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The large HDTV LCD comparison Special II:
Epson EMP-TW200, Hitachi PJ-TX100, Panasonic PT-AE700, Sanyo PLV-Z3, Sony VPL-HS50
www.Cine4Home.de
Our first large HDTV LCD Vergleichsspecial center last yearly was an unusual success. The principle of the direct comparison without weighting gave the possibility to the readers to select after own emphasis the suitable equipment.
Now the newest generation is to LCD projectors on the market and it lies near to submit also these to a detailed comparison in order to point the advantages and disadvantages out of each equipment in relation to the others.
This time we have equivalent five devices in the direct comparison: The somewhat „older“ however still current Epson EMP-TW200 and Hitachi PJ-TX100, the new Panasonic PT-AE700 and Sanyo PLV-Z3 and the newest and still with difficulty available Sony VPL-HS50.
The five competitors in the overview
As is the case for our individual tests our usual test criteria are specified individually. In place of absolute notes we assign however in this Special points: Per "discipline" the best in each case equipment receives 5 points, second platzierte 4 points, third 3 points, next to last 2 points and the "losers" to 1 point. In the summary the reader can read off then on the basis a clear wertetabelle, which equipment in the aspects favored by him "scores" and which devices the best total output to offer. Thus results a practical decision making aid, which brings little order into the data chaos of modern home cinema projectors.
We refer those in detail in advance to our test criteria, in our Know How Special: "projectors/PlasmaTVs - quality criteria - which are described test criteria byCine4Home ".
Important note!!!
Since in this Vergleichsspecial no weighting under the criteria is made, the END Ranking„can“ deviate from the notes of our single tests, in which our usual test weighting flows. In our single tests the evaluation depends on the priorities, which we set and in the evaluation small boxes specify with our assessment basis. Doing without this weighting here has a special reason:
A goal of this comparison Specials is not it to kueren by simple point assignment one of the projectors as „an unquestioned“ winner!
Therefore the result is also not to be understood overall as purchase recommendation for the projector with the highest score.
Rather the possibility is to be given to the reader to determine the projector perfect for it by comparing and examining the point valuations in those it most importantly appearing aspects, which there the best results reached.
You find a further explanation in the result.
1. Equipment and technology (Know How left here)
The equipment and technology of the LCD projectors become ever better. Accordingly here our requirements grew. Which projector offers the most versatile offer?
1,1 LCD panel/dissolution
5 points: Epson EMP-TW200, Hitachi PJ-TX100, Panasonic PT-AE700, Sanyo PLV-Z3, Sony VPL-HS50
In four of the five projectors are exactly the same 1280 x 720 - LCD panels of the company Epson. Only in the Sony „internal“ LCDs of the manufacturer works. In contrast to the predecessor VPL-HS20 however the dissolution in the HS50 was reduced to likewise 1280 x 720, whereby no more advantage in the technical data is offered. Therefore we give the same score to all projectors here.
1,2 ventilation
One of the large advantages of current LCD projectors in relation to the competition technology DLP is the noise-optimized ventilation. The last generation was here exemplary quiet already and disturbed the film enterprise not. The manufacturers gave themselves thereby however not contently and the projectors still in their volume continued to reduce. Also most sensitive ears might not feel disturbed now any longer. Apart from a calm laufgeraeusch must offer a ventilation in addition, sufficient protection against dust and to clean be easy. Here so far large deficits were to be registered, because many LCD users had to fight so far sooner or later with visible dust problems. We considered all straight mentioned aspects with the point assignment in this column:
5 points: Sony VPL-HS50
Best and in each relationship most convincing ventilation system thought out Sony in the VPL HS50 integrated. This begins with the elegant hiding of the sucking in pits behind the back flap.
Air is sucked in behind a flap
Also the used air cleaners made on us the finest impression and suggests a particularly effective dust shield. If necessary he can be exchanged comfortably, without the projector must be moved or dismounted. The disadvantage: Air cleaners can be changed not cleaned, but must.
The good impression is continued to support by an air circulation system, which exhibits two separate airways for lamp and LCD/Elektronik.
Different ventilation ways of the HS50
In the practice practice it shows up then also that the Sony ventilation besides still clearly to the quietest belongs, which ever a digital projector exhibited. In the lamp savings mode the HS50 is so quiet that already some DVD Player over-sounds it clearly. A further plus is that the quiet lamp savings mode does not make any compromises in the contrast of the image replication necessary.
4 points: Sanyo PLV-Z3
The principal reason, why the Sanyo Beamer in this category second becomes, is without a doubt the clevere „Hurricane Blower“, with which in the case of a dust grain on one of the three LCD panel of this effectively eliminate become can, without opening or send into the service the equipment.
With the blasebalg the LCD panels can be gepustet freely
The fact that one must use the Hurrican Blower sooner or later appears unfortunately inevitable, because the dust shield of the PLV-Z3 shows easy weaknesses: In the case of more exact investigation to us was noticeable that when strong use the Lensshifts a proper gap apart from the optics develops, by which the inadvertent dust directly into the Lightengine arrive can. Otherwise the used filter material makes a reliable impression.
Dust collector of the PLV-Z3
On the plus side is to be registered the far quiet operation of the ventilation, however only in the lamp savings mode, which brings a certain contrast loss obligatorily with itself. Altogether Sanyo offers a good concept.
3 points: Panasonic PT-AE700
The new Panasonic projector lands at place three. Also its ventilation is exemplary quiet in the lamp savings mode. Particularly during table or shelf list the exhausts increased opposite to the predecessor are uncommonly calmer.
Also the two-layered air cleaner (micro fiber + foam material) obtain a good protection against dust and can if necessary fast be taken out.
Air intake and filter
2 points: Hitachi PJ-TX100
The Hitachi projector works in the lamp savings mode pleasantly quietly and the film benefit of many home cinema fans will not disturb. Additional it is to be noticed that the lamp savings mode brings also no compromises in the contrast with itself.
In things dust shield gave again and again it to complaints of users, who noticed dust deposits on the LCD panels after few hundred hours already.
Fortunately Hitachi reacted on that and a second air cleaner integrated.
Before the foam material filter an additional filter in the cover was fastened
This double protection should reduce the isolated dust problems clearly. The lateral positioning of the air intake, which permits particularly practical access for cleaning, is likewise practical.
1 point: Epson EMP-TW200
Also the Epson projector is pleasantly quiet and disturbs the film enterprise not substantially. But in relation to the strong competition of Panasonic, Sanyo and Sony, which are all together quiet miracles, it loses in this discipline easily. Opposite the Hitachi we the projector due to its only einschichtigen dust collector, which in addition is also still unpractically on the projector lower surface attached, devalued.
Air cleaner on the lower surface
For cleaning the projector each mark from its mounting plate must be taken.
Although scarcely the Epson lands despite a very good achievement only at place five. Here one recognizes, how far the manufacturers arrive meanwhile at the borders of the feasible one.
1,3 picture connections (Know How left here)
Extensive connection types become also ever more important for current projectors. The fast development within the home cinema range brings always new Zuspieler with individually different optimal connections with itself. The more universally the projector shows up here, the more practical and future-safer becomes it.
5 points: Panasonic PT-AE700
The connection side of the PT-AE700 is particularly universal. It offers its own entrance for each without exception classification of signals occurring at present (digital and similar).
1x HDMI, 1x VGA (SubD), 1x s-video, 1x Composite 1x YUV, 1x SCART
Its competition has it here the SCART socket ahead, which is quite meaningful in practice, because numerous satellite satelliten-Receiver and Settop boxes in addition, DVD recorder offer their best image quality over SCART RGB still. They can be connected by the practical entrance without special cables with the Panasonic projector.
4 points: Sanyo PLV-Z3
Also the Sanyo projector offers impressing an extensive connection board. The equivalent double YUV entrance is particularly praise worth. YUV is at present still the most universal classification of signals, which supplies at the same time very good picture results.
1x HDMI, 1x VGA, 1x Composite, 2x YUV, 1x s-video
Also the Z3 understands RGB video signals, it has however for this no own entrance, but the VGA socket must “become” zweckentfremded.
3 points: Hitachi PJ-TX100, Sony VPL-HS50
Both the Hitachi and the Sony offer for each classification of signals an entrance, but evenly only to one. Who has two sources of the same classification of signals, must switching boxes use.
Above: Sony VPL-HS50, down: Hitachi PJ-TX100
1x HDMI/DVI, 1x YUV, 1x Composite, 1x s-video, 1x VGA
A small advantage of the PJ-TX100 is the DVI entrance in place of a HDMI socket, which a safe screw connection of the cable permits.
1 point: Epson EMP-TW200
The tail light forms in things picture connections of the Epson TW200. Reason for this is the absence of a digital picture entrance. Considering the constant digitization within the home cinema range this is a clear deficit in things future security. DVD Player with digital picture exits, which offer among other things a quality increase by internal scaling to have favorably are already now their advantages cannot with the TW200 however not be used.
1x D4, 1x YUV, 1x VGA, 1x Composite, 1x s-video
Otherwise all usual entrances are ordered. For YUV signals even two entrances are available, whereby the second, actually Japanese „D4“ connection, pedantic adaptor cables makes, which are not necessary to be gotten everywhere.
1,4 picture signals (Know How left here)
Also the possible picture signals become ever more extensively, particularly with the HDTV coming soon standard. Thus the signal processing of the projector should be as flexible as possible. Likewise into our evaluation the HTPC fitness flowed, since PC-BASED Multimedia becomes ever more important systems.
5 points: Sanyo PLV-Z3
The Sanyo PLV-Z3 was improved clearly opposite the predecessor Z2 in its signal processing. It „stands“ now all standards, also in 50Hz.
The Sanyo of its outstanding PC compatibility has to owe the first place: It can be headed for in all relevant frequencies, 48Hz, 50Hz and 60Hz, natively without scaling directly. Thus it can use all advantages of a HTPCs without reservation.
4 points: Sony VPL-HS50
At the second place the Sony VPL-HS50 lands. Also it points itself in the video range compatibly to all signal standards. Particularly praise-worth the compatibility is progressive to the standard 1080/24psF, which makes it possible, HDTV hDTV-Filmmaterial with 24 pictures, without representing 3:2 Pulldown. In close HDTV future this standard will rise in the interest of.
The HTPC fitness of the HS50 is altogether not completely as flexible as with the Sanyo. Over the HDMI interface it lets head for natively without scaling, however only in 50Hz and 60Hz. also appears it here a disturbing Blanking, since the projector treats the PC signals such as video signals. It looks better with similar VGA passing on: If one places the projector on „computers“, then one can head for him problem-free without Overscan and scaling. Also no deficit is to be constituted by very good similar signal processing here opposite HDMI.
3 points: Hitachi PJ-TX100, Panasonic PT-AE700
Hitachi and Panasonic rest upon directly. They both are flexible and to the usual standards compatible during video passing on, show however with the HTPC passing on easy weaknesses.
Thus the PJ-TX100 stands a native control without scaling, it small mini Ruckler will drive out then already more heavily. The Panasonic again can be headed for over HDMI only heavily in its 720er dissolution, since the wrong OD ID information entangles the PC „here“ and to this not without cheat the desired dissolution spends. Here one is dependent on Tweaks and/or special drivers or diagram maps. This succeeds, functions the native control over HDMI then however problem-free. Uncomplicatedly however similar passing on is not, here must one a PC professional be, in order to head for the projector also in high resolutions.
1 point: Epson EMP-TW200
Also in this column we must hold the missing digital entrance to the projector against. A HTPC is exclusively similarly usable thereby. Besides does not succeed without problems heading for it natively in 50Hz.
1,5 list (Know How left here)
In the last column of this chapter the list possibilities of the projectors remain evaluating. Straight in things list current LCD projectors offer by the ever more popularly becoming Lens SHIFTS function clearly to more flexibility, than most DLP projectors.
In our evaluation we set the emphasis on universal applicableness and comfort.
5 points: Epson EMP-TW200
The best mixture from list flexibility and comfort offers the Epson variant. The projector has here everything that desires the heart. It combines a precise adjustable Lens SHIFT with a large zoom shot range (distance adjustably from approx.. 1,35 – to 2 subject display width).
The Lensshift wheels at the equipment top side
The good impression is rounded off by fully motorized zoom shot and focus, which increases the control comfort again clearly.
4 points: Sony VPL-HS50
The HS50 von Sony almost offers the same list clearance as the TW200. Also it has a reliable Lens SHIFT and a large zoom shot range (distance between 1,31 and 2 facher display width).
However the zoom shot and focus must be adapted manually at the optics, the luxury of the Epson offer it not with it, why it lands only at place two.
Silver ring: Zoom shot, black ring: Focus
3 points: Hitachi PJ-TX100
The Hitachi projector is likewise a list miracle. Its zoom shot range lies likewise in the similar range (1.3 to 2) and the Lensshift permits a list outside of the picture center.
The Lens SHIFTS of wheels
However the range of the Lens SHIFT is not as large as with the Erstplatzierten.
2 points: Sanyo PLV-Z3, Panasonic PT-AE700
Although it likewise concerns with the Sanyo and Panasonic Beamern flexibly set upable devices, they lose in this hard competition scarcely. Reason for this are easy lack in the conversion.
