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發表於 2007-3-1 06:43:29
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WEST兄加油,這個HD1看起來很有潛力.
德翻英,
Test: D-ILA projector JVC DLA-HD1
The LCOS Kontrastwunder in the Cine4Home hardened,
what can it do really?
To the main side of www.Cine4Home.de
Now is it finally so far: After our two large Preview finally our large detailed test of the first standard set follows Specials and world first test results, which caused a large resonance in many countries, in this week:
In the last months the LCOS technology in High ending was established range: For many years it led a "Mauerbluemchendasein", but Sony brought with the Qualia004, the VPL-VW100 and the VPL-VW50 the stone in rolling: LCOS projectors showed for the first time, to which for an image quality them able can be, also in the domestic four walls.
Competition animates the business and thus could JVC, nevertheless the inventor of the D-ILA technology and thus joint founder of the LCOS era, not twice be asked to answer with its own home cinema projector to the Sony variants. The result is the JVC DLA-HD1, which announces itself with a large bass drum impact on the market. Its however position characteristic is the sayful high native contrast of 15000:1, that from no other projection technology, all the same whether LCD or DLP is reached. This high native contrast is to make itself directly in the picture paid. JVC applies the HD1 as one of the plastischten video projectors at the market.
With our attendance with JVC in Friedberg we could convince ourselves in December already of the unusual quality of the projector. We reported on it in our two large Preview Specials, the first results already convinced. But in this detailed test we will now examine whether the standard sets also hold, which promised the pilot lot. Somewhat changed? How exactly is the performance of the HD1 to be evaluated in practice? Are the work tolerances how large? On all these questions we will try to give in this Testspecial detailed answers.
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 by Cine4Home ".
Bzgl. We refer LCOS technology furthermore to our Know How Special: "D-ILA technology - introduction to the function mode of LCOS projectors".
Due to large range of this test we publish it in three parts in the course of the next days...
1. Equipment and technology (Know How left here)
The HD1 is not the first projector from the house JVC, which is meant for the home cinema market. Before it there was already the HX1/2 and the first FullHD Beamer on the German market, the HD2K. Technically all these devices convinced, but marked one to them that during their construction really with the needs of the home cinema fans one did not deal.
Thus all predecessors showed a very simple Design, similarly that of a conventional presentation projector. They were a little list flexible and not least simply too loud for the domestic use. Thus the concept "D-ILA home cinema projector" already failed because of the substantial bases of practice, although the projectors were qualitatively beyond each suspicion.
Obviously the JVC to it-learned engineers, because with the HD1 all these deficiencies are to be turned off. This shows up already with the outward appearance of the projector: Instead of in the typical "presentation chassis" it appears with noble Design and black finish:
The Design may have failed little, but works it simply elegantly and should with it most tastes meet. Likewise on high level the processing of the DLA-HD1 lies: It works its preisklasse (UVP: ? 6500. -) accordingly high-quality and obtain a stable impression. The upper and lateral finish consists of a high polish lacquer finish, which produces the typical piano lacquer impression.
The front as well as the control panel on the top side are set off silver and form a responding contrast in the housing.
Silver front of the DLA-HD1
The ventilation screens, which exhibit a bee honeycomb structure, are a little habituation needy here it more elegant solutions would have given after our taste.
So nobly that black/silver Design to also work likes, it is not living room compatible in practice necessarily: On the side a black projector under white cover, on the other side is quite remarkable is the black Hochglanzfinisch very dust and scratch sensitive, regular flash and careful handling is more than advisable therefore.
In our Previewspecial we asked our reader whether they would prefer a white version, as them are available in Japan. This version works likewise optically very elegantly, adapts however by the bright exterior better to the normal living room.
Eighty per cent of our readers discussion themselves thereby for the white version, but its desire was not unfortunately erhoert so far: In Europe it remains up to further with the black version, the white variant in this country is not introduced. We consider this decision wrong, because so some home cinema fan will evade not rarely, also for sake the better half sake, which classify black exterior than "KO criterion", and in white models of other marks.
