Features

Luminosity – 1100 ANSI Lumens

XGA resolution

Ultra wide angle 1.4x zoom lens

Compact and portable

Digital Keystone correction

Plug and Play

USB Mouse port

Simple and smart operation

Credit card sized remote control



Ideal for all light conditions
Always achieve an optimum picture image, whether for daylight viewing or in dimmer light conditions. Canon’s exclusive optical technology results in greater efficiency and reduced costs.
This includes a new LCD panel to improve light usage. Offering 1100 ANSI lumens, with true XGA projection the LV-X2 provides both high brightness and high contrast for projection perfection.



Improving your image
Whatever images you want to show, they’ll now look better on screen. New auto grey-scale
control shows details in darker and lighter areas. New fresh-tone correction refreshes old photos and film shots, whilst 10-bits digital gamma correction processing technology, enhances grey scale reproduction of images effortlessly. 



Perfect even for small spaces
Showing big presentations in smaller spaces can cause problems. However the LV-X2 features a new wide projection lens with a 1.4x zoom function – the highest in its class. This expands the projection distance range, so that it can project on a 100-inch screen from just 2.8 right
up to 4 metres. Flexible installation for a range of distances and screen sizes ensures perfect
presentations in almost any situation. 



Digital Keystone correction
Image distortion can be caused when projecting the image higher or lower than the projection
angle. This can be easily and automatically corrected thanks to the digital keystone feature
(+/- 20 degrees) resulting in clear, undistorted images. 



Superior multimedia support
Whether you’re working with a video or DVD player – or on a PC or Mac platform – everything
is handled seamlessly. There’s full support for 6 colour systems – as well as for a complete
range of DVD and high-definition TV component video signals. So whatever equipment you need to work with, you can always depend on painless and problem-free presentations.



Easy set up and operation
Setting up the projector anywhere is super simple. AMSS (Automatic Multi-Scan System)
recognises and conforms automatically to almost all computer output signals instantly,
without the need for complex manual adjustments. One-touch auto imaging ensures
that all incoming signals are recognised and the optimum setting is selected. While a
standard USB port allows a hot plug ’n play mouse cable connection between your PC
and projector.

Resolume 2

Resolume is an instrument for live video performances. Completely build to quickly improvise your videos to the music. Play up to three layers of video, with up to six effects. Play video forward, backward, adjust the speed or scratch it by hand. You can freely improvise without ever stopping the video. Resolume is the preferred software of choice for many professional VJ’s and video artist in 40 countries worldwide.

Awards

Resolume won the prestegious DJMag Tech Awards in the VJ Product category in 2006.

Eclectic Method: “For this category, Resolume is the most versatile and interesting piece of software.”

Eserin: “For 130 Pound you get an expandable set-up, loads of effects to keep interest going and easily assignable clip banks, plus DMX control for lighting shows.”

VJ Anyone: “It also memorises setting, works in high definition (HD) and VJs can control clip speed by music beats.”

Halliwell: “There’s a vast differrence in the price and I think VJs will get bored quickly with the other software.”

WestEnd DJ: “Even after buying a controller it’s still better value for money than the rest and it’s a lot more versatile and well designed.”
Read the whole article on djmag.com.

Reviews

“Resolume 2.0’s beauty lies in the variety, subtlety and precise nature in which it can deliver a performance. For this reason, it could well be one of the most desirable pieces of VJ software on the market to date.”

View the full review by Olivier Sorrentino in DJ Magazine.

“… Resolume is excellent. It’s simple enough for anyone to learn in minutes, yet comprehensive enough to take your VJing to the highest level …”

Read the full review in the thetechnofile

Quotes

“1: resolume, for its brilliant ability to offer a easy learning curvefor beginners, but still give you room to use up to a pro level. Also so brilliantly written and so logically designed it astounds me everytime.”

Evomedia nominating Resolume for Best VJ-Software for the PC award on VJ Forums.