The Sanyo PLV-Z3 offers an uncommonly large Lens SHIFT range. However one cannot use it unfortunately completely, without taking visible sharpness losses in the corners in purchase. Besides the processing and the precision of the adjusting wheels leaves to be desired, it acts often extremely hakelig.
Lens SHIFT mechanics from the inside
The zoom shot range is pedantic from all participants smallest (approx. 1.39 to 1.79 subject display width) and with the small lever to adjust.
The Panasonic projector offers however from all projectors the zoom shot range largest with distance: With 1,4 to 2,8 the desired projection distance can facher display width be realized in such a way in practically all areas.
Not so convincingly however the Lens SHIFT is, that with the Joystick to adjust only very inaccurately leaves itself and besides an easy convergence shift in the picture provocative.
The clearance of the Lens SHIFT is not likewise on the level of the competitors.
Intermediate result: Equipment and technology
In our first main column already visible strengths and weaknesses of the models show up, here an overview:
Point distribution:
Austattung & technology
Epson
TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-HS50
LCD panel:
5
5
5
5
5
Ventilation:
1
2
3
4
5
Connections:
1
3
5
4
3
Picture signals:
1
3
3
5
4
List:
5
3
2
2
4
Entirely
13
16
18
20
21
Altogether the field is still quite balanced, the Sony VPL-HS51 lies scarcely in guidance before the Sanyo PLV-Z3.
Next we examine the control concept…
2. Operation (Know How left here)
The interfaces for user operation are the remote maintenance and the on screen menus of the projector. With them the user is daily confronted and therefore is through roof width units and concept practically which can be served essential. In our comparison we attach importance on functionality, clarity, comfort and above all adjusting variety.
2,1 remote maintenance
5 points: Sanyo PLV-Z3
The remote maintenance of the predecessor, PLV-Z2, left to be desired still some, above all the range was too strongly impaired. Sanyo took the entitled criticism seriously and developed for the PLV-Z3 a new remote maintenance. The result can be able to be seen. From all projector remote maintenance it makes the best impression on us.
It is appropriately large, offers numerous function keys, which are in addition also very well structured. Particularly the direct entrance selection buttons are to be emphasized here praising. In dark home cinema areas all keys are electrically illuminable. Also the range of the remote maintenance is now exemplary, it functioned also reflektiv over the canvas.
4 points: Hitachi PJ-TX100, Panasonic PT-AE700
The remote maintenance of the TX100 and the AE700 is almost identically, here with the same supplier was probably bought. Therefore they supply also both the same good results.
Despite their small size the remote maintenance lies well in the hand and is very well with the thumb to be served. The range, which makes a problem-free operation possible in practically each area, is outstanding. All keys are electrically illuminable and also in dark areas readable.
2 points: Sony VPL-HS50
The Sony remote maintenance is optical addressing, shows however in its key structure easy lack. Thus direct entrance selection buttons and also the tax cross are not missing are really ergonomically adapted.
Very well are however the range and the reaction behavior of the projector. Navigation in the on screen menus is fast and practically possible thereby without frustration.
1 point: Epson EMP-TW200
Also the Epson remote maintenance lies well in the hand, is electrically illuminable and has a good range.
As is the case for the Sony remote maintenance calculated the direction keys failed much too small for a practical operation.
The reason, for which the operation at the last place lands, is above all the uncommonly slow-acting reaction behavior of the menus. Thus a fast operation is too strongly impaired.
2,2 menus/required options
Than a practical remote maintenance the on screen menus are still more important. They determine, on which parameters of the image representation of the users influence can take. Here applies: The more functions the better. However only, even if the structure is intelligently developed and intuitively to serve. In our comparison this interaction will have evaluated:
5 points: Hitachi PJ-TX100
The most convincing control concept of all participants has the Hitachi PJ-TX100. It offers the suitable adjusting functions for practically all relevant aspects of picture.
This begins with conventional picture parameters, goes over advanced functions up to the adjustment of similar or digital signals. The structuring is always clear and logical thereby. Particularly the gamma correction by Equalizer is still particularly practical and exact in the results.
The gamma curve can be affected purposefully within different ranges
Additionally to this efficient system Hitachi integrated also a simplified menu, which unites only the most important functions on a side.
The whole extensive menu concept of the TX100 functioned together with the practical remote maintenance perfectly, better hardly goes it.
4 points: Sony VPL-HS50
In our last test the Sony VPL-HS20 in things menu/required options had still the nose in front. Reason for it was the practical PC software, with which further picture parameters could be perfected. This unfortunately away-rationalized Sony with the successor HS50. Which is a menu structure, which is to a large extent identical to the predecessor, remains.
The structure is just as developed thereby as with the Hitachi PJ-TX100, with six main columns, under which all associated functions are summarized. The required options are very numerous thereby and permit much influence on nearly all ranges. But partial pedantic nestings and incomprehensible function names lead to point departure. The operation is nevertheless fast learned and owing to the good remote maintenance uncomplicatedly feasible.
3 points: Sanyo PLV-Z3
Particularly in things Sanyo to it-learned adjusting options since the Z2. While the predecessor offered hardly adjustment possibilities for the white alignment, the PLV-Z3 of those has more than enough.
Finally important parameters are such as offset, Gain „,“gamma „,“in each case „separately“for RGB adjustable, present for a calibration. In addition, otherwise engineers forgot no important functions. To criticize is above all the structuring. The many menus make a quite unordered impression and the nestings of some functions partial complicate the operation unnecessarily. In order to affect e.g. the Overscan, one must only an extended menu activate, in completely different column it then open and on the last side of this special menu finds one the desired option. A certain training period is here thus essential.
2 points: Epson EMP-TW200
Also the Epson TW-200 is an adjusting miracle. It offers likewise all adjusting options, which one needs for a good picture adjustment. The reasons, why the operation lands only at the fourth place, are the absence of any logical structure and the partly misleading descriptions of function. Like that the menus are hopelessly on several levels interlocked, even after a certain acclimatizing time remain the operation everything else as clear or easy.
The desired function will find besides by uncommon and partly incomprehensible rewritings further made more difficult. „Brightness“ corresponds not to the well-known signal attitude, but regulates the lamp mode, Overscan with „output scaling“ is designated, simple functions such as contrast etc. is in the column „entrance attitude“ etc.. In addition the slow-acting reaction behavior already mentioned comes in relation to the remote maintenance, here can the operation fast once into frustration end.
As only in the field the TW200 offers however an additional PC software, with which certain farbeinstellungen and simple control functions (display format and entrance choice) can be implemented.
PC software for the control and calibration
1 point: Panasonic PT-AE700
The control concept of the Panasonic of projector is almost the opposite to that of a Sanyo Z3 or TW200. It is developed very clear and simply and can with the remote maintenance fast and intuitively be served. Without hidden submenus one did to a large extent.
Smooth however practical menus
As far as so good, but unfortunately has Panasonic it meant a little too good, and to favour of the simple menus does not integrate numerous functions. The required functions for many applications are sufficient, but the function variety of the other projectors is nevertheless clearly higher in many interests, than with the Panasonic variant.
Intermediate result: Operation/required options
In things operation and options convinces the Hitachi at most: The menus are clear and offer all functions at the same time nevertheless. The practical remote maintenance supports the concept perfectly.
The overview:
Point distribution:
Operation/required options
Epson
TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-H5S50
Remote maintenance:
1
4
4
5
2
Menu:
2
5
1
3
4
Entirely
3
9
5
8
6
We come now to the most interesting part, the image quality.
3. Picture comparison
In the picture comparison we specify the same test criteria, as in our single tests. However no weighting is made here.
Note:
In all columns we consider not only the starting situation (speak factory setting), but also the attainable maximum. In some cases this maximum is reached with the help of the service menu. This hidden special menu is hidden due to its complexity before the user and therefore it not callable.
Engaged specialist dealers know however these additional possibilities and when desired also exhaust these, in order to be able to put to you the optimum at the disposal.
Since Cine4Home guesses/advises in principle to the purchase with competent specialist dealers, the devices in this comparison are evaluated thereafter which a specialist with them can realize.
In our Shopping Mall we will shortly present a selection of competent dealers to you, with detailed reports and interviews.
3,1 Screendoor/raster (Know How left here)
The Screendoor (raster -) effect is stated of many home cinema fans still as one of the largest LCD deficiencies. How does it look at the newest generation?
5 points: Panasonic PT-AE700
Already the predecessor PT500 won in our first comparison Special in this column. Panasonic developed the screen in such a way specified Smooth technology „for the minimization“of the Screendoor effect. The technology functioned unusually well, also from close view hardly pixels are to be constituted.
Hardly recognizable pixel structure
The image definition is by the way not impaired thereby which occupies sample looking also highly dissolving pictorial material fast.
4 points: Epson EMP-TW200
Also the Epson projector shows a reduced Screendoor effect owing to its micro lenses.
Pixel structure of the TW200 from the proximity
However the pixels are not completely as invisible as with the PT-AE700. Nevertheless a convincing result that also with good visual acuity convinces.
3 points: Hitachi PJ-TX100, Sanyo PLV-Z3
Hitachi and Sanyo do not have optical cheat inserted, in order to decrease the pixel structure. Since in both projectors the same LCD panels from the house Epson use find, the results on the canvas are accordingly identical.
Pixel structure of a TX100/Z3
The results are not on as high level as with Panasonic or Epson, but by the high resolution of the display (1280 x of 720 pixels) the pixel structure from appropriate distances is not to be recognized also here.
1 point: Sony VPL-HS50
As mentions initially, internal LCD panels work in the Sony. The pixel structure differs clearly from the Epson variant: Here the pixels appear rather approximately, what causes larger gaps at the interface of vierer pixels.
Rounded off pixels with the Sony
Thus the Screendooreffekt is strengthened, in particular because Sony blocked also no pixel decreasing auxiliary optics. It applies also with the Sony that from appropriate viewing distance the pixels are no longer perceptible, but has the Sony panel here a certain disadvantage.
3,2 color extent (Know How left here)
For a strong and at the same time akkurate color representation a large color area also correctly co-ordinated primary and secondary colors is necessary. Here at the new projector generations something did:
5 points: Epson EMP-TW200, Panasonic PT-AE700, Sony VPL-HS50
In this category we have equivalent three winners. Both the Epson and the Panasonic and Sony projector have a very large color area with good tuning of all mixed colors.
But as special feature all three projectors offer special functions to the alignment to that in each case three primary and secondary colors:
With the Epson this takes place via the provided PC software, a very clear solution:
Adjuster for all colors
Panasonic calls the appropriate function „Color management“: Here the colors can be selected directly and changed in their parameters by zielkreuz.
Sony again describes the color management with the importantly sounding name „material Color processing“, briefly RCP. Opening is again another, but the functions almost identical.
Also here the primary and secondary colors can be co-ordinated from each other separated.
The possible results of all three variants are first-class. Experienced users can adapt the entire color extent on the video standards or own desires.
Perfect farbanpassung of the primary and secondary colors
In the color management it shows up that the manufacturers recognized the increasing perfection desires of the customers also in the entrance segment.
2 points: Hitachi PJ-TX100, Sanyo PLV-Z3
Also the TX100 and the Z3 have a very large color area with well merged secondary colors. A resuming function for further perfecting is missing however. The user is thus bound a change to the work pre-setting, is easily not possible.
3,3 color temperature (Know How left here)
A large color area points out that the projector is to a akkuraten color representation able. One receives exact colors however then only if the projector is perfectly co-ordinated with the video standards. Particularly importantly is for this the white alignment in such a way „specified“. With the white alignment one adjusts the color temperature of neutral gray tones. According to video standard gray tones without any color additional information must keep a color temperature of 6500K, exact D65. In our comparison we considered two aspects: How well is the projector ex factory with the D65-Norm co-ordinated and how good can the result by adjusting functions be improved?
5 points: Epson EMP-TW200, Panasonic PT-AE700
The front runners in things color temperature are the Epson TW200 and the Panasonic PT700. This result lies in the very good work tuning of both projectors justified: In „the Natural“ and/or. „Cinema“ mode offer both projectors a very good white alignment, which facilitates a akkurate color representation clearly.
Above: Panasonic, down: Epson
Both show a very good white alignment over all brightness stages
Additionally to the very good work modes also precise functions are given to the user to the color adjustment to the hand, which permit an adjustment on each signal source.
Perfect white alignment of a Epson EMP-TW200
We would like to praise and with the high score recompence this mixture from starting situation and adjusting functions here expressly.
3 points: Hitachi PJ-TX100
The Hitachi projector does not show a as exact color balance ex factory as Epson or Panasonic. Also in „the 6500K“option a clear blue pass remains, particularly in dark ranges remaining (left in the diagram):
The result lies in the tolerablen range, but is a professional tuning quite recommended. This is possible with the service menu of the TX100 also in a perfection, as also with hardly another projector, therefore the high evaluation here.
Without exception each TX100 can be co-ordinated with an absolutely perfect white alignment, as the diagram shows above. Attainable perfection with the Hitachi projector is unusual therefore, however not ex factory is ordered.