All in all however Design and processing are as expressed successful to designate, the projector mediated also outwardly its high efficiency.
1,1 technology (Know How left here)
With the D-ILA projection it concerns neither an LCD nor DLP technology in the conventional sense. Rather the LCOS technology used here represents a mixture from both: As is the case for the LCD technology also here small liquid crystals ensure for the imaging, but them are not analyzed, but reflect the light, similarly as with the DLP technology. As is the case for a LCD projector it concerns likewise a 3-Chip technology, with which for each basic colour one of the three panels is in use. This technology unites the advantages of both competition techniques: By the reflektive building method no conductive strips are in the optical path, whereby a sayful high filling rate without recognizable pixel structure is possible. The filling rate is clearly higher also opposite DLP, since no mechanical movements take place here. Besides the D-ILA control takes place similar, whereby DLP typical artifacts, like noise or False Contour, are avoided. Thus the D-ILA projection of all technologies works most naturally and just as similarly, as the film original.
Who would like itself more exactly to train into the function mode of the D-ILA technology, our HD1-Preview-Special can use , there we the technical structure as well as the innovations of the HD1 in detail presented as starting point.
Like always we dared a view the inside the projector, impressed the fact that it concerned at the time of the test the only coming into Germany, us little thereby; -)
The cover of the DLA-HD1 can be removed after loosening of some screws simply, to the appearance comes the internal technical structure:
In the picture the projektionsoptik was already removed above from us. The chamber lying behind gives a view on the optical block with the surrounding D-ILA panels (recognizable from the radiator box)
Back of the D-ILA panel
By screen sheet metals protected signal electronics on the left side of the projector, which precipitates this time substantially more compactly than with other D-ILA models, is.
Vekapselte electronics of the HD1
Also to this place we risked a view in the inside, kept endless flat cables we the "brain" of the projector in the hands later.
Upper and lower surface that
HD1-Steuerelektronik
Heart of electronics is the Gennum VXP processor, which is to lend particularly good scaling and De-Interlacingeigenschaften to the Beamer. It is remarkable and advertising-effectively in the middle on the plate positioned.
How well the VXP chip performs its work in the DLA-HD1, we will examine in the course of the picture test, but its call is already more than good first.
Apart from new optical structure and new signal electronics the HD1 is to shine also by a particularly quiet ventilation. Thereby the technical realization is interesting: Like a horseshoe the air duct pulls itself as cycle by the projector.
The ventilation cycle of the HD1
The cooling air right sucked in of the optics (1), the diagonal lamellas provide here for a sichtschutz. Fresh air cools first signal electronics (2) as well as the power pack, which are under it. At the back air u-shaped is continued to steer on the lamp, which is positioned at the rear left (3), before air heated up leaves the projector again (4). For further illustration we opened the black Lueftunkskanal:
An exhaust, which can move much air by its generous dimension (owing to the large housing of the HD1, becomes visible) with moderate umlaufzahl. In direct neighbourhood are lamp pit and first integrator lens of the optical path.
Picture center: Lamp pit with integrator lens
Right/down: Exhaust
Underneath the lamp (here developed) is a temperature sensor, which protects the lamp against overheating (arrow). Directly after passing the lamp warmed up air is blown again from the projector.
Attentive readers will have noticed that this ventilation cycle does not cool the optical block of the projector. Considering the large dust danger a combined ventilation would be also very risky. One learned also here in addition: The cooling air necessary for the "Optical engine" is sucked in by its own exhaust from the projector lower surface. The exhaust is platziert thereby perpendicularly apart from the optics:
Exhaust for the optical block
If one throws a view of the projector lower surface, one discovers the suitable intake. It is protected by a fine filter against disturbing dust.