“Resolume is bomb-proof as far as we’re concerned. As with all the VJ apps there’s always a ‘set-up period’ where you learn how best to configure your system to use the program. But well over a hundred shows later, Resolume has never let us down.”

Dave Green from Inside-us-all in International DJ Magazine.

 

Click on the picture for a fullscreenshot.

Features

• - accepts movies, flash, pictures and live camera input
• - full 18 band FFT audio analyzer to link effects to music
• - audio driven flash animations
• - stream video over network
• - multiple screen output
• - live harddisk recording (sampling)
• - 60+ built-in effects including: ascii art, zoom, solarize, invert
• - 150+ effects available through FreeFrame plug-ins
• - automated effect parameters
• - up to six simultaneous effects
• - mix up to three layers using 18 different overlay modes
• - user definable transitions and masks
• - control resolume with any midi or dmx controller
• - send dmx signals from flash movies
• - scratch video
• - synchonize clips to the tempo of the music with a BPM clock
• - various playmodes: loop, bounce etc.
• - control playback speed and direction
• - change in- and outpoints of clips
• - easy access to 160 clips in interface
• - file browser with clip information and preview
• - chaos autopilot mode
• - custom configurable keyboard shortcuts
• - DVDMax support for Matrox videocards
• - TheaterMode support for ATI videocards
• - Y2K compliant
• - superstar veejay status guaranteed

“I could jam out with Ozzy Osbourne one day and do a Britney Spears show the next,” says versatile video jockey Vello Virkhaus. Known as VJ V2, he draws on a library of more than 8,000 digital video loops to craft dazzling displays for live performances by musicians like Korn, Beyoncé and the Red Hot Chili Peppers.

Virkhaus ticks off the arsenal of images crammed on his PowerBook and 500 GB external drive: “I have textures, abstract graphics, spline wire characters, blips, vignettes, explosions, splatter, grunge, gore, grit and decay — everything from rock-and-roll and heavy metal to designy pop stuff.”

“When you’re in front of 50,000 people and you’re about to push this one button, there’s that initial rush in case it doesn’t work. But it works. And after that, it’s the most fun you could have.”

The Rush

A pioneer in the emerging art of manipulating visuals the way disc jockeys shape sound, Virkhaus performs on club and concert stages worldwide. “Sometimes it’s really nerve-racking,” admits Virkhaus. “When you’re in front of 50,000 people and you’re about to push this one button, there’s that initial rush in case it doesn’t work. But it works. And after that, it’s the most fun you could have.”

© V Squared Labs 2004.

Video scratching, says Virkhaus, is “a really cool performance tool that’s all about motion. Your clips mostly have either very pronounced character actions or horizontal, action-based motion. Then you manipulate and cut just like you’d do with a record, pitching them to line up with the music.”

An Emerging, Fluid Art

“There’s a whole new base of young artists who are interested in doing live visuals,” notes Virkhaus. “It’s all a direct offshoot of the DJ culture, coming down from hip-hop musicians like Grandmaster Flash. That culture just blew up, and now the VJ’s are emerging from it.”

For VJ V2, his artistry comes from a collage of talents. “I wear several hats,” he says. “I write treatments, create and direct 3D animation and visual effects, shoot and edit video, do remixes, direct shows and perform live on concert tours.”

Even after it’s crafted, however, a Virkhaus show is a fluid thing. “A VJ has to deal with issues of timing and spontaneity that directors of music videos don’t have to consider because recorded music and video don’t change,” he explains. “But a band on stage could do anything. So you can’t just create visual wallpaper. You have to layer the images and reserve complementary footage for moments that may or may not happen.”

Red Hot Artistic Freedom

Virkhaus, proud of his work for the Red Hot Chili Peppers’ recent tour of Europe and Japan, explains how he turned 11 of the band’s songs into video art: “We broke out each song structure into chorus, verse and what I call ‘hero loops’ — the bits that represent the main character or most exciting moment. Then we mixed these loops over a bed of video images that are like a textural background, and we layered other images on top. We designed the material to be performed on the fly, so the VJ or production manager can respond to what’s happening on stage.”