2 points: Sanyo PLV-Z3, Sony VPL-HS50
Also the work tunings of the Sanyo and Sony Beamer are good, but everything else as perfect.
Above: Sony, down: Sanyo
Both projectors offer thereby ex factory good colors already already. With the help of the numerous color functions the result can be also further increased:
Optimized white alignment
Above: Sanyo, unten:Sony
The two projectors receive point departure opposite the competitors only, because the dark ranges (under 30% brightness) cannot be co-ordinated so finely.
It applies however: All projectors move in their color temperature on high level!
3,4 schwarzwert, contrast, brightness (Know How left here)
The largest weak point of the LCD projection was so far the contrast. Often the projectors achieved above all no good schwarzwert, so that dark scenes clearly in their depth and plasticity impair became. But the LCD technology gemausert itself also here, already the last generation had a responding contrast area. With the new devices the manufacturers let themselves be broken in still more, in order to come the DLP technology more near.
5 points: Sony VPL-HS50
Contrast is without a doubt the domain of the HS50. The Inge your the principle of the iris screen took up and around an ingenious idea enriched. She works as a function of the picture content, i.e., with predominantly dark scenes it closes, with bright opens it.
The variable iris screen of the HS50
So that the picture does not work „simply“ gedimmt, an electronic gamma adjustment is accomplished at the same time. The result can be able to be seen: The schwarzwert of the HS50 is in such a manner good that it can keep up also with most expensive DLP projectors. Thus even difficult films work, like e.g.. „Panic Room“ not faded, but pleasantly realistically. In addition, at the same time bright scenes sufficiently, in order to bring sufficient brightness and reliability offer light strength on the canvas. With the variable iris screen it does not act under any circumstances around a marketing Gag, in order practice-far of results of measurement up snaps itself to leave, but straight film scenes profit eye-noticeably clearly from this system. Only in few cases one can observe a working of the iris screen. The Sony VPL-HS50 achieves a maximum contrast relationship of 6000:1, colorcalibrated still approximately 3000:1.
3 points: Panasonic PT-AE700, Sanyo PLV-Z3
In order the large projection/lead, which Sony in things contrast obtained to carry calculation we evaluate the second and third platzierten projectors only with 3 points.
Also in the Panasonic PT-AE700 works an adaptive screen, which adapts in real time to the picture content. The principle is almost identical to that of the HS50, only that here two wings turn instead of an iris.
Variable screen of the Panasonic projector
Panasonic has the maximum contrast opposite the predecessor thereby approximately doubled on 2000:1. Colorcalibrated of it however unfortunately only approximately 900:1 remain, nevertheless a good value of the one plastic image replication permitted.
The Sanyo PLV-Z3 achieves also without adaptive screen a similar contrast. By optimizations in the optical path it reaches approx.. 1700:1 maximally and likewise approximately 900:1 colorcalibrate. Its kontrastumfang is however more in the dark shifted, which expresses itself in a better schwarzwert in addition, less maximum brightness. With the help of the adjustable iris one can reach more brightness, but one loses inevitably contrast.
1 point: Epson EMP-TW200, Hitachi PJ-TX100
Although also the Epson and the Hitachi projector a good contrast relationship achieve, they attain one point due to the strong competition in this column only. This is forgiven them in addition, since they are older almost a generation and the adaptive iris screen does not admit to the time of its appearance yet was.
But straight Epson had thought some the contrast optimization and had taken a path, which still (unfortunately) no other manufacturer took over. The problem of almost all digital projectors is that they can reach their maximum contrast not with correct color balances. Reason for it is the red part lacking of the UHP sources of light. In order to maintain the full Kontrastpotenzial with akkuraten colors, one does not come to adjust the light of the lamp by filtering on 6500K. This is the principle, which we use in many our projector Tuning texts. Also Epson took up this method, in order to combine with the TW200 a high contrast with perfect colors. If one selects the picture mode „natural“, automatically a color filter folds internally into the optical path of the projector.
Internal color filter of the Epson of projector
It adapts the chromatic spectrum, by down-filtering green and blue, and improves at the same time the schwarzwert. Epson integrated our radix complement so far as only manufacturers „ex factory“ a projector Tuning. To it other manufacturers should take themselves an example. With switched on filter the EMP-TW200 reaches a contrast relationship of approx.. 750:1. The schwarzwert and the brightness can besides in several stages with the personal taste are co-ordinated, without having to accept losses in the contrast.
Hitachi has neither an automatic iris screen, still another special color filter. As with the Sanyo Z3 alone by a well designed optical path a good contrast relationship is already reached. To be adapted the schwarzwert and the maximum brightness, likewise as with the Z3, can with an adjustable iris screen. It has an influence on the contrast. The TX100 reached with completely closed iris up to 1200:1 maximally, colorcalibrates 800:1. With completely opened iris the contrast relationship is reduced to 650:1
3,5 gamma distribution/homogeneity (Know How left here)
The brightness distribution is for the contrast area, which the white alignment for the color area: Only if it is duly adapted on the video standard, the contrast volume is used evenly and the picture in such a way appears in its plasticity, as it was intended by the film producers.
5 points Hitachi PJ-TX100
At most thought out gamma system of the Hitachi of projector convinces. Already factory setting „Default1“ supplies a very well co-ordinated gamma curve of 2,2, which is suitable for the most areas and DVD overacting.
Default1: Exactly 2,2
The rise is absolutely even and ensures in such a way for the fact that no picture contents are represented superproportionally brightly or darkly.
Who prefers however different gamma curves (e.g. 2.5 for optimized dark areas without scattered light), which can reach almost any brightness distribution with the help of the skillful gamma Equalizers.
Each of the eight automatic controllers stands for a certain subrange of the gamma curve: Automatic controllers one to three affect the at the beginning of the gamma curve (dark ranges), four to six the middle ranges, and sieve to eight the upper (brightens). Only with the number eight one should be careful, since she affects the weisspegel, which in the sense of a gamma correction is not. If one understood the system once, one learns it to estimate fast. No other projector offers a as practical and at the same time precise gamma correction as the TX100. Who does not have thereby yet enough, finds besides still resuming (however not so practical) options in the service menu.
4 points: Epson EMP-TW200
Also the Epson TW200 has a very good brightness distribution ex factory. In „the theatre“ and/or. „Naturally“ mode is almost perfect the value with 2,24 with even rise.
Good adjustment possibilities for an individual gamma adjustment are likewise given, here are gamma even for each of the three basic colours individually changeable:
RGB Gammaparameter
Praising value is the direct indication of the rise, which corresponds also to the reality.
3 points: Sony VPL-HS50
If the predecessor had still another special gamma manager often commodity, then this was unfortunately saved with the HS50. Therefore the Sony projector reaches this time also only the third place in this category.
The brightness distribution can be affected only in four „stages gamma out, 1, 2 &“ 3. Which remains are however very homogeneous gamma curves, which are selectable by the four Presets between 2,03 and 2,36.
Gamma1: 2,27-Anstieg
Thus the four Presets are sufficient, in order to obtain for nearly each application a good result.
2 points: Sanyo PLV-Z3
The brightness distribution of the PLV-Z3 was not with our tests unfortunately in the rated range. The coloured best mode, „cinema authentic“, points with a value of 2,05 one clearly to weak rise, which affects itself in the picture by an unrealistic picture clarification, which takes depth to the picture.
Gamma 2,05
Who therefore attaches importance to exact colors and a akkurate brightness distribution, does not come around to put on even hand. Fortunately the Z3 offers for it to sufficient options. As is the case for the Epson TW200 one can regulate the gamma rise of each basic colour here in the extended menu (in addition, for all colors at the same time).
RGB gamma of the Z3
Also thus very good values between 2,2 and 2,4 can little patience be obtained also with the PLV-Z3.
Selfoptimized gamma process of 2,22
1 point: Panasonic PT-AE700
Also with the Panasonic deficits show up in the work tuning of the gamma curve. Calculated the coloured most exact mode „Cinema“ did not leave itself with our test equipment on the minimum rise of 2,2 trims. One must change over to „“the Natural mode, which makes again a farbanpassung necessary.
Natural: Gamma of 2,23
The gamma function of the PT700 uses a similar principle as with the Hitachi TX100, instead of eight ranges of adjustment has it however only three (finely, means, high).
Gamma „high“ is besides not to be used, since it affects the weisspegel directly with, remains only two. This permits also a good gamma adjustment, but the competition has here the nose in front.
3,6 Overscan (Know How left here)
Home cinema purists want to bring if possible the entire picture content on the canvas. The safety area (Overscan), „originating“ from the television band, stands in the way, since it cuts the contours off.
5 points: Hitachi PJ-TX100, Sanyo PLV-Z3
Overscan the Hitachi and Sanyo of models offer the optimal solution in things. Both projectors have in ten stages adjustable a Overscan correction, of no Overscan, to approx.. 10% Overscan. Thus the user can always adapt to the Overscan on the situation: Where one needs a Overscan (e.g. inaccurate television transmission), has one it, where one does not need I, one does not have him. Perfect a solution, which does not cost the manufacturer except to little programming an anything.
3 points: Epson EMP-TW200
Also Epson has a changeable Overscanbereich, however only in two stages: In the mode „output scaling normal“ has the projector a very large Overscan of approximately 40 pixels on the left and on the right, „large“ offers a Overscan free picture.
2 points: Panasonic PT-AE700
The Panasonic projector does not offer an adjustment possibility for the Overscan, the menus too economically failed also here. The Overscan depends with it on the fed dissolution. In the case of conventional DVD dissolution (720x576) it cuts approximately 30 pixels on the left and on the right, to 10 off above and down, straight still tolerable values.
Fortunately the image representation is with native 720p-Zuspielung Overscan free, i.e., the entire picture content is indicated.
1 point: Sony VPL-HS50
The clear tail light in things Overscan is the Sony VPL-HS50. It does not offer an adjustment possibility and also over 40 pixels left/right is clearly too large the Overscan with 576p-Zuspielung. With 720p passing on besides an unnecessary „Blanking“ is activated that both the contours cuts (approx. 25 pixels), and for a not complete utilization of the LCD panels provides. Only the 1080i-Zuspielung supplies with a Overscan of „only“ 25 pixels left/on the right of acceptable values.
3,7 De-Interlacing (Know How left here)
In past equipment generations the De-Interlacing was strongly neglected with LCD projectors, hardly a model, which one on PAL optimized De-Interlacer exhibited. In addition, meanwhile some did here, at least with the all-newest projectors:
5 points: Panasonic PT-AE700, Sanyo PLV-Z3, Sony VPL-HS50
In this category we have equivalent three winners: Convincing achievements offer both the Panasonic, and the Sanyo and the Sony.
All three projectors come with video material very well rightfully. Here the Motion adaptive procedure is used, which makes a complex image analysis and for each picture part the optimal De-Interlacing variant used.
In addition, for feature material they are outstanding suitable. For the first time all three offer a really well working PAL Filmmode, which finds the rhythm of the original film and so two half-images detail-faithfully changed into a video frame. Thus nothing stands to the occasional feature benefit from the television in the way. However all models fall now and then from the film mode, so that a good progressive Scan DVD Player supplies still advantages in the image quality.
2 points: Epson EMP-TW200, Hitachi PJ-TX100
The somewhat older terms of our Vergleichsspecials do not cut off in things De-Interlacing unfortunately so positively. Also they have a functioning video mode with Motion adaptive procedures, but not in completely so efficient form. To both devices is missing besides a PAL Filmmode, so that with feature material without progressive passing on no good results are obtained.
3,8 detail loyalty/scaling/sharpness (Know How left here)
The LCD projectors tested here have a very high native resolution of 1280x720 pixels. This does not correspond to the dissolution of our PAL material (720 x 576). The dissolution must be converted, interpolated thus. This is a difficult task, which is favoured however by the high dissolution of projector. Who carries out this task best?
In addition we consider the signal processing, which is to produce a high image definition if possible without disturbing double outlines in this column.
5 points: Sony VPL-HS50
The Sony projector shows an unusually good scaling and interpolation of the picture content. Even in difficult dissolution ranges are to be constituted as well as no interference features or linearity fluctuations.
Outstanding scaling of the HS50, both horizontal (above), and vertically (down)
Apart from the scaling there are further reasons, why the HS50 in this discipline has the nose in front. The first reason is an unusual color dissolution, even during similar signal injection:
Up to the highest DVD Auflsoeung the colors of our test patterns are perfectly from each other separated. Here a digital passing on offers hardly still advantages.
The second reason for the good evaluation is the fact that when digital passing on disturbing double outlines can be almost eliminated also without sharpness loss.
Altogether a convincing achievement. In the film enterprise these results are reflected impressing again. The HS50 provokes both PAL- and HDTV pictorial material very well out.
4 points: Hitachi PJ-TX100
Also the Hitachi projector offers a very good signal processing. In the case of similar passing on the double outlines hold themselves them in the good, inconspicuous framework, when digital passing on completely disappear.
Above: Similarly, down: DVI
In things scaling delivers the Hitachi Beamer likewise a good figure. The scaling takes place precisely and without disturbing linearity fluctuations.