Ventilation slots with pertinent filter
Air cleaners on the lower surface make often a aufwaendige disassembly of the deckenhalterung necessarily, not however with the HD1. Engineers thought also here to end, because the filter can be pulled simply laterally from the projector, without this must be moved. Thus nothing stands to a regular cleaning of the filter in the way.
With the source of light it acts around a 200W-Variante out of Japanese landing, for it to JVC a new co-operation partner was, since past manufacturers would not fulfill the quality requirements consistently enough.
The lamp module is uncommonly compact and for a Heimkinobeamer almost typical. The fact that also it can be changed if necessary comfortably, without the projector from its assembly is pleasing to l eyes. The pit is on the side and can be opened after loosening of a screw.
Simple lamp change with the HD1
How often does one have to count on such a lamp change? According to manufacturer the variant used in the HD1 has one life span of approximately 2000 hours. After this time it supplies with still approx. to 50% of its original luminosity, is thus not not directly defective. This life span is present average with Heimkinobeamern, can however not by the lamp savings mode be extended. We spoke with engineers about it: Lamp manufacturers do not guarantee under any circumstances a longer lifetime, if the lamp is operated "under target". One decided to indicate also at the lamp life span honest values. We consider this honest proceeding exemplary, not rarely in folders exorbitantly long lifetimes will be promised, guaranteed however however only to a few hundred hours.
And how loud or quietly above ventilation system, JVC works was so far not for quiet projectors well-known? We can give 'all-clear' signal, in normally the mode are audible the ventilation, but in the film enterprise not disturbing, even if one sits close at the equipment. The HD1 belongs without a doubt to the quieter its kind. It becomes louder however in the "High mode", here is clearly audible and for some ears also the projector disturbing. However the additional light reserves are used only for large canvas widths over 2,8m.
Altogether the technical structure of the JVC-HD1 is just as high-quality, as its exterior appearance. The processing is also on the inside exemplary, everything works stably, is cleanly arranged and conscientiously shielded. The ventilation system is durchdacht and made possible also positionings close at rear walls, since on the back no ventilation slots are. The binary ventilation system, which supplies the Light engine with own, dust-protected cooling air, is very praise worth. Together with the absolutely high-quality encapsulation of the optical block no dust problems are to be expected here. The practical accessibility of the lamp pit and the air cleaner the good impression the increased volume in the high lamp mode off, only evaluate we round negatively.
1,2 connections/picture signals (Know How left here)
With the entrances one concentrated primarily on digital signal transmission. The projector offers entrances equivalent two to HDMI (1.2), so that also several devices can be attached at the same time digitally.
Beside the digital entrances are present the usual analog variants, component (YUV), s-video and Composite. To criticize it is here that each entrance is only once present. Also the projector has entrance no separate VGA (RGB) -, so that for the connection of a PC to the digital entrance must be fallen back. Here the manufacturer could have been "more generous" a little, because also today yet each PC or laptop does not have a digital picture exit. Besides the projector does not support any dissolutions of PC, neither XGA, nor SXGA, still SVGA. One must thus its PC on video dissolutions (1280x720 or 1920x1080) trims, in order to be able to project with the HD1 a Desktop.
The flexible video signal support is pleasing: 480i/p, 576i/p, 720p60/50, 1080i60/50, 1080p60/50/24 can the projector verabeiten. Straight over the 1080p/24 processing (over HDMI)"Pulldown Hasser" will be pleased at times of the HP-DVD and Blu ray more than.
With our disassembly we more exactly examined also the entrance board. A camouflaged service haven was noticeable to us, which is accompanied by many DIP Switches.
The entrance board with mysterious service haven
Technology Freaks should make themselves however no wrong hopes: After consultation with JVC we experienced the fact that no Consumer software for this haven is planned since to the inside of the equipment is fallen back too much here. Instead one considers a software, with which one can adjust further picture parameters over the RS-232 haven.
