I dag finnes det kun 2 stk VPL-VW 100.Og den ene har widescreen review til test.Greg Rogers har skrevet en omfattende test på 10 pdf sider.Med en villedende pris på 9999$ for en 1080p LCOS projektor.Går vel mildt sagt DLP mot strammere tider.
Man må være abonement for å laste ned testen,har selv god erfaring med bladet,både online og det jeg får i posten.De har ikke den typiske teste 143 forskjellige produkter med karakter stilen.Men mere lange gode artikler som går litt dypere ned i materien.Jeg liker de norske bladene også,men den litt anderledes stilen til Widescreen review er et fint supplemang.
Viser resultater 1 til 20 av 24
Tråd: Vpl-vw 100 Første Test!!
10-22-2005, 09:37 #1
Vpl-vw 100 Første Test!!
10-22-2005, 10:30 #2
Det er vel lov å poste en kort oppsummering. Henger påstandene om 15.000:1 i kontrast på greip eller vil den bli slått av en DLP med 2000:1?
Har sett Qualia 004 et par ganger og er ikke helt overbevist.
10-22-2005, 10:49 #3
I den offesielle VPW-100 tråden på AVS svarer "gregr"(Greg Rogers)på spørsmål angående testen.http://www.avsforum.com/avs-vb/showthread.php?t=594130
Får inntrykk av at det er en stor "kontrast" forbedring i forhold til 004 og dette gjelder også med iris avslått.
10-22-2005, 11:27 #4
Det er bare å abonnere folkens, WSR er et meget bra magasin. Forøvrig er jo denne testen meget interessant å lese :smile:
10-22-2005, 11:41 #5
Hvordan klarer Ruby seg mot CRT?står det noe om det i testen?
Er litt spent på det.
10-22-2005, 22:07 #6
Det stod ikke noen direkte sammenlihning mot CRT, men det ble flere ganger brukt ord som "CRT like". Totaltsett fikk denne projektoren veldig god kritikk. Som på alle andre projektorer har den også negative sider, men den var iflg testeren den desidert beste fixed pixel (digital) projektoren som finnes idag. Kontrasten målte også bedre enn på noen annen digital projektor, selv uten autoirisen aktivert.
10-22-2005, 22:56 #7
Ja,har lest litt på avsforum nå,de sier det samme.
10-23-2005, 01:15 #8
Dritt og møkk, jeg har nettopp abonnert på WSR og gledet meg til å lese online-testen, bare for å oppdage at abonnementet må bli aktivert manuellt av en viss Stacey. Det betyr vel tidligst mandag :-(
Så hvem har lyst til å låne meg logonid evnt sende meg pdf'n??? ;-) Alternativt komme med noen gode meditasjonstips for å gjøre ventetiden kortere!!
10-23-2005, 12:03 #9Opprinnelig postet av TorAtle
Av og til må man ha absolutte referanser.
10-23-2005, 21:59 #10Opprinnelig postet av robertaas
Ruby er den absolutt største nyheten på en god stund, så jeg må få lov til å være litt ivrig. Jeg kan også si med sikkerhet at jeg kommer til å være like gira når de første HQV-rapportene kommer...forhåpentlig om ikke lenge.
PS har lest artikkelen nå, så har fått roen tilbake :-)
10-26-2005, 11:27 #11
Står det noe i omtalen om bruk sammen med PC? Er det mulig å mate den med et 1920x1080 bilde og få 1:1 pixelmapping via HDMI?
11-03-2005, 10:15 #12
11-03-2005, 10:27 #13
1080p SXRD™ Front Projector
The VPL-VW100 is Sony’s second-generation 1080p SXRD™
front projector. It delivers superior 1080p performance at a
breakthrough price ($9,999) that should obliterate the current
pricing structure of 720p and 1080p projectors. It includes an
innovative dynamic iris to increase image contrast, but even
without that technology it has the best full-field contrast ratio
that I have ever measured for a fixed-pixel projector. The code
name for the Sony VPL-VW100 was Ruby, and this Ruby is a
The VPL-VW100 styling is reminiscent of the Qualia 004,
Sony’s first 1080p SXRD front projector, although it’s not as
large or elaborately constructed. The low-profile platinum enclosure
is sculptured to resemble the external frame of its predecessor,
and it also sports a large top panel with an illuminated
Sony logo. The sides of the 42-pound projector taper down to
only 2.5-inches high, and the lower sub-chassis is black, so
when ceiling mounted the projector appears even thinner than
its 6.9-inch height.
All input and output connectors are located on one side of
the recessed sub-chassis, which makes cables easier to hide.
Hot air is exhausted through a wide grille that nearly spans the
rear of the projector. There’s a small control panel concealed
behind a sliding door, but it would only be used if the remote
control were misplaced or not working. The power and warning
indicators are discretely located below a narrow grille just
behind the front bezel.
The VPL-VW100 uses Sony’s newest 0.61-inch, 16:9 SXRD
(Silicon X-tal [Crystal] Reflective Display) panels. It has three
SXRD panels, each with the same 1920 x 1080 pixel resolution
as the 1080i and 1080p high-definition video formats.
SXRD is a vertically aligned Liquid Crystal on Silicon (LCoS)
reflective panel technology, which Sony first introduced about
two years ago in its $30,000 Qualia 004 front projector. The new
panels are claimed to have a 5000:1 contrast ratio, whereas the
“The Sony VPL-VW100 1080p SXRD
front projector ($9,999) is a
breakthrough product that will have a
major impact on the home theatre
Display Panel: Three 0.61-inch SXRD (Silicon X-tal Reflective Display)
panels with 1920 H x 1080 V (2,073,600) pixels resolution;
total approximately 6.22 Mega Pixels
Lamp: 400W Xenon Lamp
Screen Size: 40 - 300 inches diagonal (16:9 aspect ratio)
Color Format: NTSC, PAL, SECAM, NTSC 4.43, PAL-M, PAL-N,
PAL-60; Auto/Manual Switchable
Compatible Signals: 15 kHz Video, DTV (480i, 576i, 480p, 576p,
720p50/60, 1080i50/60), 1080p50/60 (DVI-D/HDMI only)
Computer signals (fH: 19 - 72 kHz, fV: 48 - 92 Hz) Computer signals
(1920 x 1080/60 maximum)
Video Input: Composite Video x 1 (RCA jack); S Video x 1 (DIN jack);
Component Input 1 (3 RCA jacks) (YPbPr); RGB/Component Input:
1 (D-sub 15); DVI-D Input 1; HDMI Input 1
12 V Trigger: 1 (Minijack)
RS-232C Remote: 1 (D-sub 9 pin)
Ethernet: 1 (RJ-45 jack, 10Base-T/100Base-TX)
Power Supply: AC 100 - 240 Volts, 50/60 Hz
Power Consumption: Maximum 610 watts; Standby mode 10 watts
Dimensions (WHD In Inches): 19-1/2 x 6-7/8 x 22-5/8
Weight (In Pounds): 42
Manufactured In Japan By:
Sony Electronics, Inc.