In the case of similar passing on a lighter is drop in level in highest resolutions to observe (in the picture right), thus small details a little lose at brightness and dynamics. Something similar applies during the color dissolution of similar signals, here loses small details a little at color.
In the test pattern is at the grey bars right to be recognized, those actually, as with the HS50, to be appeared still clearly from each other separated colored should. In the case of digital passing on the results are improved, the dissolution of detail is visibly increased here and the picture still more sharply clearly works.
3 points: Epson EMP-TW200, Sanyo PLV-Z3
How high the scaling level is already with favorable entrance projectors, also the Epson and Sanyo prove projectors. They scale likewise to a large extent freely from disturbing artifacts:
Very good scaling: Above Epson, down: Sanyo
In things color dissolution is recommended with the Sanyo DVI passing on, since with similar signal sources highest resolutions, like with Hitachi, lose at color.
With the Epson similar signal processing is particularly important, since it has no digital entrance. But in things color details it does not give itself Bloesse: As the HS50 reaches it the maximum of the similar standard, which is hardly exceeded also by DVI.
Very good color dissolution also in small details
The fact that the two projectors in this column land only at place three is because of the signal processing, which provokes in principle few double outlines (with the Z3 also over HDMI).
Signal processing: Never completely without double outlines
1 point: Panasonic PT-AE700
The signal processing of the Panasonic of projector cannot keep up despite good achievements with the strong competition. With all signal sources it has a clear slope to double outlines:
The scaling is not when similar passing on likewise on the newest state of the art. In high resolutions a visible drop in level and scaling fluctuations are to be recognized. Thus the detail representation in film pictures suffers noticeably (also in the color).
Similar passing on
In the case of digital passing on the results look clearly better: Here the projector offers a good scaling without drop in level and with less discoloration.
3,9 Shading (Know How left here)
By the fragmentation of the lamp spectrum into its three basic colours and the following re+brought together by a glass prism, LCD projectors often suffer uneven color temperature in different display spaces from visible Shading. Balanced will can the Shading by an electronic adjustment of the picture.
Note:
Since the Shading is subject to a certain series dispersion not rarely, our evaluations are based on the average of all projectors of a type, which we got to face (depending upon model between 10 and 200).
5 points: Sony VPL-HS50
The predecessor HS20 suffered clearly from Shading problems, most devices showed a clear reddish colouring in a half screen. Sony learned from it and the new HS50 very well Shading optimized. The Shading holds itself with most devices within a so good framework that it cannot be constituted in the normal film enterprise practically.
However nevertheless once if problems should emerge, then the service menu offers an unbelievably detailed, although pedantic correction option: In eleven different gray tones separately the RGB Farbverteilung can be adjusted in each case in approximately 275 different pixels.
„Secret“ Shading menu
4 points: Hitachi PJ-TX100
The factory setting of the TX100 unfortunately in most cases does not precipitate so well. Often a corner appears greenish, reddish or bluish. The picture benefit can be visibly impaired thereby.
These tolerances with the production can be repaired fortunately by the thought out service menu: In four gray tones the picture within all ranges can be coloured homogenized.
Since we presuppose the competent specialized trade, which when desired repairs possible Shading problems for you with the help of the menu in this test, the Hitachi projector reaches the second place. Because practically each TX100 can be trimmed in such a way that Shading in the film enterprise is not noticeable any longer.
3 points: Epson EMP-TW200, Panasonic PT-AE700
With the Epson and Pansonic no (us well-known) Shading menu unfortunately exists to models. Here one is dependent on the carefulness with the production. Fortunately both manufacturers take the topic seriously enough, in order to optimize Shading to a large extent first. Both models show usually a visible Shading behavior in picture-filling gray tones, but are small enough it, in order not to be noticeable in the film enterprise.
1 point: Sanyo PLV-Z3
Calculated the new Sanyo projector, which is „to exhibit“little Shading owing to 3D-AUCC control in the work if possible, lands here at the last place. The devil is in the detail: Sanyo accomplishes a Shadingkontrolle conscientiously, but apparent only with opened iris. Depending upon projector and series dispersion however the Shadingverhalten changes strongly as a function of the variable iris screen. The more one the iris closes, the more strongly becomes the Shading. With some devices is with closed iris screen a clear green >Rot colouring at the contours to observe, which is noticeable also in the normal film enterprise. This is particularly unfortunate, since a closed iris screen the best contrast and schwarzwert belongs effectuation and for many home cinema areas also to the first choice.
3.10 vertically Banding
Vertically Banding, a banding in homogeneous colors, is likewise a very well-known problem, which is dependent on a careful work tuning. As in addition, is the case for the Shading service menus resuming here can create remedy.
Note:
Since vertically Banding is subject to a certain series dispersion not rarely, our evaluations are based on the average of all projectors of a type, which we got to face.
5 points: Sony VPL-HS50
In things vertically Banding have the Sony LCD panel clearly the nose in front. Already the predecessor HS20 had little banding, but Sony increased the achievement again clearly. No of us seen HS50 pointed out so far a visible Veritcal Banding. If the starting situation is already perfect, improving is no longer necessary, then it must be!
4 points: Hitachi PJ-TX100
And again Hitachi lands owing to its unbelievably versatile service menu at the second place. In this menu that can be improved vertically Banding with many options. The PJ-TX100 offers mostly already small vertically Banding, which is noticeable only with horizontal Kameraschwenks ex factory. „Outliers“ can be reduced by the specialist dealer for you in the service menu to a good level.
3 points: Epson EMP-TW200, Panasonic PT-AE700, Sanyo PLV-Z3
The remaining three projectors are on equal good level. They all suffer easily from vertically Banding, which is to be seen in certain scenes, but considering older equipment generations it was improved clearly. They receive the point departure opposite Sony and Hitachi, because stronger vertically Banding can be improved by the required options not very much or not at all.
Epson and Sanyo integrated but unfortunately hardly offer a special option for minimization, this in practice to influence possibilities. Of the 12 control lines only one can be affected, the eleven other lines remains unchanged.
Only each twelfth line is adjustably (arrows), all lines between them remains unchangeable
If not coincidentally exactly the lines cause the vertical Banding in the picture, which one can affect, then one does not have any further optimization possibilities. The chances for this stand for 1 to 12.
With the Panasonic Beamer only the Flicker Adjustment „remains“ in the service menu. Here improvements vertically of the Bandings are possibly possible, but does not guarantee under any circumstances.
3,11 convergence
As last column of our picture test the convergence remains. Since in a modern LCD projector three different panels produce a picture, they must be perfectly one on the other co-ordinated. If a panel is only easily shifted, becomes apparent by disturbing colored edges in the picture. Considering high resolution and microscopically small pixel size the convergence attitude is a difficult venture. In addition, apart from the panel convergence deficits in the used projektionsoptik can provoke unpleasant color edges.
Note:
Since the convergence is subject to a certain series dispersion not rarely, our evaluations are based on the average of all projectors of a type, which we got to face.
5 points: Hitachi PJ-TX100
With the PJ-TX100 interaction from work convergence, optics and additional control options works best: Already „Out OF the box“ usually shows the projector a very good convergence. Color fringings arise and exceed pixels also at the contour not. The large remarkable optics of the projector does not witness likewise from quality, it provokes chromatic distortions. Nevertheless once if equipment should lie outside of the tolerance, then the convergence can digitally in the service menu be improved and above described outstanding result be achieved.
4 points: Sanyo PLV-Z3
Also the PLV-Z3 has already ex factory a very good convergence. More than one pixel deviation is here rare.
3 points: Epson EMP-TW200, Sony VPL-HS50
With TW200 and HS50 us frequently devices found accomodation, which exhibit
The large HDTV LCD comparison Special II:
Epson EMP-TW200, Hitachi PJ-TX100, Panasonic PT-AE700, Sanyo PLV-Z3, Sony VPL-HS50
www.Cine4Home.de
Our first large HDTV LCD Vergleichsspecial center last yearly was an unusual success. The principle of the direct comparison without weighting gave the possibility to the readers to select after own emphasis the suitable equipment.
Now the newest generation is to LCD projectors on the market and it lies near to submit also these to a detailed comparison in order to point the advantages and disadvantages out of each equipment in relation to the others.
This time we have equivalent five devices in the direct comparison: The somewhat „older“ however still current Epson EMP-TW200 and Hitachi PJ-TX100, the new Panasonic PT-AE700 and Sanyo PLV-Z3 and the newest and still with difficulty available Sony VPL-HS50.
The five competitors in the overview
As is the case for our individual tests our usual test criteria are specified individually. In place of absolute notes we assign however in this Special points: Per "discipline" the best in each case equipment receives 5 points, second platzierte 4 points, third 3 points, next to last 2 points and the "losers" to 1 point. In the summary the reader can read off then on the basis a clear wertetabelle, which equipment in the aspects favored by him "scores" and which devices the best total output to offer. Thus results a practical decision making aid, which brings little order into the data chaos of modern home cinema projectors.
We refer those in detail in advance to our test criteria, in our Know How Special: "projectors/PlasmaTVs - quality criteria - which are described test criteria byCine4Home ".
Important note!!!
Since in this Vergleichsspecial no weighting under the criteria is made, the END Ranking„can“ deviate from the notes of our single tests, in which our usual test weighting flows. In our single tests the evaluation depends on the priorities, which we set and in the evaluation small boxes specify with our assessment basis. Doing without this weighting here has a special reason:
A goal of this comparison Specials is not it to kueren by simple point assignment one of the projectors as „an unquestioned“ winner!
Therefore the result is also not to be understood overall as purchase recommendation for the projector with the highest score.
Rather the possibility is to be given to the reader to determine the projector perfect for it by comparing and examining the point valuations in those it most importantly appearing aspects, which there the best results reached.
You find a further explanation in the result.
1. Equipment and technology (Know How left here)
The equipment and technology of the LCD projectors become ever better. Accordingly here our requirements grew. Which projector offers the most versatile offer?
1,1 LCD panel/dissolution
5 points: Epson EMP-TW200, Hitachi PJ-TX100, Panasonic PT-AE700, Sanyo PLV-Z3, Sony VPL-HS50
In four of the five projectors are exactly the same 1280 x 720 - LCD panels of the company Epson. Only in the Sony „internal“ LCDs of the manufacturer works. In contrast to the predecessor VPL-HS20 however the dissolution in the HS50 was reduced to likewise 1280 x 720, whereby no more advantage in the technical data is offered. Therefore we give the same score to all projectors here.
1,2 ventilation
One of the large advantages of current LCD projectors in relation to the competition technology DLP is the noise-optimized ventilation. The last generation was here exemplary quiet already and disturbed the film enterprise not. The manufacturers gave themselves thereby however not contently and the projectors still in their volume continued to reduce. Also most sensitive ears might not feel disturbed now any longer. Apart from a calm laufgeraeusch must offer a ventilation in addition, sufficient protection against dust and to clean be easy. Here so far large deficits were to be registered, because many LCD users had to fight so far sooner or later with visible dust problems. We considered all straight mentioned aspects with the point assignment in this column:
5 points: Sony VPL-HS50
Best and in each relationship most convincing ventilation system thought out Sony in the VPL HS50 integrated. This begins with the elegant hiding of the sucking in pits behind the back flap.
Air is sucked in behind a flap
Also the used air cleaners made on us the finest impression and suggests a particularly effective dust shield. If necessary he can be exchanged comfortably, without the projector must be moved or dismounted. The disadvantage: Air cleaners can be changed not cleaned, but must.
The good impression is continued to support by an air circulation system, which exhibits two separate airways for lamp and LCD/Elektronik.
Different ventilation ways of the HS50
In the practice practice it shows up then also that the Sony ventilation besides still clearly to the quietest belongs, which ever a digital projector exhibited. In the lamp savings mode the HS50 is so quiet that already some DVD Player over-sounds it clearly. A further plus is that the quiet lamp savings mode does not make any compromises in the contrast of the image replication necessary.
4 points: Sanyo PLV-Z3
The principal reason, why the Sanyo Beamer in this category second becomes, is without a doubt the clevere „Hurricane Blower“, with which in the case of a dust grain on one of the three LCD panel of this effectively eliminate become can, without opening or send into the service the equipment.
With the blasebalg the LCD panels can be gepustet freely
The fact that one must use the Hurrican Blower sooner or later appears unfortunately inevitable, because the dust shield of the PLV-Z3 shows easy weaknesses: In the case of more exact investigation to us was noticeable that when strong use the Lensshifts a proper gap apart from the optics develops, by which the inadvertent dust directly into the Lightengine arrive can. Otherwise the used filter material makes a reliable impression.
Dust collector of the PLV-Z3
On the plus side is to be registered the far quiet operation of the ventilation, however only in the lamp savings mode, which brings a certain contrast loss obligatorily with itself. Altogether Sanyo offers a good concept.
3 points: Panasonic PT-AE700
The new Panasonic projector lands at place three. Also its ventilation is exemplary quiet in the lamp savings mode. Particularly during table or shelf list the exhausts increased opposite to the predecessor are uncommonly calmer.