Virkhaus teamed with six animators, his assistant producer and business manager Yanira Franco and Red Hot Chili Peppers production designer Grier Govorko to create the visuals. “[Chili Peppers' bandleader] Anthony Ketis says, ‘Whatever Grier wants to do is gonna be totally cool with us,’” relates Virkhaus happily. “Grier has worked with the band for eight years designing lighting and stages, and he’s their most trusted confidant. So after we agreed on basic concepts, there was no approval process we had to go through.”

Govorko was already a VJ V2 fan. “He had seen our work for Sting, Beyonce, Blink-182, Korn and other bands,” says Virkhaus. “Based on that, he let us design what we thought would be most appropriate for the Red Hot Chili Peppers tour.” Virkhaus notes that not every client allows so much leeway. “Some bands want to be way more involved,” he says. “But the Chili Peppers believe in us as artists, so they gave us free rein.”

From Wikipedia, the free encyclopedia

A viewer looking through the red rectangle sees a ghost floating next to the table. The illusion is created by a large piece of glass or a half-silvered mirror, situated between viewer and scene (green outline). The glass reflects a mirror-image room (left) that is hidden from the viewer.

If the mirror-image room (left) is darkened, it does not reflect well in the glass. The empty room (top) is brightly lit, making it very visible to the viewer.

When the lights in the mirror-image room are raised (with the empty room being dimmed slightly to compensate), the ghost “appears” out of nowhere.

Pepper’s ghost is an illusionary technique used in theater and in some magic tricks. Using a plate glass and special lighting techniques, it can make objects seem to appear or disappear, or make one object seem to “morph” into another.

In order for the illusion to work, the viewer must be able to see into the main room, but not into the hidden mirror room. The edge of the glass may be hidden by a cleverly designed pattern in the floor. Both rooms may be identical mirror-images; this approach is useful in making objects seem to appear or disappear. This effect can also be used to make an actor reflected in the mirror appear to turn into an actor behind the mirror (or vice versa). This is the principle behind the Girl-to-Gorilla trick found in many haunted houses. The mirror room may instead be painted black, with only light-coloured objects in it. When light is cast on the objects, they reflect strongly in the glass, making them appear as ghostly images superimposed in the visible room.

The world’s largest implementation of this illusion can be found at the Haunted Mansions and Phantom Manor attractions at several Walt Disney Parks and Resorts theme parks. Here, a 90-foot (27 m)-long scene features a single Pepper’s Ghost effect. Guests travel along an elevated mezzanine, looking through a 30-foot (9.1 m)-tall pane of glass into an empty ballroom. Animatronic “ghosts” move in hidden black rooms beneath and above the mezzanine. The reflections in the glass, which is vertical rather than angled, create the appearance of three-dimensional, translucent ghosts. These swarm through the ballroom, seeming to interact with props in the physical ballroom, disappearing when the lights on the animatronics are turned off.

An example which combines the Pepper’s Ghost effect with a live actor and film projection can be seen in the Mystery Lodge exhibit at the Knott’s Berry Farm theme park in Buena Park, California, the Ghosts of the Library exhibit, located at the Lincoln Museum in Springfield, Illinois, as well as the depiction of Maori legends called A Millennium Ago at the Museum of Wellington City & Sea, Wellington, New Zealand. More of the Museum of City and Sea. Pepper’s ghost exhibits also known as SpectraVision are beginning to be more widely used in museums, as they attempt to create livelier attractions that will appeal to contemporary visitors accustomed to multimedia experiences.A good example is at the Cowra Visitor Centre in New South Wales, Australia. In the mid-70s James Gardener designed the spectacular Changing Office peppers ghost in the London Science Museum. This extraordinary display changed an entire room from a 1970s office to an 1870s office in front of your eyes. It was designed and built by Will Wilson and Simon Beer. One of the most spectacular and intricate peppers ghost displays has to be the eight stage ghost built for the British Telecom Showcase Exhibition in London in (1978). This display followed the birth of electronics from the humble ‘cat’s whisker’ through the vacuum tube (thermionic valve) and the transistor into the integrated circuit – in eight discreet moves. Each true image dissolving into the next, one after another, in front of you. Will Wilson thought up the idea and Simon Beer of Integrated Circles designed and built the exhibit. Other examples of Integrated Circles peppers ghosts can be found in various museums in the United Kingdom and Europe. Later examples in the United Kingdom were a “ghost” of John McEnroe at the Wimbledon Lawn Tennis Museum, which reopened in new premises in 2006, and one of Sir Alex Ferguson, which opened at the Manchester United Museum in 2007.  More recent examples include the ghost of Sarah (who picks up a candle and walks through the wall) and also the ghost of the Eighth Duke at Blenheim Palace.