1 Sony Drive
Park Ridge, New Jersey 07656
Phone: 201 930 1000
S P E C I F I C A T I O N S
1 Widescreen Review • Issue 103 • December 2005 Page 1/9
larger 0.78-inch Qualia panels were said to
have a 3000:1 contrast ratio. The fill factor
is only slightly lower (90 percent versus 92
percent) on the new panels, and both have
the same 5-millisecond total (rise plus fall)
pixel response time.
The VPL-VW100 includes a new Auto Iris
system, which dynamically adjusts the iris
aperture to reduce black level and maximize
contrast based on image content. The
projector has a specified full-field contrast
ratio of 15,000:1 in the Auto Iris mode.
A new 400-Watt Xenon projection lamp
provides light with a more uniform spectral
content than the UHP (ultra high pressure)
mercury lamps used in most projectors.
Prisms split that light into red, green, and
blue beams that each reflects off one of the
1920 x 1080 pixel SXRD panels. The reflectivity
of each pixel is individually controlled
to create red, green, and blue images. The
reflected light is directed through a single
lens to create a full colored image on the
screen. The three-panel design eliminates
the need for a color wheel and the potential
rainbow color separation artifacts of singlechip
The projector includes 10-bit 480i and
1080i inverse-telecine and motion-adaptive
deinterlacing, and 10-bit scaling. Gamma
conversion and panel drivers are 12-bit.
The composite and S-video decoder is 8-
bit, while the component video analog-todigital
converter is 10-bit. The Sony DRC™
(Digital Reality Creation) processing is 8-bit.
A 16:9 screen should be used to match
the projector’s native aspect ratio.
Motorized focus, zoom, and vertical lens
shift can be adjusted from the remote control.
Manual horizontal lens shift is also provided
to adjust the picture position by up to
±0.067-times the screen width.
The data sheet indicates a 1.8x zoom
lens, but the actual zoom ratio is approximately
1.72. The lens-to-screen throw distance
for a 100-inch diagonal (87.2 x 49-
inch) screen is 10.2 to 17.5 feet. The center
of the projection lens can be mounted anywhere
within the screen height or up to
0.15-times the screen height above or
below the screen.
If necessary, the projector could be tilted
if it must be located further above or below
the screen, but that will cause the image to
keystone. Vertical Keystone Correction is
included, but it produced moiré patterns on
closely spaced vertical lines, so it should
The VPL-VW100 consumes 610 Watts,
but it is one of the quietest projectors I’ve
evaluated. The fan noise was below the 50
dB C-weighted sensitivity of my sound level
meter when measured 12 inches from the
rear (exhaust side) of the projector. What little
sound that could be heard was a soothing,
All connectors are located on one side
of the recessed bottom half of the projector
(which faces up when ceiling mounted).
There is one composite and one S-video
input for standard-definition interlaced signals,
one YPbPr component video input
(RCA connectors), one YPbPr/RGB component
video input (Input A, a 15-pin D-sub
connector), a DVI input, and an HDMI input.
The analog component video inputs
accept standard- and high-definition video
including 480i/p, 576i/p, 720p, 1080i, and
1080p24sf (segmented-frame) signals.
Input A also accepts PC signals with horizontal
frequencies of 19-72 kHz and vertical
frequencies of 48 to 92 Hz. There are 42
preset video and computer input signal formats
plus 20 user memories for additional
formats. The HDMI and DVI-D inputs accept
digital video and digital PC formats. HDCP
decryption is provided for digital video
sources with copy protection.
There are two computer ports, including
an RS-232C and an Ethernet network connector.
There is also a 12-Volt Trigger output
to control a screen, which is active whenever
the projector is on.
The 1080p60 and 1080p50 video formats
are accepted by the DVI and HDMI inputs,
but not the analog inputs. HDMI/DVI support
for those formats is an extremely
important feature. It is expected that some
high-definition DVD players will provide a
1080p60/50 HDMI/DVI output. It is not anticipated
that any HDTV source will provide
analog signals with those formats.
The 1080p24sf format is accepted by
the analog YPbPr and GBR (an alternate
designation for RGB) inputs, but not the
HDMI/DVI inputs. This is a significant omission.
The professional standard for highdefinition
film archiving is 1080p24sf, and I
hope that format will be adopted as the
native format for high-definition DVD movie
encoding. If so, we should expect high-definition
DVD players to eventually provide
1080p24sf as a digital output format.
However, the Hollywood studios may resist
that option. There are also video scalers
that produce 1080p24sf digital video signals
today, and more are under development
that will deinterlace 1080i film sources
to that format. Since the VPL-VW100
already converts analog 1080p24sf signals
to digital video for internal processing and
display, I would encourage Sony to enable
that format on the HDMI/DVI inputs.
There is no menu selection for DVI-Video
and DVI-PC levels. The default Brightness
(50) and Contrast (80) settings are correct
for DVI-Video levels. Although DVI-Video
levels should be standard for home theatre
sources, you may have a DVD player or settop
box that only provides DVI-PC levels. In
that case, you will need to calibrate the
Brightness and Contrast controls to match
the DVI-PC levels. The Brightness control
must be set higher and the Contrast control
lower for DVI-PC signals that have black at
digital code 0 and reference white (equivalent
to 100 IRE) at code 255, rather than 16
and 235 respectively for DVI-Video signals.
The DVI input only accepts digital RGB
signals. There is no user selectable YCbCr
mode for the DVI or HDMI inputs, although
the HDMI input will accept YCbCr signals
automatically when connected to an HDMI
The 24 button IR remote control is 7.25
inches long and 2 inches wide. The Light,
Input, and Power buttons are not illuminated,
but they glow slightly in the dark. The
Light button illuminates the other buttons.
There are menu and cursor buttons to navigate
and select items from the on-screen
menus, and a button that cycles through
each of the Picture adjustments. There are
dedicated up/down buttons for Brightness
and Contrast and buttons for each of the six
Picture Modes. There are also buttons that
cycle through the Lens adjustments, the
RCP (Real Color Processing) settings, Wide
(aspect ratio) modes, and the Inputs.
The on-screen menu consists of a window
with a column of six titles/icons along
its left edge––Picture, Signal, Function,
Installation, Setup, and Information. When a
title is highlighted a list of menu functions
appears in a column to the right of the
icons. Some functions provide a value to
adjust, while others open an additional submenu
in another column. Unfortunately,
there is no ability to move the position of the
menu window on screen.