1,3 list (Know How left here)
A modern projector must be flexible, since the different space integrations make often special places of assembly necessary. Some area requires a short distance, other one a large, again different a list at the edge, away from the Z-axis. Here we were more than positively surprised of the new characteristics of the HD1. Contrary to its predecessors the HD1 offers an uncommonly large zoom shot range, even a so large that above all the DLP competition does not come along here any longer:
Spacer table JVC DLA-HD1
As one can infer from the above spacer table, the projector offers a sayful large zoom shot range. So can in the home cinema usual the display width of e.g. 2,7m already from a distance from 3,6m(!!) are realized. In addition, in larger areas 7,3m distance are possible with same dimension of picture area. More flexibly the zoom shot range of a projector does not have to be.
The optics of the DLA-HD1,
it makes the large zoom shot range possible
And also to a Lens SHIFT one thought this time. This precipitates likewise sayful largely and strikes the competitor VPL-VW50 clearly.
Up to 80% in the height and 34% in the width can be shifted the projector by the axle. The straight horizontal SHIFT range is to be found with no other FullHD projector so largely. Combined with the large zoom shot range JVC sets here completely clearly new yardsticks. The DLA-HD1 is problem-free applicable in almost any area!
There are however military courage drops: Zoom shot, focus and Lensshift are to be served only manually, luxury in vain as with the Sony VPL-VW50 or Mitsubishi HC5000 look for one. Besides the Lens SHIFTS mechanics of the HD1 were only solved satisfying. It is a little precise and "partly jumps" with the rotation of the wheels, instead of acting sensitivly. Besides de Raeder have very much play.
Lens SHIFT mechanics of the HD1
A view of the mechanics clarifies these weaknesses: The transmissions from numerous plastikraedern do not make a particularly high-quality impression, a locking are missing. Therefore one must bring along little patience, in order to align the HD1 to the canvas. Once adjusted the optics does not adjust itself however.
In our first test chapter the HD1 on nearly whole line convinces: Responding and high-quality working exterior, outstanding designed internal structure and one impress list flexibility correspond to the present requirement, which one can place against to High ending a Beamer of this preisklasse. Only the manual optics attitudes, the absence of PC entrances and dissolutions as well as the volume in the high lamp mode cloud the otherwise protruding impression.
2. Operation (Know How left here)
The operation is a substantial quality factor of each projector, here must the optimal combination of adjusting variety and clarity be always ordered. Nothing is more frustrating, as if one cannot affect certain aspects of the picture or the operation precipitates unnecessarily complicated.
2,1 remote maintenance
Past D-ILA projectors tested by us did not shine straight with their remote maintenance. They fit rather projectors of the entrance class High ending devices. This one saw with JVC obviously, one the HD-1 now a particularly beautiful infrared giver spendiert.
The remote maintenance is structured clear and offers meaningful key allocations. Like that different Presets as well as all entrances are directly callable by depressing the key. At the same time the tax cross is arranged generous. If necessary all keys can be lit up electrically, so that readability is ensured also in dark areas. The range of the infrared giver is absolutely exemplary and permits a reliable operation also in large areas with seating positions before or behind the projector.
All substantial control keys are accommodated also elegantly directly on the equipment top side. So the projector can be used also in the case of empty batteries of the remote maintenance. But caution: On the black surface one sees each finger mark!
Control panel on the top side of the HD1
2,2 menus
The menu structure of the DLA-HD1 is clear in six main categories, "image", "Setup", "video", "Install", "Func." and "info." partitions. This facilitates navigation uncommonly. Here the columns in the detail:
2.2.1 "Image" column
Like the name contains this column already says substantial picture parameters. Typical adjusting parameters, which might be common the specialist, are clearly one above the other arranged:
The "Image" menu of the HD1
In the Unterrubrik "image Adjust" are all fundamental parameters such as contrast, brightness, to find color etc.. Hereby a fast alignment is possible on the signal source. The functions "Sharpness" and "DNR" are particularly worth mentioning, with which the excellent intoxication corrections of verwendetene gene around signal processing can be configured.