(CNN) — Is it really a band? Is it some kind of weird joke? Or is it the product of a group of bored celebrities going through an experimental phase?

Whichever, Gorillaz, a virtual band with fictitious cartoon characters, is the latest music phenomenon to come out of Britain and beat its chest all the way to the U.S. top 40.

Blur vocalist Damon Albarn has traded onstage romps for being the voice behind a blue-haired, black-eyed, toothless brat named 2-d. The singing 2-d is one of four of Gorillaz’s warped-looking characters. His buddies are Murdoc (also a singer); Russel (a rapper); and Noodle (the guitarist).

But the release and imminent success of the group’s self-titled album, with its twitty, witty lyrics and original sound, is not necessarily the band’s biggest accomplishment.

Gorillaz, you see, has even performed live.

Um, how, you might ask, does a cartoon quartet do that?

Perhaps we’d best leave that explanation to Jamie Hewlitt, the human behind “Murdoc” and the band’s illustrator.

“Basically what you have is a huge cinema screen with a live band playing behind the screen,” he told CNN’s World Beat in a recent interview. “And onto the screen we flash all kinds of images to go with each individual song, and then the back of the stage lights up and you get the silhouette of the band.”

So there you have it.

Performing ‘lo-fi’

During its live, debut performance at London’s Scala theatre in March, Gorillaz shook its animated act on a 20-foot screen while a very curious audience wondered if the musicians were going to make an appearance.

It wasn’t until the outline of Albarn’s baseball-capped head eerily appeared through the screen that the “lo-fi event” earned credibility as something more than just a cartoon screening.

The band’s repertoire included the hit “Clint Eastwood,” which combines Albarn’s voice with hip-hopping from Del Tha Funkee Homosapien (aka Russel). The drone of the harmonica gives the song a spooky sound that complements the cultish, dark images appearing in the act.

The Scala performance drew reactions ranging from complete amusement to absolute ridicule.

The Guardian newspaper described the act as “monkey business which (Albarn would) be best off chalking up to experience.” Music 365 suggested the band is out to “subvert the pop music industry,” while World Pop put the foursome down to being a “cool,” “celebrity-fuelled craze.”

The Telegraph made a valid point about keeping the musicians hidden — “Who wants to look,” it wrote, “at ugly blokes playing guitars anyway?”

‘Playing … leaping … jumping’

“It’s an experiment,” says Hewlitt, who also did the illustrations for Tank Girl. “And each show we do we improve and we’re just sort of waiting for the technology to catch up with us so that we can have holographic, animated characters on stage playing, leaping in the air (and) jumping in the audience.”

And while Gorillaz are set to become more, er, real, it seems the musos who hide behind screens have set their sights on becoming even more invisible.

They want to see quirky 2-d, Russel, Murdoc and Noodle sitting in on media interviews by themselves.

“Maybe a year or so from now the animated characters will be sitting here in this environment,” Hewlitt says as he waves his hand around the room.

“Hope so,” said park-life devotee Albarn. “It means we can go out shopping and sit in the sun.”