The Picture menu includes Picture
Mode, Adjust Picture, RCP (Off, User 1-3),
and Color Space (Wide, Normal) submenus.
The Adjust Picture settings include
Page 2/9 www.WidescreenReview.com • Issue 103 • December 2005 2
Contrast, Brightness, Color, Hue, Sharpness,
NR (Noise Reduction––Off, Low, Middle,
High), Black Level Adjust (Off, Low, High),
Gamma Correction (Off, Gamma 1-3), Color
Temp (High, Middle, Low, Custom 1-3), and
Advanced Iris (Off, On, Auto). The Color
and Hue controls are available for all input
signal types except the computer modes.
The Black Level Adjust settings make the
picture darker, but none of the settings correspond
to the standard 7.5 IRE black level
setup used by 480i NTSC signals.
There are six selectable Picture Modes
(Standard, Dynamic, Cinema, User 1-3) that
store a complete set of the Adjust Picture
settings. The Dynamic, Standard, and
Cinema modes are preset to factory
defaults, but they can be overridden by the
user and later reset to the factory defaults if
desired. The RCP (Real Color Processing)
function is a color management system. I’ll
discuss that and the Color Space control later.
The Signal menu includes Adjust Signal,
DRC Mode (Off, Mode 1, Mode 2), Film
Mode (Off, Auto), and Overscan (Off, On)
submenus. The Adjust Signal settings
include horizontal and vertical position for
all inputs, plus Dot Phase and horizontal
size for computer signals.
The Function menu includes Auto Input
Search (On, Off), Test Pattern, Standby
Mode, and Power Saving. The Auto Input
Search selects the next available input
source when the projector’s power is turned
on or when the Input button on the remote
control is pressed. The Test Pattern mode
enables or disables an internal test pattern
while making Lens Focus, Lens Zoom, Lens
Shift, or Vertical Keystone adjustments.
When Power Saving is enabled the projector
goes into a power saving mode after 10
minutes without a signal.
The Installation menu includes Vertical
Keystone, Image Flip (Off, HV, H, V),
Blue), Lens Control
(On, Off), IR Receiver
(Front & Rear, Front,
Rear), Illumination (On,
Off), High Altitude
Mode (On, Off), and
Illumination lights the
Sony Logo on top of
the projector. High
Altitude Mode increases
the fan speed for
better cooling in thinner
air. The Network
Setting submenu is
used to set up an
Ethernet connection to
menu includes Status (OSD messages On,
Off), Language (15 choices), Input A Signal
Selection (Auto, Computer, Component,
Video GBR), DVI Signal Selection (Auto,
Computer, Video GBR), and Color System
(Auto, NTSC3.58, PAL, SECAM, NTSC4.43,
The Information menu is a list that
includes the incoming video signal parameters
(format, horizontal and vertical frequencies),
projector memory format number, and
lamp hours used.
There are four gamma modes––Gamma
Off, Gamma 1, Gamma 2, and Gamma
3––which produced average gamma values
of 2.09, 1.98, 1.88, and 2.31 respectively.
Each mode produced a fairly constant
gamma value as shown in the accompanying
I preferred the default Gamma Off mode
for viewing in the Iris Off mode, and
Gamma 3 for viewing in the higher contrast
Iris On mode, particularly when viewing
darker films. I preferred the Gamma Off
mode in the Auto Iris mode.
A Windows PC software program is provided
on CD-ROM to create custom gamma
curves and store them in the projector’s
Gamma 1-3 memories using the Ethernet
interface. The CD-ROM wasn’t included with
my evaluation product, so I wasn’t able to
try this feature.
Aspect Ratio Modes
The VPL-VW100 has a total of five
aspect ratio modes, but they aren’t selectable
for high-definition or computer signals.
The Full (16:9) mode is for displaying HDTV
(720p and 1080i/p) formats and 16:9
(anamorphic) DVDs. The Normal mode
places a 4:3 image in the center of the 16:9
screen with black sidebars. The Zoom
mode is used to display 4:3 letterboxed pictures,
which are expanded by the same
ratio in the vertical and horizontal directions
to fill the width of the screen. The Wide
Zoom mode expands full frame 4:3 pictures
to fill the width of the screen while slightly
compressing the top and bottom of the picture
to keep the center of the picture area in
proportion. The Subtitle mode compresses
the subtitle area vertically.
The vertical position of the image can be
adjusted in the Zoom and Subtitle modes.
The height of the subtitle area can be
adjusted in the Subtitle mode.
An AccuPel HDG-3000 Calibration generator
(www.accupel.com) was used to generate
test patterns for measuring contrast
ratio, gray scale, and color accuracy. The
optimum black level (Brightness control)
was set with a PLUGE pattern. Gray scale
was calibrated with the Contrast control set
to the projector’s default value (80).
The VPL-VW100 has three preset (High,
Medium, and Low) and three Custom color
temperatures. The preset 70 IRE color temperatures
measured 7850, 6625, and 5330
for the High, Medium, and Low modes. The
dE (delta-E) gray scale deviation from the
D65 (x = 0.3127, y = 0.329) white reference
target in the Medium color temperature
mode was four or less from 10-100 IRE.
I re-calibrated the gray scale to produce
exactly D65 (dE 0) at 70 IRE, with a maximum
dE deviation of three at 100 IRE. A dE
of three at 100 IRE is usually imperceptible
under normal viewing conditions.
Lamp And Iris
There are two fixed iris modes (On, Off)
and a dynamic iris (Auto) mode. When the
iris aperture is reduced, the contrast ratio
improves at the expense of brightness. The
Iris Off mode has the largest aperture size,
and therefore, the lowest contrast ratio. The
Iris On mode has a smaller aperture size
and a higher contrast ratio. The Auto Iris
mode has the same maximum iris size as
the Iris Off mode and a smaller minimum
aperture size than the Iris On mode.
Unfortunately, there is no lamp power
control to change the projection lamp
brightness, which could be used to maintain
a relatively constant brightness over the
lamp life. The expected lamp life is 2,500
hours, and the 400-Watt Xenon lamp
replacement price is $999.
G A M M A C H A R T
3 Widescreen Review • Issue 103 • December 2005 Page 3/9
Black Level And
When calibrated to D65 as described
earlier, the projector produced 539 lumens
in the Iris Off mode with a full-field (on-off)
contrast ratio of 3010:1. That’s equivalent to
24.6 fL (foot-Lamberts) from my 85.3 x 48-
inch, 1.3 gain Stewart Filmscreen, with a
black level of 0.0082 fL. That is a much better
full-field contrast ratio than I have measured
from any other LCoS projector, and almost
twice the best contrast ratio of the Qualia 004
with a similar gray scale calibration.
