Lynch’s regular composer, Angelo Badalamenti’s music and intense sound design are all frighteningly effective.
“Lost Highway” often feels like an esoteric, intentionally perverse joke that Lynch knew would never make sense to most viewers. It’s also feels, with its similarities to “Twin Peaks: Fire Walk With Me,” “Blue Velvet” and “Wild at Heart,” like familiar, yet treacherous territory. Lynch’s main objective is to shock and arouse us, but in using the same kind of music, camera effects and offbeat editing rhythms over and over his work is beginning to look like variations on a single theme – the nightmares that creep into our realities… or is that the other way around?
Patricia Arquette, whose acting style is perfectly matched to Lynch’s vision, gives the strongest, most memorable performance and is reminiscent of Kim Novak’s similar dual roles in Hitchcock’s “Vertigo.”

There are also cameo appearances by Richard Pryor, Marylin Manson, Giovanni Ribisi, Gary Busey, Henry Rollins, Mink Stole (of John Waters’ “Pink Flamingoes” fame) and Natasha Gregson Wagner, daughter of the late Natalie Wood. One piece of trivia to note: The pornography mogul Andy was played by Michael Masse – who was Fun Boy in “The Crow”, the one who inadvertently shot and killed Brandon Lee during filming.
Overall, I think this was Lynch’s masterpiece up until the release of Mulholland Drive four years later (another review for another time). This was his last hurrah for reality before plunging even further into the depths of the otherworldly nightmare realms of his next two films. Here we get to see some of the Lynch’s influences from Orson Welles, Alfred Hichcock and co-writer Barry Gifford (also wrote the novel for Lynch’s adaptation of “Wild at Heart”. If you’re looking for a happy ending, you should know better than to expect that from Lynch – this film is no different. I’ve watched this film over 20 times and it stands alone as a true depiction of anguish, desperation and the stark ugliness of horrible how humans can be to one another.

The promotion of the film in US theaters was leveraging a rare event. When both Siskel and Ebert give it two thumbs down – which this one emphatically did, you have definite marketing potential to the large camps of moviegoers who reject the opinions of critics. Thanks for reading, and if you liked it, please share!