Also the two-layered air cleaner (micro fiber + foam material) obtain a good protection against dust and can if necessary fast be taken out.
Air intake and filter
2 points: Hitachi PJ-TX100
The Hitachi projector works in the lamp savings mode pleasantly quietly and the film benefit of many home cinema fans will not disturb. Additional it is to be noticed that the lamp savings mode brings also no compromises in the contrast with itself.
In things dust shield gave again and again it to complaints of users, who noticed dust deposits on the LCD panels after few hundred hours already.
Fortunately Hitachi reacted on that and a second air cleaner integrated.
Before the foam material filter an additional filter in the cover was fastened
This double protection should reduce the isolated dust problems clearly. The lateral positioning of the air intake, which permits particularly practical access for cleaning, is likewise practical.
1 point: Epson EMP-TW200
Also the Epson projector is pleasantly quiet and disturbs the film enterprise not substantially. But in relation to the strong competition of Panasonic, Sanyo and Sony, which are all together quiet miracles, it loses in this discipline easily. Opposite the Hitachi we the projector due to its only einschichtigen dust collector, which in addition is also still unpractically on the projector lower surface attached, devalued.
Air cleaner on the lower surface
For cleaning the projector each mark from its mounting plate must be taken.
Although scarcely the Epson lands despite a very good achievement only at place five. Here one recognizes, how far the manufacturers arrive meanwhile at the borders of the feasible one.
1,3 picture connections (Know How left here)
Extensive connection types become also ever more important for current projectors. The fast development within the home cinema range brings always new Zuspieler with individually different optimal connections with itself. The more universally the projector shows up here, the more practical and future-safer becomes it.
5 points: Panasonic PT-AE700
The connection side of the PT-AE700 is particularly universal. It offers its own entrance for each without exception classification of signals occurring at present (digital and similar).
1x HDMI, 1x VGA (SubD), 1x s-video, 1x Composite 1x YUV, 1x SCART
Its competition has it here the SCART socket ahead, which is quite meaningful in practice, because numerous satellite satelliten-Receiver and Settop boxes in addition, DVD recorder offer their best image quality over SCART RGB still. They can be connected by the practical entrance without special cables with the Panasonic projector.
4 points: Sanyo PLV-Z3
Also the Sanyo projector offers impressing an extensive connection board. The equivalent double YUV entrance is particularly praise worth. YUV is at present still the most universal classification of signals, which supplies at the same time very good picture results.
1x HDMI, 1x VGA, 1x Composite, 2x YUV, 1x s-video
Also the Z3 understands RGB video signals, it has however for this no own entrance, but the VGA socket must “become” zweckentfremded.
3 points: Hitachi PJ-TX100, Sony VPL-HS50
Both the Hitachi and the Sony offer for each classification of signals an entrance, but evenly only to one. Who has two sources of the same classification of signals, must switching boxes use.
Above: Sony VPL-HS50, down: Hitachi PJ-TX100
1x HDMI/DVI, 1x YUV, 1x Composite, 1x s-video, 1x VGA
A small advantage of the PJ-TX100 is the DVI entrance in place of a HDMI socket, which a safe screw connection of the cable permits.
1 point: Epson EMP-TW200
The tail light forms in things picture connections of the Epson TW200. Reason for this is the absence of a digital picture entrance. Considering the constant digitization within the home cinema range this is a clear deficit in things future security. DVD Player with digital picture exits, which offer among other things a quality increase by internal scaling to have favorably are already now their advantages cannot with the TW200 however not be used.
1x D4, 1x YUV, 1x VGA, 1x Composite, 1x s-video
Otherwise all usual entrances are ordered. For YUV signals even two entrances are available, whereby the second, actually Japanese „D4“ connection, pedantic adaptor cables makes, which are not necessary to be gotten everywhere.
1,4 picture signals (Know How left here)
Also the possible picture signals become ever more extensively, particularly with the HDTV coming soon standard. Thus the signal processing of the projector should be as flexible as possible. Likewise into our evaluation the HTPC fitness flowed, since PC-BASED Multimedia becomes ever more important systems.
5 points: Sanyo PLV-Z3
The Sanyo PLV-Z3 was improved clearly opposite the predecessor Z2 in its signal processing. It „stands“ now all standards, also in 50Hz.
The Sanyo of its outstanding PC compatibility has to owe the first place: It can be headed for in all relevant frequencies, 48Hz, 50Hz and 60Hz, natively without scaling directly. Thus it can use all advantages of a HTPCs without reservation.
4 points: Sony VPL-HS50
At the second place the Sony VPL-HS50 lands. Also it points itself in the video range compatibly to all signal standards. Particularly praise-worth the compatibility is progressive to the standard 1080/24psF, which makes it possible, HDTV hDTV-Filmmaterial with 24 pictures, without representing 3:2 Pulldown. In close HDTV future this standard will rise in the interest of.
The HTPC fitness of the HS50 is altogether not completely as flexible as with the Sanyo. Over the HDMI interface it lets head for natively without scaling, however only in 50Hz and 60Hz. also appears it here a disturbing Blanking, since the projector treats the PC signals such as video signals. It looks better with similar VGA passing on: If one places the projector on „computers“, then one can head for him problem-free without Overscan and scaling. Also no deficit is to be constituted by very good similar signal processing here opposite HDMI.
3 points: Hitachi PJ-TX100, Panasonic PT-AE700
Hitachi and Panasonic rest upon directly. They both are flexible and to the usual standards compatible during video passing on, show however with the HTPC passing on easy weaknesses.
Thus the PJ-TX100 stands a native control without scaling, it small mini Ruckler will drive out then already more heavily. The Panasonic again can be headed for over HDMI only heavily in its 720er dissolution, since the wrong OD ID information entangles the PC „here“ and to this not without cheat the desired dissolution spends. Here one is dependent on Tweaks and/or special drivers or diagram maps. This succeeds, functions the native control over HDMI then however problem-free. Uncomplicatedly however similar passing on is not, here must one a PC professional be, in order to head for the projector also in high resolutions.
1 point: Epson EMP-TW200
Also in this column we must hold the missing digital entrance to the projector against. A HTPC is exclusively similarly usable thereby. Besides does not succeed without problems heading for it natively in 50Hz.
1,5 list (Know How left here)
In the last column of this chapter the list possibilities of the projectors remain evaluating. Straight in things list current LCD projectors offer by the ever more popularly becoming Lens SHIFTS function clearly to more flexibility, than most DLP projectors.
In our evaluation we set the emphasis on universal applicableness and comfort.
5 points: Epson EMP-TW200
The best mixture from list flexibility and comfort offers the Epson variant. The projector has here everything that desires the heart. It combines a precise adjustable Lens SHIFT with a large zoom shot range (distance adjustably from approx.. 1,35 – to 2 subject display width).
The Lensshift wheels at the equipment top side
The good impression is rounded off by fully motorized zoom shot and focus, which increases the control comfort again clearly.
4 points: Sony VPL-HS50
The HS50 von Sony almost offers the same list clearance as the TW200. Also it has a reliable Lens SHIFT and a large zoom shot range (distance between 1,31 and 2 facher display width).
However the zoom shot and focus must be adapted manually at the optics, the luxury of the Epson offer it not with it, why it lands only at place two.
Silver ring: Zoom shot, black ring: Focus
3 points: Hitachi PJ-TX100
The Hitachi projector is likewise a list miracle. Its zoom shot range lies likewise in the similar range (1.3 to 2) and the Lensshift permits a list outside of the picture center.
The Lens SHIFTS of wheels
However the range of the Lens SHIFT is not as large as with the Erstplatzierten.
2 points: Sanyo PLV-Z3, Panasonic PT-AE700
Although it likewise concerns with the Sanyo and Panasonic Beamern flexibly set upable devices, they lose in this hard competition scarcely. Reason for this are easy lack in the conversion.
The Sanyo PLV-Z3 offers an uncommonly large Lens SHIFT range. However one cannot use it unfortunately completely, without taking visible sharpness losses in the corners in purchase. Besides the processing and the precision of the adjusting wheels leaves to be desired, it acts often extremely hakelig.
Lens SHIFT mechanics from the inside
The zoom shot range is pedantic from all participants smallest (approx. 1.39 to 1.79 subject display width) and with the small lever to adjust.
The Panasonic projector offers however from all projectors the zoom shot range largest with distance: With 1,4 to 2,8 the desired projection distance can facher display width be realized in such a way in practically all areas.
Not so convincingly however the Lens SHIFT is, that with the Joystick to adjust only very inaccurately leaves itself and besides an easy convergence shift in the picture provocative.
The clearance of the Lens SHIFT is not likewise on the level of the competitors.
Intermediate result: Equipment and technology
In our first main column already visible strengths and weaknesses of the models show up, here an overview:
Point distribution:
Austattung & technology
Epson
TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-HS50
LCD panel:
5
5
5
5
5
Ventilation:
1
2
3
4
5
Connections:
1
3
5
4
3
Picture signals:
1
3
3
5
4
List:
5
3
2
2
4
Entirely
13
16
18
20
21
Altogether the field is still quite balanced, the Sony VPL-HS51 lies scarcely in guidance before the Sanyo PLV-Z3.
Next we examine the control concept…
2. Operation (Know How left here)
The interfaces for user operation are the remote maintenance and the on screen menus of the projector. With them the user is daily confronted and therefore is through roof width units and concept practically which can be served essential. In our comparison we attach importance on functionality, clarity, comfort and above all adjusting variety.
2,1 remote maintenance
5 points: Sanyo PLV-Z3
The remote maintenance of the predecessor, PLV-Z2, left to be desired still some, above all the range was too strongly impaired. Sanyo took the entitled criticism seriously and developed for the PLV-Z3 a new remote maintenance. The result can be able to be seen. From all projector remote maintenance it makes the best impression on us.
It is appropriately large, offers numerous function keys, which are in addition also very well structured. Particularly the direct entrance selection buttons are to be emphasized here praising. In dark home cinema areas all keys are electrically illuminable. Also the range of the remote maintenance is now exemplary, it functioned also reflektiv over the canvas.
4 points: Hitachi PJ-TX100, Panasonic PT-AE700
The remote maintenance of the TX100 and the AE700 is almost identically, here with the same supplier was probably bought. Therefore they supply also both the same good results.
Despite their small size the remote maintenance lies well in the hand and is very well with the thumb to be served. The range, which makes a problem-free operation possible in practically each area, is outstanding. All keys are electrically illuminable and also in dark areas readable.
2 points: Sony VPL-HS50
The Sony remote maintenance is optical addressing, shows however in its key structure easy lack. Thus direct entrance selection buttons and also the tax cross are not missing are really ergonomically adapted.
Very well are however the range and the reaction behavior of the projector. Navigation in the on screen menus is fast and practically possible thereby without frustration.
1 point: Epson EMP-TW200
Also the Epson remote maintenance lies well in the hand, is electrically illuminable and has a good range.
As is the case for the Sony remote maintenance calculated the direction keys failed much too small for a practical operation.
The reason, for which the operation at the last place lands, is above all the uncommonly slow-acting reaction behavior of the menus. Thus a fast operation is too strongly impaired.
2,2 menus/required options
Than a practical remote maintenance the on screen menus are still more important. They determine, on which parameters of the image representation of the users influence can take. Here applies: The more functions the better. However only, even if the structure is intelligently developed and intuitively to serve. In our comparison this interaction will have evaluated:
5 points: Hitachi PJ-TX100
The most convincing control concept of all participants has the Hitachi PJ-TX100. It offers the suitable adjusting functions for practically all relevant aspects of picture.
This begins with conventional picture parameters, goes over advanced functions up to the adjustment of similar or digital signals. The structuring is always clear and logical thereby. Particularly the gamma correction by Equalizer is still particularly practical and exact in the results.
The gamma curve can be affected purposefully within different ranges
Additionally to this efficient system Hitachi integrated also a simplified menu, which unites only the most important functions on a side.
The whole extensive menu concept of the TX100 functioned together with the practical remote maintenance perfectly, better hardly goes it.
4 points: Sony VPL-HS50
In our last test the Sony VPL-HS20 in things menu/required options had still the nose in front. Reason for it was the practical PC software, with which further picture parameters could be perfected. This unfortunately away-rationalized Sony with the successor HS50. Which is a menu structure, which is to a large extent identical to the predecessor, remains.
The structure is just as developed thereby as with the Hitachi PJ-TX100, with six main columns, under which all associated functions are summarized. The required options are very numerous thereby and permit much influence on nearly all ranges. But partial pedantic nestings and incomprehensible function names lead to point departure. The operation is nevertheless fast learned and owing to the good remote maintenance uncomplicatedly feasible.
3 points: Sanyo PLV-Z3
Particularly in things Sanyo to it-learned adjusting options since the Z2. While the predecessor offered hardly adjustment possibilities for the white alignment, the PLV-Z3 of those has more than enough.
Finally important parameters are such as offset, Gain „,“gamma „,“in each case „separately“for RGB adjustable, present for a calibration. In addition, otherwise engineers forgot no important functions. To criticize is above all the structuring. The many menus make a quite unordered impression and the nestings of some functions partial complicate the operation unnecessarily. In order to affect e.g. the Overscan, one must only an extended menu activate, in completely different column it then open and on the last side of this special menu finds one the desired option. A certain training period is here thus essential.