In the Iris On mode the projector produced
244 lumens, which is equivalent to
11.2 fL from my screen. The full-field contrast
ratio measured an outstanding 5290:1,
which produced a black level of 0.0021 fL.
The best contrast ratio that I had previously
measured on a HD2+ DarkChip3™ DLP projector
was 4390:1, but it produced considerably
more brightness. In this case, the
brightness is already below the SMPTE recommended
12 fL for digital cinema, so a
higher gain (or smaller) screen will be
required for the Iris On mode.
In the Auto Iris mode, the projector produced
a maximum 538 lumens, which is
equivalent to 24.6 fL from my screen. The
full-field contrast ratio measured 16,700:1,
which produced a black level of 0.0015 fL.
The contrast ratio for the Auto Iris mode surpassed
the 15,000:1 published specification.
However, the Auto Iris contrast ratio
requires further explanation because the
maximum brightness and the minimum
black level are measured with different iris
apertures. I’ll explain that later when I discuss
the Auto Iris performance.
The projector had 88 hours of lamp
usage when I made the brightness and
contrast measurements, and a lamp will
lose about 40 to 50 percent of its brightness
over its life. If we guess that this lamp had
lost about 10 percent of its initial brightness,
it would have originally produced about 27
fL on my 1.3 gain screen in the Iris Off and
Auto Iris modes. Based on that assumption,
the lamp would reach 12 fL at 50 percent
brightness on a 91-inch wide, 1.3 gain
screen. A higher gain would be required for
a larger screen.
The full-field contrast ratio is crucial for
LCD and DLP projectors because it determines
the absolute blackest level in dark
scenes when a projection system is set to
the desired peak-white brightness in bright
scenes. A small increase in the absolute
black level will severely reduce contrast and
shadow detail discrimination in predominantly
Another important performance parameter
is intra-image contrast, which describes
the ability to see contrast differences when
there are bright objects nearby darker
objects. The intra-image contrast ratio is
much lower than the full-field contrast ratio,
because light from bright objects will be
scattered over the image obscuring darker
objects. The light scattering occurs within
the lens and the optical system of the projector,
but it may also occur within your theatre
as light reflects around the room and
back onto the screen.
My modified “ANSI” contrast ratio is a
figure-of-merit to characterize intra-image
contrast performance. It is designed to minimize
the influence of room reflections and
other variables that would affect measurement
accuracy. The modified “ANSI” contrast
ratio measured 213:1. This is not as
high as many DLP projectors, but it is a
very respectable number that surpasses the
performance of CRT projectors.
White Field Uniformity
Brightness uniformity on a white-field
test pattern in the Iris On mode varied by
only 9 percent or less at the sides and
three-percent or less at the top and bottom
of the screen. In the Iris Off mode, the
brightness uniformity varied by 17 percent
or less at the sides and seven-percent or
less at the top and bottom of the screen.
The color temperature uniformity varied by
only 180-Kelvin in the Iris On mode and
140-Kelvin in the Iris Off mode.
The 1080i DVI RGB primary and complementary
color measurements are shown
in the CIE u’,v’ diagram relative to the standard
Rec. 709 high-definition colorimetry.
The CIE u’,v’ diagram, which provides a
more perceptually uniform presentation of
color space than a CIE x,y diagram, shows
that the primaries are slightly more saturated
than the standard. The hue of the complementary
colors is excellent, but the yellow
hue is shifted slightly toward green in
the Normal Color Space mode as shown in
the second CIE diagram.
The RCP (Real Color Processing) function
easily adjusts the hue and intensity of
the complementary colors, or the intensity
of the primary colors. But, unlike some color
management systems, it provided little control
over the saturation of those colors, or
the hue of the primaries. Therefore, it couldn’t
be used to match the primary colors to
the Rec. 601 or Rec. 709 standards. I used
the RCP controls to shift the yellow complementary
color to the correct hue, but only
for the Normal mode.
The overall hue accuracy was extremely
good, but colors appeared slightly more
saturated than intended. Although this represents
a chromatic inaccuracy, many viewers
prefer somewhat more vivid colors as
long as the flesh tones are correct. In this
case, the flesh tones are excellent.
Enabling the RCP function shifted the
gray scale significantly even though all of its
controls were set at default values, so I had
to make another custom gray scale to use
when the RCP function was enabled.
The CIE u’v’ diagram for 1080i analog
YPbPr signals isn’t shown because it is virtually
identical to the 1080i DVI RGB diagram.
That indicates that there are negligible
gain errors in the analog to digital video
conversion path, and that the high-definition
YPbPr to RGB color decoding matrix is
Because the standard-definition color
gamut is smaller than the high-definition
color gamut, the positions of the red and
blue primaries are farther outside the
SMPTE-C (Rec. 601) primaries than the
Rec. 709 primaries. This is shown in the
third CIE diagram. Therefore, DVDs are
more saturated than intended, but flesh
tones still looked natural, and I seldom
needed to reduce the Color saturation control,
unless the DVD transfer itself was oversaturated.
The menu provides a choice of two color
spaces––Wide and Normal. In the Qualia
004 the Wide/Normal Color Space control
shifted the color gamut by creating pseudo
primaries (by mixing the native primaries)
that more closely matched the Rec. 709
(HDTV) primaries. In this case the native
primaries are again more saturated than the
Rec. 709 primaries, but the Color Space
control didn’t shift the u’v’ colorimetry position
of the primaries. Instead, the Normal
mode reduces the brightness (intensity) of
the primary colors. Brightness is often confused
with saturation, but they are completely
different characteristics. A color’s
saturation is proportional to its distance on
the CIE diagram from the D65 reference
white. A color’s hue is approximately the
angle at which the color lies in a circle
around the D65 reference. But, brightness
is not shown on the CIE diagram at all.
Brightness is a third dimension perpendicular
to the CIE diagram plane.
The Wide mode produces the correct
color brightness according to the standard
color decoder equations. The Normal mode
reduces the intensity of the red primary significantly,
the intensity of the blue primary
less significantly, and the intensity of the
green primary only slightly. Hence, the
Normal mode can be used to reduce the
red intensity in some oversaturated sources
while barely reducing the intensity of other
Page 4/9 www.WidescreenReview.com • Issue 103 • December 2005 4
colors. This provides an alternative to using
the Color saturation control, which reduces
the saturation of all colors proportionally.
The Color Saturation control may be the
best way to compensate for the oversaturation
when watching DVDs, but the Normal
mode may be a good choice for some
1080i broadcast programs.
Both 1080i and 1080p analog and digital
signals were displayed with zero overscan.
