Vpl-vw 100 Første Test!!

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  1. #1
    Intermediate J.P sin avatar
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    Vpl-vw 100 Første Test!!

    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.

    http://www.widescreenreview.com/

  2. #2
    Intermediate robertaas sin avatar
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    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.

  3. #3
    Intermediate J.P sin avatar
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    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.

  4. #4
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    Det er bare å abonnere folkens, WSR er et meget bra magasin. Forøvrig er jo denne testen meget interessant å lese :smile:

  5. #5
    Intermediate Rusty sin avatar
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    Hvordan klarer Ruby seg mot CRT?står det noe om det i testen?
    Er litt spent på det.

  6. #6
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    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.

  7. #7
    Intermediate Rusty sin avatar
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    Ja,har lest litt på avsforum nå,de sier det samme.

  8. #8
    Intermediate TorAtle sin avatar
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    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!!

  9. #9
    Intermediate robertaas sin avatar
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    Sitat Opprinnelig postet av TorAtle
    Alternativt komme med noen gode meditasjonstips for å gjøre ventetiden kortere!!
    Ta deg en tur ut og nyt en gratis forestilling i 3D-naturalvision med lukt, temperatur og vind. En helt utrolig detaljrikdom og naturlig farvegjengivelse helt fri for uønskede regnbuer, VB og hakkete panoreringer. Lyden er også i 3D med bedre kvalitet enn både DVD-Audio og SA-CD.

    Av og til må man ha absolutte referanser.

  10. #10
    Intermediate TorAtle sin avatar
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    Sitat Opprinnelig postet av robertaas
    Ta deg en tur ut og nyt en gratis forestilling i 3D-naturalvision med lukt, temperatur og vind. En helt utrolig detaljrikdom og naturlig farvegjengivelse helt fri for uønskede regnbuer, VB og hakkete panoreringer. Lyden er også i 3D med bedre kvalitet enn både DVD-Audio og SA-CD.

    Av og til må man ha absolutte referanser.
    Gjorde som du sa og tok en tur på Ullevål for å se Enga og RBK. Detaljrikdommen var riktignok utrolig, men senterkanalen må ha vært grovt miskalibrert. Dommeren hørtes utrolig tydelig og han syntes å komme minst i stereo et sted rett bakfra. Jeg synes også han brukte mange ukvemsord til dommer å være, skulle nesten tro han hadde enga-briller på.

    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 :-)

  11. #11
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    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?

  12. #12
    Intermediate J.P sin avatar
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  13. #13
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    Sony
    VPL-VW100
    1080p SXRD™ Front Projector
    Price/Performance Breakthrough
    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
    gem.
    Description
    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.
    Technology
    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
    industry.”
    Features
    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)
    General
    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
    Price: $9,999
    Manufactured In Japan By:
    Sony Electronics, Inc.
    1 Sony Drive
    Park Ridge, New Jersey 07656
    Phone: 201 930 1000
    www.sony.com
    S P E C I F I C A T I O N S
    Greg Rogers
    1 Widescreen Review • Issue 103 • December 2005 Page 1/9
    EQUIPMENT Review
    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
    DLP projectors.
    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.
    Set Up
    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
    be avoided.
    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,
    rushing sound.
    Connections
    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.
    1080p Inputs
    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.
    DVI Compatibility
    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
    source.
    Remote Control
    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.
    Menu Functions
    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),
    Background (Black,
    Blue), Lens Control
    (On, Off), IR Receiver
    (Front & Rear, Front,
    Rear), Illumination (On,
    Off), High Altitude
    Mode (On, Off), and
    Network Setting.
    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
    a computer.
    The Setup
    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,
    PAL-M, PAL-N).
    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.
    Gamma
    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
    chart.
    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.
    Gray Scale
    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.
    EQUIPMENT Review
    G A M M A C H A R T
    3 Widescreen Review • Issue 103 • December 2005 Page 3/9
    Black Level And
    Contrast Ratio
    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
    dark images.
    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.
    Color Accuracy
    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
    EQUIPMENT Review
    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
    accurate.
    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.
    1080i/p Pixel
    Perfection
    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,
    outlining degraded
    the spatial “pixel perfection.”
    There was
    about 1 pixel of outlining
    above horizontal
    lines and 2 pixels of
    outlining below horizontal
    lines. There
    were also 2 pixels of
    outlining on either
    side of vertical edges.
    These effects were
    apparently caused by
    detail enhancement,
    although the Sharpness control was turned
    off.
    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
    control.
    Optical Performance
    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
    menu.
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    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
    horizontal lines.
    Deinterlacing
    The VPL-VW100 includes inversetelecine
    deinterlacing for 480i and 1080i
    film sources and motion-adaptive deinterlacing
    for 480i and 1080i original interlaced
    video sources.
    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
    EQUIPMENT Review
    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
    diagonal interpolation.
    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.
    DVD Performance
    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
    temperature variations.
    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
    lamp.
    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.
    Iris Performance
    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
    EQUIPMENT Review
    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
    Sony VPL-VW100
    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
    is lost.
    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
    EQUIPMENT Review
    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
    light fixtures.
    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
    application.
    HDTV Performance
    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
    exceptional definition.
    Summary
    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
    broadcast video.
    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
    the guests.
    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
    EQUIPMENT Review
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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
    Videokalibrerer
    AV-tekniker
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    AMX Programmerer
    Freelance AV-journalist

    afinner@online.no

  14. #14
    Grunnlegger lygren sin avatar
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    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...

  15. #15
    Administrator Gorm sin avatar
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    Pris 100.000,-
    Skulle gjøre valget enkelt for de fleste det gitt. :wink:
    Mvh Gorm

    ISF / THX kalibratør
    projektor, TV, grading-monitorer, display

  16. #16
    Expert jfinneru sin avatar
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    Sitat Opprinnelig postet av Gorm
    Pris 100.000,-
    Skulle gjøre valget enkelt for de fleste det gitt. :wink:
    ja det valget var enkelt. bestilte fire jeg Gorm, to til deg og to til meg. greit å ha en på soverommet også vel?
    Videokalibrerer
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    afinner@online.no

  17. #17
    Administrator Ak sin avatar
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    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 ?

  18. #18
    Intermediate Soundfre@k sin avatar
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    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..

    Mvh

  19. #19
    Intermediate LL sin avatar
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    Sitat Opprinnelig postet av Soundfre@k
    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..

    Mvh
    Jeg synes det er tøft gjort. Det ser ut til at det kommer til å bli gjort mange grundige tester av denne projektoren. Fint er det - for da vet vi nøyaktig hva vi kjøper. Jeg må innrømme at jeg seriøst kommer til å vurdere denne, men det kommer selvfølgelig an på prisen... Den er fremdeles DYR.

    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...

  20. #20
    Administrator Ak sin avatar
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    Nå er del2 oppe hos www.cine4home.de

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