2 points: Epson EMP-TW200
Also the Epson TW-200 is an adjusting miracle. It offers likewise all adjusting options, which one needs for a good picture adjustment. The reasons, why the operation lands only at the fourth place, are the absence of any logical structure and the partly misleading descriptions of function. Like that the menus are hopelessly on several levels interlocked, even after a certain acclimatizing time remain the operation everything else as clear or easy.
The desired function will find besides by uncommon and partly incomprehensible rewritings further made more difficult. „Brightness“ corresponds not to the well-known signal attitude, but regulates the lamp mode, Overscan with „output scaling“ is designated, simple functions such as contrast etc. is in the column „entrance attitude“ etc.. In addition the slow-acting reaction behavior already mentioned comes in relation to the remote maintenance, here can the operation fast once into frustration end.
As only in the field the TW200 offers however an additional PC software, with which certain farbeinstellungen and simple control functions (display format and entrance choice) can be implemented.
PC software for the control and calibration
1 point: Panasonic PT-AE700
The control concept of the Panasonic of projector is almost the opposite to that of a Sanyo Z3 or TW200. It is developed very clear and simply and can with the remote maintenance fast and intuitively be served. Without hidden submenus one did to a large extent.
Smooth however practical menus
As far as so good, but unfortunately has Panasonic it meant a little too good, and to favour of the simple menus does not integrate numerous functions. The required functions for many applications are sufficient, but the function variety of the other projectors is nevertheless clearly higher in many interests, than with the Panasonic variant.
Intermediate result: Operation/required options
In things operation and options convinces the Hitachi at most: The menus are clear and offer all functions at the same time nevertheless. The practical remote maintenance supports the concept perfectly.
The overview:
Point distribution:
Operation/required options
Epson
TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-H5S50
Remote maintenance:
1
4
4
5
2
Menu:
2
5
1
3
4
Entirely
3
9
5
8
6
We come now to the most interesting part, the image quality.
3. Picture comparison
In the picture comparison we specify the same test criteria, as in our single tests. However no weighting is made here.
Note:
In all columns we consider not only the starting situation (speak factory setting), but also the attainable maximum. In some cases this maximum is reached with the help of the service menu. This hidden special menu is hidden due to its complexity before the user and therefore it not callable.
Engaged specialist dealers know however these additional possibilities and when desired also exhaust these, in order to be able to put to you the optimum at the disposal.
Since Cine4Home guesses/advises in principle to the purchase with competent specialist dealers, the devices in this comparison are evaluated thereafter which a specialist with them can realize.
In our Shopping Mall we will shortly present a selection of competent dealers to you, with detailed reports and interviews.
3,1 Screendoor/raster (Know How left here)
The Screendoor (raster -) effect is stated of many home cinema fans still as one of the largest LCD deficiencies. How does it look at the newest generation?
5 points: Panasonic PT-AE700
Already the predecessor PT500 won in our first comparison Special in this column. Panasonic developed the screen in such a way specified Smooth technology „for the minimization“of the Screendoor effect. The technology functioned unusually well, also from close view hardly pixels are to be constituted.
Hardly recognizable pixel structure
The image definition is by the way not impaired thereby which occupies sample looking also highly dissolving pictorial material fast.
4 points: Epson EMP-TW200
Also the Epson projector shows a reduced Screendoor effect owing to its micro lenses.
Pixel structure of the TW200 from the proximity
However the pixels are not completely as invisible as with the PT-AE700. Nevertheless a convincing result that also with good visual acuity convinces.
3 points: Hitachi PJ-TX100, Sanyo PLV-Z3
Hitachi and Sanyo do not have optical cheat inserted, in order to decrease the pixel structure. Since in both projectors the same LCD panels from the house Epson use find, the results on the canvas are accordingly identical.
Pixel structure of a TX100/Z3
The results are not on as high level as with Panasonic or Epson, but by the high resolution of the display (1280 x of 720 pixels) the pixel structure from appropriate distances is not to be recognized also here.
1 point: Sony VPL-HS50
As mentions initially, internal LCD panels work in the Sony. The pixel structure differs clearly from the Epson variant: Here the pixels appear rather approximately, what causes larger gaps at the interface of vierer pixels.
Rounded off pixels with the Sony
Thus the Screendooreffekt is strengthened, in particular because Sony blocked also no pixel decreasing auxiliary optics. It applies also with the Sony that from appropriate viewing distance the pixels are no longer perceptible, but has the Sony panel here a certain disadvantage.
3,2 color extent (Know How left here)
For a strong and at the same time akkurate color representation a large color area also correctly co-ordinated primary and secondary colors is necessary. Here at the new projector generations something did:
5 points: Epson EMP-TW200, Panasonic PT-AE700, Sony VPL-HS50
In this category we have equivalent three winners. Both the Epson and the Panasonic and Sony projector have a very large color area with good tuning of all mixed colors.
But as special feature all three projectors offer special functions to the alignment to that in each case three primary and secondary colors:
With the Epson this takes place via the provided PC software, a very clear solution:
Adjuster for all colors
Panasonic calls the appropriate function „Color management“: Here the colors can be selected directly and changed in their parameters by zielkreuz.
Sony again describes the color management with the importantly sounding name „material Color processing“, briefly RCP. Opening is again another, but the functions almost identical.
Also here the primary and secondary colors can be co-ordinated from each other separated.
The possible results of all three variants are first-class. Experienced users can adapt the entire color extent on the video standards or own desires.
Perfect farbanpassung of the primary and secondary colors
In the color management it shows up that the manufacturers recognized the increasing perfection desires of the customers also in the entrance segment.
2 points: Hitachi PJ-TX100, Sanyo PLV-Z3
Also the TX100 and the Z3 have a very large color area with well merged secondary colors. A resuming function for further perfecting is missing however. The user is thus bound a change to the work pre-setting, is easily not possible.
3,3 color temperature (Know How left here)
A large color area points out that the projector is to a akkuraten color representation able. One receives exact colors however then only if the projector is perfectly co-ordinated with the video standards. Particularly importantly is for this the white alignment in such a way „specified“. With the white alignment one adjusts the color temperature of neutral gray tones. According to video standard gray tones without any color additional information must keep a color temperature of 6500K, exact D65. In our comparison we considered two aspects: How well is the projector ex factory with the D65-Norm co-ordinated and how good can the result by adjusting functions be improved?
5 points: Epson EMP-TW200, Panasonic PT-AE700
The front runners in things color temperature are the Epson TW200 and the Panasonic PT700. This result lies in the very good work tuning of both projectors justified: In „the Natural“ and/or. „Cinema“ mode offer both projectors a very good white alignment, which facilitates a akkurate color representation clearly.
Above: Panasonic, down: Epson
Both show a very good white alignment over all brightness stages
Additionally to the very good work modes also precise functions are given to the user to the color adjustment to the hand, which permit an adjustment on each signal source.
Perfect white alignment of a Epson EMP-TW200
We would like to praise and with the high score recompence this mixture from starting situation and adjusting functions here expressly.
3 points: Hitachi PJ-TX100
The Hitachi projector does not show a as exact color balance ex factory as Epson or Panasonic. Also in „the 6500K“option a clear blue pass remains, particularly in dark ranges remaining (left in the diagram):
The result lies in the tolerablen range, but is a professional tuning quite recommended. This is possible with the service menu of the TX100 also in a perfection, as also with hardly another projector, therefore the high evaluation here.
Without exception each TX100 can be co-ordinated with an absolutely perfect white alignment, as the diagram shows above. Attainable perfection with the Hitachi projector is unusual therefore, however not ex factory is ordered.
2 points: Sanyo PLV-Z3, Sony VPL-HS50
Also the work tunings of the Sanyo and Sony Beamer are good, but everything else as perfect.
Above: Sony, down: Sanyo
Both projectors offer thereby ex factory good colors already already. With the help of the numerous color functions the result can be also further increased:
Optimized white alignment
Above: Sanyo, unten:Sony
The two projectors receive point departure opposite the competitors only, because the dark ranges (under 30% brightness) cannot be co-ordinated so finely.
It applies however: All projectors move in their color temperature on high level!
3,4 schwarzwert, contrast, brightness (Know How left here)
The largest weak point of the LCD projection was so far the contrast. Often the projectors achieved above all no good schwarzwert, so that dark scenes clearly in their depth and plasticity impair became. But the LCD technology gemausert itself also here, already the last generation had a responding contrast area. With the new devices the manufacturers let themselves be broken in still more, in order to come the DLP technology more near.
5 points: Sony VPL-HS50
Contrast is without a doubt the domain of the HS50. The Inge your the principle of the iris screen took up and around an ingenious idea enriched. She works as a function of the picture content, i.e., with predominantly dark scenes it closes, with bright opens it.
The variable iris screen of the HS50
So that the picture does not work „simply“ gedimmt, an electronic gamma adjustment is accomplished at the same time. The result can be able to be seen: The schwarzwert of the HS50 is in such a manner good that it can keep up also with most expensive DLP projectors. Thus even difficult films work, like e.g.. „Panic Room“ not faded, but pleasantly realistically. In addition, at the same time bright scenes sufficiently, in order to bring sufficient brightness and reliability offer light strength on the canvas. With the variable iris screen it does not act under any circumstances around a marketing Gag, in order practice-far of results of measurement up snaps itself to leave, but straight film scenes profit eye-noticeably clearly from this system. Only in few cases one can observe a working of the iris screen. The Sony VPL-HS50 achieves a maximum contrast relationship of 6000:1, colorcalibrated still approximately 3000:1.
3 points: Panasonic PT-AE700, Sanyo PLV-Z3
In order the large projection/lead, which Sony in things contrast obtained to carry calculation we evaluate the second and third platzierten projectors only with 3 points.
Also in the Panasonic PT-AE700 works an adaptive screen, which adapts in real time to the picture content. The principle is almost identical to that of the HS50, only that here two wings turn instead of an iris.
Variable screen of the Panasonic projector
Panasonic has the maximum contrast opposite the predecessor thereby approximately doubled on 2000:1. Colorcalibrated of it however unfortunately only approximately 900:1 remain, nevertheless a good value of the one plastic image replication permitted.
The Sanyo PLV-Z3 achieves also without adaptive screen a similar contrast. By optimizations in the optical path it reaches approx.. 1700:1 maximally and likewise approximately 900:1 colorcalibrate. Its kontrastumfang is however more in the dark shifted, which expresses itself in a better schwarzwert in addition, less maximum brightness. With the help of the adjustable iris one can reach more brightness, but one loses inevitably contrast.
1 point: Epson EMP-TW200, Hitachi PJ-TX100
Although also the Epson and the Hitachi projector a good contrast relationship achieve, they attain one point due to the strong competition in this column only. This is forgiven them in addition, since they are older almost a generation and the adaptive iris screen does not admit to the time of its appearance yet was.
But straight Epson had thought some the contrast optimization and had taken a path, which still (unfortunately) no other manufacturer took over. The problem of almost all digital projectors is that they can reach their maximum contrast not with correct color balances. Reason for it is the red part lacking of the UHP sources of light. In order to maintain the full Kontrastpotenzial with akkuraten colors, one does not come to adjust the light of the lamp by filtering on 6500K. This is the principle, which we use in many our projector Tuning texts. Also Epson took up this method, in order to combine with the TW200 a high contrast with perfect colors. If one selects the picture mode „natural“, automatically a color filter folds internally into the optical path of the projector.
Internal color filter of the Epson of projector
It adapts the chromatic spectrum, by down-filtering green and blue, and improves at the same time the schwarzwert. Epson integrated our radix complement so far as only manufacturers „ex factory“ a projector Tuning. To it other manufacturers should take themselves an example. With switched on filter the EMP-TW200 reaches a contrast relationship of approx.. 750:1. The schwarzwert and the brightness can besides in several stages with the personal taste are co-ordinated, without having to accept losses in the contrast.
Hitachi has neither an automatic iris screen, still another special color filter. As with the Sanyo Z3 alone by a well designed optical path a good contrast relationship is already reached. To be adapted the schwarzwert and the maximum brightness, likewise as with the Z3, can with an adjustable iris screen. It has an influence on the contrast. The TX100 reached with completely closed iris up to 1200:1 maximally, colorcalibrates 800:1. With completely opened iris the contrast relationship is reduced to 650:1
3,5 gamma distribution/homogeneity (Know How left here)
The brightness distribution is for the contrast area, which the white alignment for the color area: Only if it is duly adapted on the video standard, the contrast volume is used evenly and the picture in such a way appears in its plasticity, as it was intended by the film producers.
5 points Hitachi PJ-TX100
At most thought out gamma system of the Hitachi of projector convinces. Already factory setting „Default1“ supplies a very well co-ordinated gamma curve of 2,2, which is suitable for the most areas and DVD overacting.
Default1: Exactly 2,2
The rise is absolutely even and ensures in such a way for the fact that no picture contents are represented superproportionally brightly or darkly.