It continues to go with "Color temp": Here a healthy mixture from Werkspresets and own adjustment possibilities is ordered. Three color temperatures stand to the selection, "Low", "Middle" and "High", whereby the Middle attitude is to correspond to a D65-Kalibrierung, more to it in the picture test. Who would like to put on even hand, which the color temperature can affect by means of RGB automatic controllers. When starting point for own color calibrations is however always "High", speaks all basic colours maximized (scarcely under the Clipping border), why the RGB automatic controllers can be placed also only in negatives. A Nachjustage of the "Middle" mode is not possible thus, which for laymen without measuring instruments would sometimes have been substantially simpler. Remarkable it is also that the projector does not exhibit separate Gain (for bright of ranges) and bias (for dark ranges) automatic controllers. Instead the automatic controllers affect all brightness. Same applies for automatic controller to the "RGB offset", affects one all brightness stages also here, however in rougher steps.
To what extent these adjustment possibilities for an exact adjustment of the color temperature are sufficient, depends on the linearity of factory setting. We will examine this still in detail in the picture part.
In the "Gamma" menu likewise different Presets is available, which we will likewise seize in the picture part instrumentation. "normal" is preset, which should correspond to the video standard. Own gamma attitudes are not possible in this menu.
Among home cinema fans there were in the last weeks much discussions, whether possibly separate gamma will be offered -- a software by JVC, with which one with the help of a PC the gamma distribution to program can. For the brothers HD2K and HD10K gives it to such a software. We held in this connection with engineers consultation: How already describes under technology, no Consumer software the special service haven, over which also the "Look UP Tables" is programmed, is published. At present the developers examine whether they can make a gamma programming for haven possible over the RS232. The chances for this stand well, but a definite statement or an announcement cannot be made for this.
More the last category, "pixel Adjust" than positively surprised us. Straight one at times of the Full hp dissolution comes the topic convergence not rarely into the main focus of many home cinema fans. Perfect a convergence is actual over the entire picture with a 3-Chip projector of this dissolution a certain utopia. The convergence should be however good enough, in order to provoke in the current film picture not disturbing color fringings. JVC offers a very small tolerance ex factory, as one described us. Additionally however the possibility is given to the user to affect even the convergence:
The convergence menu of the DLA-HD1
Everything drei(!) Basic colours can be shifted both horizontal and vertically, and directly several pixels. However the possible shift is always for the entire picture equally. If the convergence on the left side is different, than e.g. on the right, one will be able to reach no perfect convergence by means of the entire picture. With the help of this menu it is however nevertheless possible, in the particularly important part of the picture, for the picture center, a convergence shift of no more than realizing a half pixel. Many home cinema fans will particularly be pleased about the option, let them a Sony Ruby or Pearl so painfully miss nevertheless.
2.2.2 "Setup" column
The second main column offers various possibilities of storing the desired picture configurations in own profiles. Additionally three Werkspresets are available, which are self-describing before-configured for different targeted applications.
Furthermore with "HDMI inputs level" can be selected the HDMI level between PC and video. Also this function facilitates the adjustment to the signal source uncommonly.
It remains the function "MASK": In principle the DLA-HD1 works at HDTV signals completely without Overscan, indicates thus pixel-perfectly the entire picture content. However if disturbing artifacts at the contour are to be faded out, then they can be masked with this function. This does not apply however only to hp signals, with conventional SD signals (e.g. PAL) has one any influence on Overscan or Blanking. This is a deficiency that during High ending Beamer should not be, more in addition in the picture test.
2.2.3 "Video" column
The third column "video" offers different aspects of the signal adjustment. The possibility is rarely however not unpractical of specifying the detailed digital picture signal. As one sees in the following screen SHOT, the projector supports both RGB- and YUV 4:2:2 and 4:4:4 coding.