Each source pixel was mapped to a single
pixel on the display,
but there was also
some faint outlining
around horizontal and
vertical lines. Even
though there was a
1:1 pixel mapping,
the spatial “pixel perfection.”
about 1 pixel of outlining
lines and 2 pixels of
outlining below horizontal
were also 2 pixels of
outlining on either
side of vertical edges.
These effects were
apparently caused by
although the Sharpness control was turned
The outlining above and below horizontal
lines can be eliminated by controls in the
service menu, which disable the vertical
detail enhancement completely, or allow it
to be reduced or increased. But, I wasn’t
able to find similar controls to disable what
appeared to be the slight residual horizontal
detail enhancement from the sharpness
The AccuPel multiburst test pattern
demonstrates that this projector can easily
resolve the maximum 1920 pixels-per-picture-
width resolution of the 1080i and
1080p video formats. Single-pixel black
and white lines are displayed with exceptional
contrast using digital signals, and
nearly as well using analog signals. The
multiburst lines are sharper, and the contrast
depth is much better than I have seen
on a CRT projector.
However, edges are slightly softer on
this projector than the Qualia 004. The gaps
between individual pixels are more clearly
visible on the Qualia, which is likely the
result of a higher quality lens with a better
MTF (modulation transfer function). The
new, smaller panel may also be a factor.
Regardless of the reason, high-definition
images appear slightly softer and more like
a CRT projector, although they are still considerably
sharper than a CRT projector.
I compared the VPL-VW100 with a
recent Qualia 004. Both projectors exhibited
slight color fringing on vertical lines, which
may have been caused by a fraction of a
pixel of horizontal panel misalignment, or
some other effect within the optical system.
But, it wasn’t a result of chromatic aberration
within the lens.
Scaling And Overscan
All signals other than 1080i or 1080p
must be scaled to the native 1920 x 1080
pixel resolution of the projector. The horizontal
and vertical positioning can be
adjusted for all signals in the Signal Adjust
P E R F O R M A N C E
5 Widescreen Review • Issue 103 • December 2005 Page 5/9
With Overscan in the Picture menu set to
off, there was no overscan of 1080i and
720p digital or analog signals. There was
also no overscan for 480p analog signals. I
think this was the first time I’ve had a projector
with no overscan for so many signal
types. For 480p digital signals there was
one-percent overscan on each side; none
at the top or bottom. For 480i analog and
digital signals overscan was 0.5-percent at
the top, zero at the bottom, and 0.5 to twopercent
at the sides.
When Overscan is turned on, the overscan
was 2.5 percent on each edge of 1080i
and 720p signals, and 3.5 to 5 percent overscan
on the edges of 480i and 480p signals.
There is also an additional Overscan
option for 1080i/p signals called the Through
mode, which blanks 2.5 percent from the
top, bottom, and sides of those signals. I
don’t see much use for that mode since the
visible image would no longer fill the screen.
The 720p scaling produced two (1080p
native) pixels of faint outlining above and
below horizontal lines, and two to four pixels
of outlining around vertical lines. The 480i
and 480p scaling produced two pixels of
faint outlining around vertical lines, and two
to three pixels of outlining above and below
The VPL-VW100 includes inversetelecine
deinterlacing for 480i and 1080i
film sources and motion-adaptive deinterlacing
for 480i and 1080i original interlaced
When the Film mode was set to Auto,
the projector switched seamlessly between
inverse-telecine and motion-adaptive deinterlacing
for the film and video segments of
the Video Essentials Montage of Images.
There were no combing artifacts at the segment
transitions, and the film mode deinterlacing
immediately locked onto the 3-2 field
pulldown cadence that results from transferring
24 frame-per-second film to 60 fieldper-
second interlaced video. It then merges
the video fields that originated from the
same film frames. This is the ideal method
to produce progressive video from film
sources. It eliminates interlaced line twitter
and avoids vertical interpolation in the deinterlacing
process, which would soften the
video image. However, I did notice a few
instances of line twitter at cadence breaks
while watching DVD movies.
I also use the Video Essentials “Montage
Of Images”––which includes difficult to
deinterlace original interlaced video segments––
to evaluate standard-definition motionadaptive
deinterlacing. Although every
motion-adaptive deinterlacing implementation
is different, there are always tradeoffs
between line twitter, jaggies (static or moving
stair-steps on edges) and image resolution.
In this case there were no jaggies on
the bobbing frozen branch, and there was
excellent clarity with minimal jaggies during
the zoom into the large leafy tree. But this
motion-adaptive deinterlacing does not
have directional interpolation, and there
were considerable jaggies on the rippling
flag and severe jaggies on the street lamp
supports after the underpass. The zoom out
of the city produced moderate line twitter
and flickering in the building windows.
Overall, the performance was about average,
with a little better resolution and a few
more jaggies than the more common standard-
definition deinterlacing solutions with
The projector’s 1080i motion-adaptive
deinterlacing is a major improvement over
current generation external processors that
only have vertical interpolation to scale
1080i fields (1920 x 540) into 1080p frames.
Vertical interpolation acts as a filter, reducing
vertical resolution and softening the
image. The projector’s 1080i motion-adaptive
deinterlacing applies vertical interpolation
only in image areas that are in motion,
and merges field information in static areas.
The 1080i inverse-telecine deinterlacing
for film sources worked exceptionally well to
remove line twitter and maximize vertical
resolution for movies. Annoying line twitter
was eliminated as a camera moved over a
park bench in the 1080i D-Theater™ transfer
of X-Men. A recently reviewed standalone
video processor with 1080i inverse-telecine
deinterlacing was not able to pass that test.
The VPL-VW100’s 1080i inverse-telecine
and motion-adaptive deinterlacing easily
exceeds the 1080i deinterlacing of most
current generation standalone video
processors, but the next generation of video
processors will also have 1080i inversetelecine
and motion-adaptive deinterlacing. For
more technical information about deinterlacing
read my “Video Processing––A Deinterlacing
Tutorial” article in Issue 102 (November
2005) of Widescreen Review.
I still get asked if there is any substantial
value in using a 1080p projector for DVD
viewing. Indeed there is. The 1920 x 1080
pixel resolution delivers a smoother and
slightly sharper DVD image than 720p
native projectors. Even though the DVD resolution
is only 720 x 480 pixels, the projector’s
higher pixel density permits its scaler to produce
shorter horizontal and vertical edge
transitions, which improves the perception
of image sharpness. The denser pixels also
produce smaller jaggies (stair-steps) on edges,
which makes the image appear smoother.
In addition, there is no screen door effect
(pixel grid visibility) in the image.
It’s become a tradition that the first DVD
I view on a new projector is the Columbia
Tri-Star Superbit™ version of The Fifth
Element. It’s a reliable reference that I have
studied extensively on a multitude of displays.