Who prefers however different gamma curves (e.g. 2.5 for optimized dark areas without scattered light), which can reach almost any brightness distribution with the help of the skillful gamma Equalizers.
Each of the eight automatic controllers stands for a certain subrange of the gamma curve: Automatic controllers one to three affect the at the beginning of the gamma curve (dark ranges), four to six the middle ranges, and sieve to eight the upper (brightens). Only with the number eight one should be careful, since she affects the weisspegel, which in the sense of a gamma correction is not. If one understood the system once, one learns it to estimate fast. No other projector offers a as practical and at the same time precise gamma correction as the TX100. Who does not have thereby yet enough, finds besides still resuming (however not so practical) options in the service menu.
4 points: Epson EMP-TW200
Also the Epson TW200 has a very good brightness distribution ex factory. In „the theatre“ and/or. „Naturally“ mode is almost perfect the value with 2,24 with even rise.
Good adjustment possibilities for an individual gamma adjustment are likewise given, here are gamma even for each of the three basic colours individually changeable:
RGB Gammaparameter
Praising value is the direct indication of the rise, which corresponds also to the reality.
3 points: Sony VPL-HS50
If the predecessor had still another special gamma manager often commodity, then this was unfortunately saved with the HS50. Therefore the Sony projector reaches this time also only the third place in this category.
The brightness distribution can be affected only in four „stages gamma out, 1, 2 &“ 3. Which remains are however very homogeneous gamma curves, which are selectable by the four Presets between 2,03 and 2,36.
Gamma1: 2,27-Anstieg
Thus the four Presets are sufficient, in order to obtain for nearly each application a good result.
2 points: Sanyo PLV-Z3
The brightness distribution of the PLV-Z3 was not with our tests unfortunately in the rated range. The coloured best mode, „cinema authentic“, points with a value of 2,05 one clearly to weak rise, which affects itself in the picture by an unrealistic picture clarification, which takes depth to the picture.
Gamma 2,05
Who therefore attaches importance to exact colors and a akkurate brightness distribution, does not come around to put on even hand. Fortunately the Z3 offers for it to sufficient options. As is the case for the Epson TW200 one can regulate the gamma rise of each basic colour here in the extended menu (in addition, for all colors at the same time).
RGB gamma of the Z3
Also thus very good values between 2,2 and 2,4 can little patience be obtained also with the PLV-Z3.
Selfoptimized gamma process of 2,22
1 point: Panasonic PT-AE700
Also with the Panasonic deficits show up in the work tuning of the gamma curve. Calculated the coloured most exact mode „Cinema“ did not leave itself with our test equipment on the minimum rise of 2,2 trims. One must change over to „“the Natural mode, which makes again a farbanpassung necessary.
Natural: Gamma of 2,23
The gamma function of the PT700 uses a similar principle as with the Hitachi TX100, instead of eight ranges of adjustment has it however only three (finely, means, high).
Gamma „high“ is besides not to be used, since it affects the weisspegel directly with, remains only two. This permits also a good gamma adjustment, but the competition has here the nose in front.
3,6 Overscan (Know How left here)
Home cinema purists want to bring if possible the entire picture content on the canvas. The safety area (Overscan), „originating“ from the television band, stands in the way, since it cuts the contours off.
5 points: Hitachi PJ-TX100, Sanyo PLV-Z3
Overscan the Hitachi and Sanyo of models offer the optimal solution in things. Both projectors have in ten stages adjustable a Overscan correction, of no Overscan, to approx.. 10% Overscan. Thus the user can always adapt to the Overscan on the situation: Where one needs a Overscan (e.g. inaccurate television transmission), has one it, where one does not need I, one does not have him. Perfect a solution, which does not cost the manufacturer except to little programming an anything.
3 points: Epson EMP-TW200
Also Epson has a changeable Overscanbereich, however only in two stages: In the mode „output scaling normal“ has the projector a very large Overscan of approximately 40 pixels on the left and on the right, „large“ offers a Overscan free picture.
2 points: Panasonic PT-AE700
The Panasonic projector does not offer an adjustment possibility for the Overscan, the menus too economically failed also here. The Overscan depends with it on the fed dissolution. In the case of conventional DVD dissolution (720x576) it cuts approximately 30 pixels on the left and on the right, to 10 off above and down, straight still tolerable values.
Fortunately the image representation is with native 720p-Zuspielung Overscan free, i.e., the entire picture content is indicated.
1 point: Sony VPL-HS50
The clear tail light in things Overscan is the Sony VPL-HS50. It does not offer an adjustment possibility and also over 40 pixels left/right is clearly too large the Overscan with 576p-Zuspielung. With 720p passing on besides an unnecessary „Blanking“ is activated that both the contours cuts (approx. 25 pixels), and for a not complete utilization of the LCD panels provides. Only the 1080i-Zuspielung supplies with a Overscan of „only“ 25 pixels left/on the right of acceptable values.
3,7 De-Interlacing (Know How left here)
In past equipment generations the De-Interlacing was strongly neglected with LCD projectors, hardly a model, which one on PAL optimized De-Interlacer exhibited. In addition, meanwhile some did here, at least with the all-newest projectors:
5 points: Panasonic PT-AE700, Sanyo PLV-Z3, Sony VPL-HS50
In this category we have equivalent three winners: Convincing achievements offer both the Panasonic, and the Sanyo and the Sony.
All three projectors come with video material very well rightfully. Here the Motion adaptive procedure is used, which makes a complex image analysis and for each picture part the optimal De-Interlacing variant used.
In addition, for feature material they are outstanding suitable. For the first time all three offer a really well working PAL Filmmode, which finds the rhythm of the original film and so two half-images detail-faithfully changed into a video frame. Thus nothing stands to the occasional feature benefit from the television in the way. However all models fall now and then from the film mode, so that a good progressive Scan DVD Player supplies still advantages in the image quality.
2 points: Epson EMP-TW200, Hitachi PJ-TX100
The somewhat older terms of our Vergleichsspecials do not cut off in things De-Interlacing unfortunately so positively. Also they have a functioning video mode with Motion adaptive procedures, but not in completely so efficient form. To both devices is missing besides a PAL Filmmode, so that with feature material without progressive passing on no good results are obtained.
3,8 detail loyalty/scaling/sharpness (Know How left here)
The LCD projectors tested here have a very high native resolution of 1280x720 pixels. This does not correspond to the dissolution of our PAL material (720 x 576). The dissolution must be converted, interpolated thus. This is a difficult task, which is favoured however by the high dissolution of projector. Who carries out this task best?
In addition we consider the signal processing, which is to produce a high image definition if possible without disturbing double outlines in this column.
5 points: Sony VPL-HS50
The Sony projector shows an unusually good scaling and interpolation of the picture content. Even in difficult dissolution ranges are to be constituted as well as no interference features or linearity fluctuations.
Outstanding scaling of the HS50, both horizontal (above), and vertically (down)
Apart from the scaling there are further reasons, why the HS50 in this discipline has the nose in front. The first reason is an unusual color dissolution, even during similar signal injection:
Up to the highest DVD Auflsoeung the colors of our test patterns are perfectly from each other separated. Here a digital passing on offers hardly still advantages.
The second reason for the good evaluation is the fact that when digital passing on disturbing double outlines can be almost eliminated also without sharpness loss.
Altogether a convincing achievement. In the film enterprise these results are reflected impressing again. The HS50 provokes both PAL- and HDTV pictorial material very well out.
4 points: Hitachi PJ-TX100
Also the Hitachi projector offers a very good signal processing. In the case of similar passing on the double outlines hold themselves them in the good, inconspicuous framework, when digital passing on completely disappear.
Above: Similarly, down: DVI
In things scaling delivers the Hitachi Beamer likewise a good figure. The scaling takes place precisely and without disturbing linearity fluctuations.
In the case of similar passing on a lighter is drop in level in highest resolutions to observe (in the picture right), thus small details a little lose at brightness and dynamics. Something similar applies during the color dissolution of similar signals, here loses small details a little at color.
In the test pattern is at the grey bars right to be recognized, those actually, as with the HS50, to be appeared still clearly from each other separated colored should. In the case of digital passing on the results are improved, the dissolution of detail is visibly increased here and the picture still more sharply clearly works.
3 points: Epson EMP-TW200, Sanyo PLV-Z3
How high the scaling level is already with favorable entrance projectors, also the Epson and Sanyo prove projectors. They scale likewise to a large extent freely from disturbing artifacts:
Very good scaling: Above Epson, down: Sanyo
In things color dissolution is recommended with the Sanyo DVI passing on, since with similar signal sources highest resolutions, like with Hitachi, lose at color.
With the Epson similar signal processing is particularly important, since it has no digital entrance. But in things color details it does not give itself Bloesse: As the HS50 reaches it the maximum of the similar standard, which is hardly exceeded also by DVI.
Very good color dissolution also in small details
The fact that the two projectors in this column land only at place three is because of the signal processing, which provokes in principle few double outlines (with the Z3 also over HDMI).
Signal processing: Never completely without double outlines
1 point: Panasonic PT-AE700
The signal processing of the Panasonic of projector cannot keep up despite good achievements with the strong competition. With all signal sources it has a clear slope to double outlines:
The scaling is not when similar passing on likewise on the newest state of the art. In high resolutions a visible drop in level and scaling fluctuations are to be recognized. Thus the detail representation in film pictures suffers noticeably (also in the color).
Similar passing on
In the case of digital passing on the results look clearly better: Here the projector offers a good scaling without drop in level and with less discoloration.
3,9 Shading (Know How left here)
By the fragmentation of the lamp spectrum into its three basic colours and the following re+brought together by a glass prism, LCD projectors often suffer uneven color temperature in different display spaces from visible Shading. Balanced will can the Shading by an electronic adjustment of the picture.
Note:
Since the Shading is subject to a certain series dispersion not rarely, our evaluations are based on the average of all projectors of a type, which we got to face (depending upon model between 10 and 200).
5 points: Sony VPL-HS50
The predecessor HS20 suffered clearly from Shading problems, most devices showed a clear reddish colouring in a half screen. Sony learned from it and the new HS50 very well Shading optimized. The Shading holds itself with most devices within a so good framework that it cannot be constituted in the normal film enterprise practically.
However nevertheless once if problems should emerge, then the service menu offers an unbelievably detailed, although pedantic correction option: In eleven different gray tones separately the RGB Farbverteilung can be adjusted in each case in approximately 275 different pixels.
„Secret“ Shading menu
4 points: Hitachi PJ-TX100
The factory setting of the TX100 unfortunately in most cases does not precipitate so well. Often a corner appears greenish, reddish or bluish. The picture benefit can be visibly impaired thereby.
These tolerances with the production can be repaired fortunately by the thought out service menu: In four gray tones the picture within all ranges can be coloured homogenized.
Since we presuppose the competent specialized trade, which when desired repairs possible Shading problems for you with the help of the menu in this test, the Hitachi projector reaches the second place. Because practically each TX100 can be trimmed in such a way that Shading in the film enterprise is not noticeable any longer.
3 points: Epson EMP-TW200, Panasonic PT-AE700
With the Epson and Pansonic no (us well-known) Shading menu unfortunately exists to models. Here one is dependent on the carefulness with the production. Fortunately both manufacturers take the topic seriously enough, in order to optimize Shading to a large extent first. Both models show usually a visible Shading behavior in picture-filling gray tones, but are small enough it, in order not to be noticeable in the film enterprise.
1 point: Sanyo PLV-Z3
Calculated the new Sanyo projector, which is „to exhibit“little Shading owing to 3D-AUCC control in the work if possible, lands here at the last place. The devil is in the detail: Sanyo accomplishes a Shadingkontrolle conscientiously, but apparent only with opened iris. Depending upon projector and series dispersion however the Shadingverhalten changes strongly as a function of the variable iris screen. The more one the iris closes, the more strongly becomes the Shading. With some devices is with closed iris screen a clear green >Rot colouring at the contours to observe, which is noticeable also in the normal film enterprise. This is particularly unfortunate, since a closed iris screen the best contrast and schwarzwert belongs effectuation and for many home cinema areas also to the first choice.
3.10 vertically Banding
Vertically Banding, a banding in homogeneous colors, is likewise a very well-known problem, which is dependent on a careful work tuning. As in addition, is the case for the Shading service menus resuming here can create remedy.
Note:
Since vertically Banding is subject to a certain series dispersion not rarely, our evaluations are based on the average of all projectors of a type, which we got to face.
5 points: Sony VPL-HS50
In things vertically Banding have the Sony LCD panel clearly the nose in front. Already the predecessor HS20 had little banding, but Sony increased the achievement again clearly. No of us seen HS50 pointed out so far a visible Veritcal Banding. If the starting situation is already perfect, improving is no longer necessary, then it must be!
4 points: Hitachi PJ-TX100
And again Hitachi lands owing to its unbelievably versatile service menu at the second place. In this menu that can be improved vertically Banding with many options. The PJ-TX100 offers mostly already small vertically Banding, which is noticeable only with horizontal Kameraschwenks ex factory. „Outliers“ can be reduced by the specialist dealer for you in the service menu to a good level.