With the "Comp" function the user can specify, whether against the similar YUV entrance really also a YUV signal rests, or a RGB signal. Thus it possible also RGB Scart (e.g. of a Satellitenreceiver) is to be fed into the projector. "film mode" offers the choice between car and off (with lying close half-image signals). Usually one leaves this function on car, with off can the De-Interlacer however if necessary into the video mode be forced.
"Color system" is exclusive for (s) video signals thought, here can be switched if necessary manually between NTSC, PAL and Secam. Same applies to "Black level", with which the similar black level between 0 and 7,5% can be affected.
2.2.4 "Install" column
The Install menu offers self-describing all relevant options for the list of the projector.
Apart from front & rueckprojektion the OSD menus can be trimmed here on the own taste.
2.2.5 "Func." column
In the fifth category "Function" appear all options, which did not fit thematically into the other columns.
Here three functions are particularly worth mentioning: With "Sleep timer" users can protect the projector against the fact that he keeps running for hours in the case of a sudden sleep accumulation and so valuable lamp time wasted (see above). We consider this function expressed practical and hope that them will be more frequent to find in other models also in the future. With "Lamp power" the lamp brightness between "normal" and "High" can be switched, more in addition in the picture test. The third practical function is "Testpattern", with which numerous test patterns can be called up, from colors to image definition. An internal test pattern generator shows the professional origins of this D-ILA of projector.
2.2.6 "Info" column
The sixth column offers no adjusting parameters, informs the user however about signal put on and used lamp time.
Altogether the control surface of the DLA-HD1 offers numerous functions, which are necessary for a further picture optimization in a clear and intuitive operated way. The mixture from required Presets and own adjusting options succeeded thereby and balanced. However experienced home cinema fans will evaluate the limited options critically for picture adjustment. Compared with many other projectors the parameters of the HD1 are reduced to the necessary minimum. It hangs thus strongly of the starting point, denies to the factory setting of the projector, which can be realized for a picture accuracy with the DLA-HD1. We will examine this in the coming picture test, which we will publish in the next days.
3. Picture test
Now we come finite to the picture part of this test. In our Preview Specials we published already many results to the pilot lot model, it remain the question, as well "manufacture ourselves" standard sets, let us speak the models, which one can buy in the business, in the comparison to strike. Meanwhile we had the possibility of examining three "genuine" standard sets whereby our results are to be regarded as adequate and finally.
3,1 Screendoor/raster (Know How left here)
One of the largest advantages of the LCOS and/or D-ILA technology is the reflecting function of the panels without disturbing conductive strips in the optical path. Thus the pixels move uncommonly close together, so that hardly still distances can be noticed.
Pixel raster of the HD1 from few centimeters
Distance photographs
In addition projector comes like the JVC the high native resolution of over two million pixels with a FullHD. The combination of tiny pixels and high filling rate (over 90%) makes the HD1 a nearly pixel-free projector. Even from short viewing distances the fly lattice is not to be recognized.
3,2 color extent (Know How left here)
In things color extent did not do opposite our Previewtest much: As measuring pole for the color extent clearly the Sony VPL-VW100 was considered in the past twelve months. The projector with its xenon lamp and his sun-similar spectrum to its color extent jumped over itself over the video standards, but straight this constituted a large part of the fascination in the color representation for many.
In the DLA-HD1 finds no xenon lamp use, which the purse thanks by clearly smaller running costs. Instead a 200W UHP lamp was blocked, how it is usual for home cinema projectors. This lamp offers however no as balanced spectrum, as the expensive and aufwaendige xenon variant. In order to be received however no deficits in the colors, JVC an unusual beginning selected:
Inside the projector are special filters, which let happen only selected spectral portions filter undesired spectral portions of the UHP light and. Particularly disturbing yellow portions from green are eliminated in such a way, which comes the color representation to property. In this way the projector loses light (without farbanpassung the HD1 would be too far over 1000Lumen able), but is as a similar color extent as with xenon to be realized. And the thought out method was confirmed also in our measurements: The projector actually has an uncommonly large color area, which can take up it even with the Sony Ruby.