It revealed that the projector’s ability
to delineate fine lines and structural detail is
exceptional. The thin lines in the second
shot of the graph paper in the first scene
are an excellent demonstration of the value
of a 1080p projector for viewing DVDs. The
superior image clarity and sharpness is evident
throughout the film. Even more impressive
examples of the projector’s superior
image definition are the exquisite black and
white images during the opening montage
in Woody Allen’s Manhattan.
Colors were somewhat more saturated
than they would be with a standard SMPTEC
color gamut, but that will be seductive for
most viewers. Leeloo’s hair in The Fifth
Element was slightly more vivid than usual,
but it wasn’t distracting, and her skin tones
were perfect. Leeloo’s entrance into
Fhloston Paradise was glorious amidst the
vibrant red and orange hues. The fields of
the Shire, in The Lord Of The Rings: The
Fellowship Of The Ring were luscious, but
the green in the cornfields was a bit darker
and more saturated than expected. The
garish colors in Austin Powers: The Spy
Who Shagged Me were even more brilliant
than usual, but the skin tones remained natural.
The flesh tones in the DVD transfer of
The Thomas Crown Affair (1999) were
slightly too red, so I normally reduce the
Color saturation control of most projectors.
In this case, another option is to use the
Normal Color Space, which reduces the red
intensity without reducing the saturation of
the color gamut. A finer adjustment could
also be made with the RCP function.
The gray scale was excellent, even in
the Auto Iris mode. The white field uniformity
was also very good. If there are color
temperature variations in gray scale or
white field uniformity they are easily visible
on monochrome films. Woody Allen’s
Manhattan, the superb DVD transfer of The
Day The Earth Stood Still, and Stanley
Kubrick’s classic Dr. Strangelove or: How I
Learned to Stop Worrying and Love the
Bomb were splendidly rendered in glorious
black and white, without noticeable color
I was particularly impressed by the projector’s
ability to produce natural images that
were free from dithering and other spurious
pixel artifacts. Its 1920 x 1080 pixel resolution
neither emphasized film grain, nor exacerwww.
Page 6/9 .WidescreenReview.com • Issue 103 • December 2005 6
additional affect on the image depth.
In the Iris Off mode there is some haze
over dark scenes. That is also true for all
but the very best HD2+ DarkChip3 projectors.
It isn’t too distracting in predominately
bright films, but the haze and lack of contrast
is significant in films with dark scenes
such as Manhattan, Star Wars, and American
Graffiti. Nevertheless, the Iris Off mode is
satisfactory for many movies, TV series,
broadcast sports, and late night talk shows.
In the Iris On mode, the full-field contrast
ratio increases to 5290:1, which is the best I
have measured for any fixed-pixel projector.
In addition, the 218:1 modified ANSI intrafield
contrast ratio is better than any CRT.
However, the lower light output requires the
use of a smaller or higher gain screen. For the
purpose of this review I reduced the screen
width to 82 inches, which produced 12 fL.
The difference between the Iris On and
Iris Off modes is dramatic. In the Iris On
mode, the haze in the dark scenes of
Manhattan and Back To The Future is virtually
eliminated. There is still a subtle veil
over the star fields and darkest interior
scenes in Star Wars and Dark City, but they
look better than I have ever seen before on
a fixed-pixel projector. There is also better
image depth in moderately dark scenes.
If you audition this projector in a dealer’s
showroom, you will probably switch back
and forth between the Iris On and Iris Off
modes. That will allow you to see the haze
disappear and experience the better image
depth in dark scenes. But you will also see
more than a 2:1 difference in brightness
between those modes. It is very difficult to
ignore that brightness difference, even if
you are an experienced observer. The additional
“punch” of the brighter screen is alluring
during short viewing sessions and when
making direct A/B comparisons. If you want
to determine which of the fixed iris
modes you really prefer, I encourage
you to spend an hour or more
watching the projector in one
mode and then the other, preferably
in separate sessions. Then
decide which mode you would
use, and that will affect your
choice of screens. Some viewers
do prefer a brighter picture with
more “punch,” but I prefer better
contrast as long as the minimum
screen brightness (12 fL) can be
maintained over the life of the
Of course, it’s the Auto Iris
mode that has captivated the
attention of enthusiasts and sent
expectations soaring. Sony advertised
a 15,000:1 contrast ratio,
and they have handily surpassed
that mark with a 16,700:1 contrast ratio. But
this number must be interpreted a little differently
for a dynamic iris than it would be
for a fixed iris. It expresses the ratio of the
maximum (calibrated reference white)
brightness you will see in the brightest
scenes, to the black level in the darkest
scenes. But as I will explain shortly, that
maximum brightness is not often available.
However, the ratio of the dynamic iris contrast
ratio to the fixed iris contrast ratio,
describes the amount of image contrast
improvement that the dynamic iris should
ideally provide in the darkest scenes.
Therefore, the Auto Iris should provide up to
a 5.5x improvement in actual image contrast
in the darkest scenes compared to the
Iris Off mode, or a 3.2x improvement compared
to the Iris On mode.
The examples that most dramatically
reveal the benefits of the dynamic iris are
the star fields that are so prominent in sci-fi
films. In the opening scene of Star Wars, the
film’s title shrinks and recedes into the stars.
When you view this scene in the Iris Off
mode the stars are fairly bright, but they are
set against a hazy background. When you
switch to the Iris On mode, the dark haze is
dramatically reduced, but the brightness of
the stars is also reduced, just not quite as
much as the black level. Many of the stars
are barely visible and the scene appears
veiled. When you switch to Auto Iris, the
surrounding space becomes even darker,
and the brightness of the stars is restored to
approximately the brightness they had in
the Iris Off mode. Then the scene looks much
as it does on a CRT front projector. The different
brightness levels and sizes of the
stars are clearly revealed, and many more
stars are plainly visible. The image is suddenly
convincing. The difference is similar to looking
at the night sky through the glare of city
bated MPEG artifacts. The complex patterns
on Austin Powers’ blue coat in the London
street scene were as free of MPEG mosquito
noise as I have seen. The 10-bit and 12-
bit video processing produced noise-free
images and avoided contouring (discrete
brightness steps in patterns like a topological
map) in dark scenes. The AccuPel 1 to
10 IRE grayscale pattern was free of noise
and demonstrated excellent near-black linearity.
Perhaps most importantly, there was
no fixed-pattern vertical banding, which has
been a significant problem for LCoS projectors.
The smooth, noiseless SXRD images
were much like CRT and film projection.
The VPL-VW100 is effectively three different
projectors, depending on which Iris
mode you choose.
