Word: backlighting
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Dates: during 2000-2009
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...tired. She has the sniffles. She has never been less interested in a blind date. But then: up-angle, backlight, and there he stands in her doorway, impeccably tailored, elegantly casual in manner?a perfectly beautiful man with, as she soon discovers, a singular style of speech. He is confident without being overbearing, confidential without being intrusive, quite inimitable despite the fact that the actor playing her visitor had one of the most imitated voices of this century. Never in the history of movies has a leading lady more quickly overcome her languors in order to get ready for romance...
...eerily like looking at paper, high in contrast and relaxing on the eye. The tradeoff is that E-Ink can't yet refresh fast enough to show video, and even scrolling or zooming is a complicated business, but that's not the purpose of the Reader. Even without a backlight, you can read every page of any e-book in all of the same settings that you'd read a tome made out of old fashioned ink, paper and glue...
...PLASMA LCD TVs have a backlight that's electronically filtered to produce the microscopic color pixels that make up the image, whereas plasma TVs have pixels that emit colored light themselves. LCD TVs are better than plasmas in bright rooms and are very affordable up to about 42 in. Plasma TVs offer deep blacks and rich colors and can be viewed from wider angles than LCD TVs and are available in larger sizes...
...other commonly discussed LCD shortcoming is its contrast, or black level. LCD TVs have a backlight, an actual bulb shining behind it, not the case with plasmas and regular old tube TVs. Because of this always-on bulb, parts of a scene that were supposed to be pitch black used to look more like a charcoal gray, or even a deep blue. Bad news for film-noir lovers, for sure. Both TVs had tolerably good black levels, but side by side, the Sharp was better, exhibiting visibly higher contrast than the Sony...
...chandeliers, and normal overhead lighting—in various configurations and heights. This system, designed by D. M. Wood, immediately sets the place, from a grand ballroom to a garden to a monk’s cell. Apart from the retractable lights, intense strobes frequently frame the walkways or backlight characters, to great visual effect. In contrast to the other technical aspects, the sound design by David Remedios tends to detract from the play. From sudden bursts of industrial music between scenes that are just as suddenly cut off when the lights go back up to unnecessary...