3 points: Epson EMP-TW200, Panasonic PT-AE700, Sanyo PLV-Z3
The remaining three projectors are on equal good level. They all suffer easily from vertically Banding, which is to be seen in certain scenes, but considering older equipment generations it was improved clearly. They receive the point departure opposite Sony and Hitachi, because stronger vertically Banding can be improved by the required options not very much or not at all.
Epson and Sanyo integrated but unfortunately hardly offer a special option for minimization, this in practice to influence possibilities. Of the 12 control lines only one can be affected, the eleven other lines remains unchanged.
Only each twelfth line is adjustably (arrows), all lines between them remains unchangeable
If not coincidentally exactly the lines cause the vertical Banding in the picture, which one can affect, then one does not have any further optimization possibilities. The chances for this stand for 1 to 12.
With the Panasonic Beamer only the Flicker Adjustment „remains“ in the service menu. Here improvements vertically of the Bandings are possibly possible, but does not guarantee under any circumstances.
3,11 convergence
As last column of our picture test the convergence remains. Since in a modern LCD projector three different panels produce a picture, they must be perfectly one on the other co-ordinated. If a panel is only easily shifted, becomes apparent by disturbing colored edges in the picture. Considering high resolution and microscopically small pixel size the convergence attitude is a difficult venture. In addition, apart from the panel convergence deficits in the used projektionsoptik can provoke unpleasant color edges.
Note:
Since the convergence is subject to a certain series dispersion not rarely, our evaluations are based on the average of all projectors of a type, which we got to face.
5 points: Hitachi PJ-TX100
With the PJ-TX100 interaction from work convergence, optics and additional control options works best: Already „Out OF the box“ usually shows the projector a very good convergence. Color fringings arise and exceed pixels also at the contour not. The large remarkable optics of the projector does not witness likewise from quality, it provokes chromatic distortions. Nevertheless once if equipment should lie outside of the tolerance, then the convergence can digitally in the service menu be improved and above described outstanding result be achieved.
4 points: Sanyo PLV-Z3
Also the PLV-Z3 has already ex factory a very good convergence. More than one pixel deviation is here rare.
3 points: Epson EMP-TW200, Sony VPL-HS50
With TW200 and HS50 us frequently devices found accomodation, which exhibit
η συνέχεια και το τέλος:
still more exact information:
- test: Epson EMP-TW200
- test: Hitachi PJ-TX100
- test: Panasonic PT-AE700
- test: Sanyo PLV-Z3
- test: Sony VPL-HS50
- a preliminary decision met, you absolutely examine credit you in the reality whether the equipment also really corresponds to their taste. Because no tests, also not as detailed as ours, can replace the own Seh impression. For the Seh test competent specialist dealers offer themselves. Absolutely to note you should however that the projector really under optimal conditions, speak optimally one adjusts, one demonstrates. If you notice visible negative deviations from our test results in the demonstration, do not shrink from yourselves to address the dealer on that.
Procedure described above may be temporally aufwaendig, but acts it with the purchase of a projector around a cost-intensive acquisition of complex equipment, which makes much care necessary, in order to prevent a following disappointment.
We hope ourselves to be able to stand for you with this Vergleichsspecial thereby helping to the side and are sure that you find real for „you“ with guidance described above to at the best suitable equipment.
Here again summary of the individual projectors and point-entirely the list:
Sony VPL-HS50
The Sony VPL-HS50 collected altogether to most points. The technical designers developed surprisingly equipment compromiseless for this class, which supplies both to equipment and list and image quality maximum performance to a large extent.
In the category technology and list he is noticeable by one thought out and uncommonly quiet ventilation and by a flexible list (large zoom shot range and reliable Lens SHIFT) particularly positively.
In the display space it is in things picture depth and contrast lonely because of the point. The variable iris screen shows here that it represents a meaningful extension. The many picture parameters permit besides a good alignment the picture characteristic, which is not perfectly co-ordinated ex factory in all ranges.
But also the Sony HS50 is not a perfect equipment and finally remains still the clearly higher price, which one should take into account into this comparison with.
Hitachi PJ-TX100
Particularly it surprises that the Hitachi projector stands still also at the point.
Its high-quality optics permits it a flexible list without quality loss on utilization of the Lensshifts. A weak point in the technology, which became rough air cleaners, by a second filter improved.
The image quality can be brought by the many adjustment possibilities on a throughout high level, which requires large compromises within no range. However either the specialist dealer or the user must put on hand to obtain the a good result because one geschludert in the work tuning within some „ranges“.
Epson EMP-TW200
Like the Hitachi projector is also the Epson EMP-TW200 clearly longer on the market than most other „participants“ in this Special. In addition, one does not mark the zeitunterschied to it.
In things list it convinced us at most, since it connects flexibility with quality and comfort. In the equipment it loses points however clearly, since a digital picture fig. only the large (and by far more expensive) EMP-TW500 remains reserving.
In addition, with similar passing on the projector supplies an impressing image quality. Particularly the work optimization by color filters causes a very good and standard image representation, without the user must break itself over the verworrenen adjustment possibilities the head.
Sanyo PLV-Z3
As one marks already outwardly to the equipment directly, it concerns an advancement of the PLV-Z2.
In the image quality the lack of adjusting of the predecessor were eliminated, so that the projector can be calibrated now very well on a akkurate representation. Also the contrast was clearly increased opposite the predecessor.
Altogether is offered such a matured projector, which fulfills many needs appropriately. Only some technical weaknesses of the predecessor, like that not perfect Lens SHIFTS and a certain dust susceptibility, remained unimproved. For the latter Sanyo made itself possible however „the practical Hurricane“ Blower break in to let, for the one dust cleaning for everyone.
Panasonic PT-AE700
Also Panasonic let much Know How flow into its newest model. As in the HS50 works also an adaptive iris screen, which adapts the expenditure for light of the picture optimally on the picture content. Thus the projector combines a high contrast with an above average high picture brightness and is outstanding suitable also for large display widths. The adjustment possibilities are not so extensive, but usually a very good picture adjustment at the conditions and video standards can take place with the required options.
In things list flexibility likewise learned Panasonic in addition, but the level of the competitors not yet completely reaches. The Lens SHIFT offers in most home cinema areas no meaningful use, and provokes besides easy convergence shifts. On the plus side remains however a ungeschlagen large zoom shot range, which makes a Lensshift often redundant.
A quiet ventilation and many useful picture entrances round the very good general impression off.
Here now the entire point list from all preceding ranges:
Point distribution:
Entirely
Epson
TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-HS50
Austattung & technology
LCD panel:
5
5
5
5
5
Ventilation:
1
2
3
4
5
Connections:
1
3
5
4
3
Picture signals:
1
3
3
5
4
List:
5
3
2
2
4
Entirely:
13
16
18
20
21
Operation/required options
Remote maintenance:
1
4
4
5
2
Menu:
2
5
1
3
4
Entirely
3
9
5
8
6
Picture comparison
Screendoor:
4
3
5
3
1
Color extent:
5
2
5
2
5
Color temperature:
5
3
5
2
2
Contrast:
1
1
3
3
5
Gamma:
4
5
1
2
3
Overscan:
3
5
2
5
1
De-Interlacer:
2
2
5
5
5
Detail/scaling:
3
4
1
3
5
Shading:
3
4
3
1
5
Vertically Banding:
3
4
3
3
5
Convergence:
3
5
1
4
3
Entirely:
36
38
34
33
40
Total total:
52
63
57
61
67
Epson
EMP-TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-HS50
We hope you clear and objective highlights over the efficiencies of the new "HDTV Einstiegs" generation to have given. We will publish shortly a comparison update with GET down projectors.
(C) Cine4Home 2005
www.Cine4Home.de
still more exact information:
- test: Epson EMP-TW200
- test: Hitachi PJ-TX100
- test: Panasonic PT-AE700
- test: Sanyo PLV-Z3
- test: Sony VPL-HS50
- a preliminary decision met, you absolutely examine credit you in the reality whether the equipment also really corresponds to their taste. Because no tests, also not as detailed as ours, can replace the own Seh impression. For the Seh test competent specialist dealers offer themselves. Absolutely to note you should however that the projector really under optimal conditions, speak optimally one adjusts, one demonstrates. If you notice visible negative deviations from our test results in the demonstration, do not shrink from yourselves to address the dealer on that.
Procedure described above may be temporally aufwaendig, but acts it with the purchase of a projector around a cost-intensive acquisition of complex equipment, which makes much care necessary, in order to prevent a following disappointment.
We hope ourselves to be able to stand for you with this Vergleichsspecial thereby helping to the side and are sure that you find real for „you“ with guidance described above to at the best suitable equipment.
Here again summary of the individual projectors and point-entirely the list:
Sony VPL-HS50
The Sony VPL-HS50 collected altogether to most points. The technical designers developed surprisingly equipment compromiseless for this class, which supplies both to equipment and list and image quality maximum performance to a large extent.
In the category technology and list he is noticeable by one thought out and uncommonly quiet ventilation and by a flexible list (large zoom shot range and reliable Lens SHIFT) particularly positively.
In the display space it is in things picture depth and contrast lonely because of the point. The variable iris screen shows here that it represents a meaningful extension. The many picture parameters permit besides a good alignment the picture characteristic, which is not perfectly co-ordinated ex factory in all ranges.
But also the Sony HS50 is not a perfect equipment and finally remains still the clearly higher price, which one should take into account into this comparison with.
Hitachi PJ-TX100
Particularly it surprises that the Hitachi projector stands still also at the point.
Its high-quality optics permits it a flexible list without quality loss on utilization of the Lensshifts. A weak point in the technology, which became rough air cleaners, by a second filter improved.
The image quality can be brought by the many adjustment possibilities on a throughout high level, which requires large compromises within no range. However either the specialist dealer or the user must put on hand to obtain the a good result because one geschludert in the work tuning within some „ranges“.
Epson EMP-TW200
Like the Hitachi projector is also the Epson EMP-TW200 clearly longer on the market than most other „participants“ in this Special. In addition, one does not mark the zeitunterschied to it.
In things list it convinced us at most, since it connects flexibility with quality and comfort. In the equipment it loses points however clearly, since a digital picture fig. only the large (and by far more expensive) EMP-TW500 remains reserving.
In addition, with similar passing on the projector supplies an impressing image quality. Particularly the work optimization by color filters causes a very good and standard image representation, without the user must break itself over the verworrenen adjustment possibilities the head.
Sanyo PLV-Z3
As one marks already outwardly to the equipment directly, it concerns an advancement of the PLV-Z2.
In the image quality the lack of adjusting of the predecessor were eliminated, so that the projector can be calibrated now very well on a akkurate representation. Also the contrast was clearly increased opposite the predecessor.
Altogether is offered such a matured projector, which fulfills many needs appropriately. Only some technical weaknesses of the predecessor, like that not perfect Lens SHIFTS and a certain dust susceptibility, remained unimproved. For the latter Sanyo made itself possible however „the practical Hurricane“ Blower break in to let, for the one dust cleaning for everyone.
Panasonic PT-AE700
Also Panasonic let much Know How flow into its newest model. As in the HS50 works also an adaptive iris screen, which adapts the expenditure for light of the picture optimally on the picture content. Thus the projector combines a high contrast with an above average high picture brightness and is outstanding suitable also for large display widths. The adjustment possibilities are not so extensive, but usually a very good picture adjustment at the conditions and video standards can take place with the required options.
In things list flexibility likewise learned Panasonic in addition, but the level of the competitors not yet completely reaches. The Lens SHIFT offers in most home cinema areas no meaningful use, and provokes besides easy convergence shifts. On the plus side remains however a ungeschlagen large zoom shot range, which makes a Lensshift often redundant.
A quiet ventilation and many useful picture entrances round the very good general impression off.
Here now the entire point list from all preceding ranges:
Point distribution:
Entirely
Epson
TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-HS50
Austattung & technology
LCD panel:
5
5
5
5
5
Ventilation:
1
2
3
4
5
Connections:
1
3
5
4
3
Picture signals:
1
3
3
5
4
List:
5
3
2
2
4
Entirely:
13
16
18
20
21
Operation/required options
Remote maintenance:
1
4
4
5
2
Menu:
2
5
1
3
4
Entirely
3
9
5
8
6
Picture comparison
Screendoor:
4
3
5
3
1
Color extent:
5
2
5
2
5
Color temperature:
5
3
5
2
2
Contrast:
1
1
3
3
5
Gamma:
4
5
1
2
3
Overscan:
3
5
2
5
1
De-Interlacer:
2
2
5
5
5
Detail/scaling:
3
4
1
3
5
Shading:
3
4
3
1
5
Vertically Banding:
3
4
3
3
5
Convergence:
3
5
1
4
3
Entirely:
36
38
34
33
40
Total total:
52
63
57
61
67
Epson
EMP-TW200
Hitachi
PJ-TX100
Panasonic
PT-AE700
Sanyo
PLV-Z3
Sony
VPL-HS50
We hope you clear and objective highlights over the efficiencies of the new "HDTV Einstiegs" generation to have given. We will publish shortly a comparison update with GET down projectors.
(C) Cine4Home 2005
www.Cine4Home.de
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