In the Iris Off mode the contrast ratio
measured 3010:1, and the projector produced
24.6 fL on my screen. To put that in
perspective, the Qualia 004 produced 18.5
fL with a contrast ratio of 1650:1 in its maximum
lamp power, best contrast mode, and
with a little more gray scale variation.
Therefore, even in the Iris Off mode the
VPL-VW100 should be expected to display
better contrast and image depth than the
Qualia 004, and it did.
In the Iris Off mode the VPL-VW100 displays
very good three-dimensionality and
image depth in moderately bright scenes,
which was a quality lacking in the Qualia.
The full-field contrast ratio is high enough
that the intra-field contrast ratio (as
described by the modified ANSI contrast
ratio) limits the perception of image depth in
brighter scenes. This is evident as Leeloo
jumps from the ledge in The Fifth Element.
The higher contrast ratio modes have little
G R A Y S C A L E T R A C K I N G
Gray Scale Tracking 1080i
IRE Factory Calibrated Factory Calibrated
°K °K dE dE
10 6465 6514 3 3
20 6605 6602 3 2
30 6730 6666 4 2
40 6685 6586 4 3
50 6665 6524 3 3
60 6640 6539 2 1
70 6625 6492 2 0
80 6580 6477 1 2
90 6590 6470 1 2
100 6570 6464 1 3
7 Widescreen Review • Issue 103 • December 2005 Page 7/9
lights versus looking at the stars on a cloudless
night miles from civilization.
The Auto Iris provides a dramatic
improvement in virtually all dark scenes.
When the droids are imprisoned in the Jawa
transporter there is substantial bright image
detail, but the background is hazy, which
obscures image definition and depth in the
Iris Off mode. In the Iris On mode the black
level is lower and the haze is gone, but the
detail is also darker, so the image is still
partially veiled. But in the Auto mode the
detail is brightened to its original levels and
the image contrast is much improved.
The dynamic iris produces marvelous
images in dark scenes, but there is a price
to pay for this performance. An ideal Auto
Iris would always maintain the same image
brightness that is produced in the Iris Off
mode, but that’s not possible. The iris aperture
would be fully open whenever there is a
peak brightness signal, and then reduce to
minimum size to lower the black level in the
darkest scenes. At an intermediate scene
brightness the iris aperture would be partially
reduced to improve the contrast in
those scenes. However, image brightness is
also reduced when the iris aperture is
reduced, so the signal levels must be
increased to maintain the original brightness
levels. But it’s impossible to produce
the original maximum brightness level when
the aperture is reduced, and as the aperture
is made smaller the peak brightness
that can be created becomes lower. So, to
maintain the original brightness levels in the
darker areas, the brightest levels must be
compressed to avoid clipping as the aperture
size is reduced. In effect, the contrast
in bright areas is reduced for improved contrast
in dark areas. When the iris aperture is
reduced in scenes that have very bright
areas there is a substantial “brightness
compression” artifact as the brighter levels
are compressed together and bright detail
The trash compactor scene in Star Wars
is an example of a moderately dark scene
where the contrast is considerably improved
without significant brightness compression.
But, in the opening scene of Star Wars, after
the star cruiser flies by, there is brightness
compression in its engine nozzles. There is
detail within the engine nozzles using the
Iris On or Iris Off modes, but when the Auto
Iris mode is enabled that detail disappears,
and there is a white glare surrounding the
engines. A more dramatic example of
brightness compression occurs as the first
battle is about to take place on the ship.
The fixtures lining the white interior walls are
visible through most of the scene, but just
prior to the storm troopers bursting through
the door the fixtures are almost completely
obscured by brightness compression. If you
watch this scene, you can’t miss it, because
suddenly the fixtures on the wall practically
disappear when the Auto Iris is enabled.
These examples illustrate that, in some
cases, you may not realize that the image
has been degraded unless you have previously
seen it without the Auto Iris mode
enabled. In the last example, the brightness
compression is unmistakably obvious.
The most common situations that produce
severe brightness compression are
brightly lit background windows, lamps, and
light fixtures. In the opening scene of Back
To The Future, the detail in the brightest
windows in Doc’s lab is obscured, but the
detail in the darker windows is mostly unaffected.
Later, the bright white portion of the
Twin Pines Mall sign blurs the edges of the
green pine trees on the sign and narrows
the lettering on the sign. On the other hand,
the contrast in the wet parking lot is
improved, as is the contrast in many other
scenes, including when Marty plows the
DeLorean into Peabody’s barn and the
farmer stands at the doorway holding a
bright lantern. The bridal suite scene at the
beginning of Austin Powers: The Spy Who
Shagged Me provides examples of how
brightness compression affects lamps and
For every example of brightness compression
there are more examples where
the Auto Iris produces virtually CRT quality
images. Dark City looks incredible, as I
have never seen it before on a fixed-pixel
projector. Manhattan also looks spectacular,
with an exceptional black level and excellent
contrast as Woody and Michael Murphy
walk along the street after leaving Elaine’s.
There are some occasional examples of
brightness compression, but they are surpassed
by the improved contrast and
image depth throughout the film.
The Auto Iris is controlled by sophisticated
video processing algorithms. For each
frame of video the aperture size and the
electronic gain shaping appear to be a
function of the peak, minimum, and average
brightness, and the distribution of brightness
within the current and prior frames. The
objective is to produce the best perceptual
contrast while limiting visual artifacts, which
include visibility of brightness compression
and fluctuating brightness and black-levels.
I was very impressed that the action of the
iris aperture was not fooled by subtitles or
rapid changes in scene brightness. There
are more than two dozen parameters that
control the Auto Iris algorithms, and they
include such factors as the rate that the
aperture changes when going from bright to
dark scenes, and separately the rate the iris
changes from dark to bright scenes. I do
think Sony has been a bit too aggressive in
setting the parameters of the Auto Iris algorithms
to improve the image contrast at the
expense of brightness compression, but a
technical discussion of those parameters is
beyond the scope of this review. For now a
user can only modestly reduce brightness
compression by lowering the Contrast control
setting, which of course also reduces
picture brightness and image contrast.
The innovative dynamic iris has excellent
potential, but I would like to have additional
Auto Iris modes with less aggressive contrast
improvement to reduce brightness
compression. I would also like more fixed
iris modes. Why not allow each of the
dynamic iris aperture sizes to be selected
as a fixed iris? Then each user could pick
the aperture that produced the best combination
of brightness and contrast for their
I used the DVI digital video output from
a high-definition set-top box and the HDMI
digital video output from a JVC HM-DH5U
D-Theater™ VCR for most of my HDTV viewing.
There is sufficient enough high-frequency
content in 1080i network broadcasts and
D-Theater movies that digital signals produce
the clearest detail. The projector does
an excellent job of digitizing 720p and
1080i (or 1080p24sf) analog signals, but
unnecessary digital-to-analog conversion in
the source followed by analog-to-digital
conversion in the projector will inevitably
reduce image quality.
I watched a variety of HDTV broadcast
programming, and I would select NBC’s Las
Vegas as the ultimate high-definition eye
candy. The sets and attire were dazzling on
the VPL-VW100, with brilliant colors that
seemed to span the projector’s entire color
gamut. Picture clarity was outstanding with
spectacular image detail. CSI Miami on
CBS was almost as stunning, with a vivid
color palette, dramatic contrast, and superb
resolution. Line twitter and jaggies from
deinterlacing were essentially non-existent,
and there were few objectionable MPEG
artifacts. The choice of iris mode was not
much of a factor for those programs, but
the Auto Iris mode was an improvement for
the darker Law & Order series.
The projector provided good 720p to
1080p upconversion for ABC programming,
but the programs that I sampled were no
match for the picture definition of the NBC
and CBS series. The difference is much
more apparent on the 1080p projector than
it is on 720p projectors.
NBC’s Tonight Show With Jay Leno and
Late Night With Conan O’Brien are superlawww.
Page 8/9 .WidescreenReview.com • Issue 103 • December 2005 8
impressively, the slight haze that covered
the darkest scenes on other 1080p projectors
was eliminated by the Iris On and Auto
Iris modes. The Auto Iris mode produced
the best image contrast, but there was
some brightness compression in lamps and
windows. U-571 exhibited an extremely
detailed picture, and the dark submarine
interiors looked excellent using the Iris On
mode, and even better using Auto Iris
mode. The 1080i film mode deinterlacing
worked flawlessly for the D-Theater movies.
It eliminated line twitter and provided
The Sony VPL-VW100 1080p SXRD front
projector ($9,999) is a breakthrough product
that will have a major impact on the
home theatre industry. It shatters the previous
$30,000 price barrier for 1080p front
projectors, and it will undoubtedly inspire a
new pricing structure for 720p DLP projectors.
But its impact goes beyond price. It
also shatters the contrast ratio barrier that
had disadvantaged 1080p LCoS-based
front projectors. It provides a choice of
three contrast/brightness modes––a high
brightness mode with the best contrast of
any 1080p front projector, a low brightness
mode with better contrast than any DLP
projector I’ve reviewed, and a dynamic Auto
Iris mode that trades some brightness compression
for CRT-like contrast in dark
scenes. The Sony VPL-VW100 also includes
1080i inverse-telecine and motion-adaptive
deinterlacing to extract the maximum image
quality from high-definition movies and
Almost two years ago I posed the following
question in my Sony Qualia 004
review––which will come first, a 1920 x 1080
DLP front projector, or an SXRD projector
with a 3000:1 contrast ratio? We finally have
the answer, but I never imagined it would
be priced at $9,999. The DLP manufacturers
will now have to accelerate their efforts
to catch up in price and performance––and
that competition will benefit all of us. ■■
tive examples of 1080i video broadcasting.
They are a nightly showcase for 1080p projectors
and provide an excellent test of
1080i motion-adaptive deinterlacing. Line
twitter and jaggies were minimal as cameras
panned and moved vertically. The
color was brilliant on both shows, and flesh
tones appeared perfect. Conan appeared
to have slightly better sharpness and definition,
perhaps because it transitioned to
high-definition well after Leno. The studio
lighting produced excellent brightness and
contrast for both shows, but the Auto Iris
mode eliminated haze in the dark background
during Conan’s monologue compared
to the Iris Off mode. However, the
Auto Iris mode produced severe brightness
compression on the white clothing of one of
D-Theater film transfers were superb on
the VPL-VW100. The Haunting looked marvelous
with warm, vividly saturated colors
and accurate flesh tones. It rendered the
intricate detail in the wall carvings and floor
designs with extraordinary clarity. But most
9 Widescreen Review • Issue 103 • December 2005 Page 9/9
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her er teksten fra widescreenreview. omtrent like morsomt som å lese på en melkekartong. det er betydelig mer opplysende når man abbonnerer og får med seg grafer og bilder
krediterer selvfølgelig widescreenreview for teksten
11-03-2005, 10:49 #14
- Medlem siden
- Dec 2002
- Takk & like
- 10 post(er)
WOW, har ikke fått tid til å lese hele, men fikk med meg;
-Inverce telecine av 1080i
-Høyere kontrast enn han har målt fra noen projektor tidligere
-Noe lavere lysutbytte ved samme kontrastmåling enn en ekte on/off DLP-kontrast, som muligens vil kompenseres noe ved at de benytter en Xenon pære som gir bedre hvitbalanse
Med irisen deaktivert, er allikevel panelkontrasten svært høy (ca. 3000:1), og det er mulig derfor å selv velge hva en foretrekker... Jeg er nok tilhenger av maksimalt sortnivå, og når jeg leser beskrivelsen av StarWars med irisen på auto, føler jeg med ganske stor sikkerhet at denne settingen er tingen for meg...
Nå skal det jo sies at BenQ 8720 nå er "oppgradert" til 10.000:1 med fast iris (ikke målt på Sony vis, der de måler maks sortnivå med irisen på maks, og maks lysutbytte med irisen av, som jo ikke er mulig å oppnå i samme scene), som jo er svært imponerende...
Ingen regnbuer, inverce telecine av 1080i og ikke minst 1920x1080 gjør allikevel valget enkelt for min del...
11-03-2005, 17:23 #15
Skulle gjøre valget enkelt for de fleste det gitt. :wink:Mvh Gorm
ISF / THX kalibratør
projektor, TV, grading-monitorer, display
11-03-2005, 17:26 #16Opprinnelig postet av Gorm
11-03-2005, 19:07 #17
Jeg gleder meg virkelig til å få sett Ruby (Når enn det blir), og har etter det jeg har lest troen på at den er den desidert råeste digitale projektoren idag.
Litt OT: Hva er det som gjør at BenW har oppgradert specen til 10000:1 ?
11-03-2005, 19:24 #18
Jeg lurer på om de gutta i cine4home klarer å sette sammen projektorene igjen? Får man ikke støv og slikt i dem da? Hva sier produsentene til at de skrur fra hverandre en projektor til 100k? Litt sykt spør du meg..
11-03-2005, 23:57 #19Opprinnelig postet av Soundfre@k
For meg virker det som om denne projektoren knuser den eksisterende prispolitikken på high-end projektorer. Er det noen av dere som vet hvordan PD Action modell three skal prises?
Noen som vet når den blir tilgjengelig i Norge. Uke 47 er nevnt, men jeg aner at den blir utsatt. Det er sikkert ikke så mange steder i landet som kommer til å tilby demo av denne heller...
11-05-2005, 23:34 #20