Left: Color extent DLA-HD1, right: Sony VPL-VW100 (Ruby)
The secondary colors are very well co-ordinated in the series
In the comparison that the color extent precipitates similarly largely, only in the red offers above the xenon lamp still more clearance is to be recognized for strong colors. Are impressing this result, are nevertheless two completely different lamp techniques in the use. In the spectrographic analysis differences show up then however nevertheless: As already described must with the UHP lamp disturbing spectral portions are filtered, while with xenon the spectrum can be projected almost not filtered on the canvas.
Left: Spectrographic analysis DLA-HD1, right: Sony VPL-VW100 (Ruby)
As one sees, the xenon lamp in its spectrum with the large bath tub curves remains ungeschlagen. To what extent this positively affects the eye, cannot be occupied with measuring instruments. Not few video purists state to constitute a visible difference with the xenon lamp in the current film picture. Others state again that a difference cannot be visibly, since the "peaks" of the basic colours decide sensitively to those our eye particularly reacted.
We for our part are likewise the opinion that the xenon lamp makes itself still paid. The JVC HD1 offers an absolutely protruding image representation, which simulates the large cinema chromatic spectrum appropriately. Over the Limitationen of the video standard with its almost "pale" basic colours one jumped over oneself consciously. Or other scene in the comparison nevertheless works a little too multicolored, a xenon projector like the VPL-100 succeeds mixes from natural natural colors and strengthens, "poppigen" colors, where desired, better, than the HD1.
With the topic increasingly the spirit separates color area: Video purists will criticize the fact that the required color area offers more, than the video standard plans and so possibly surfeited can work colors. Film fans however see straight in the reduced color area a disturbing compromise to the cinema original, which likewise exhibits a substantially larger color area. In any case ones to criticize one cannot do the fact that the HD1 does not offer real color space adjustment, speaks a Color management like many other projectors of this preisklasse. Like that one is fixed on the large color area and can affect him only with the help of the general saturation automatic controller. A selection of different color areas would have been desirably minimal, as they offer ever more projectors at the market. For film looking the work selection of the HD1 is however more than recommendable and meets the taste of most home cinema fans, that want to really bring the experience to cinema, with all its color splendour, home.
3,3 color temperature (Know How left here)
One of our favourite topics is the color temperature of a projector. On it the naturalness of the picture essentially depends, but its accuracy is much too often neglected during factory setting culpably. With good example here JVC went, to each D-ILA projector tested by us in front was almost perfectly with the D65 (6500K) video standard co-ordinated always.
In order to receive really representative results, we through-measured this time equivalent three standard sets, in order to be able to recognize also possible work dispersions. The "Middle" Preset corresponds according to manufacturer of the D65-Videonorm, we begins with the first test equipment:
"Middle" factory settings of the first standard set
Our first series candidate shows one more than impressing work tuning: The color temperature is not only uncommonly near their desired value, but also even over almost all brightness away absolutely. This causes a akkurate and at the same time homogeneous color representation, better hardly goes it ex factory. Or nevertheless? - the second standard set really surprised us:
Factory setting of the second standard set
With the second standard set the "Fernkalibrierer" carried whole work out from Japan: The projector is more exact on the point, can a Kalibirerung hardly fail. Only in dark Breichen a minimum Magentaueberschuss shows up. Nevertheless: So far hardly another projector offered such good results ever ex factory.
Factory setting of the third standard set
With our third test copy the Farbtemepratur failed always still well, but as no longer perfectly as with the other two. Here a small blue surplus makes itself noticeably, at least for videophile extremists.
As far as factory settings, with which the HD1 in this category Bestnoten ergattert itself. But how well one can adjust if necessary the color temperature? In the last weeks the limited RGB possibilities for many were a large discussion topic. We can give 'all-clear' signal: In the opposite, ever it was not so simple to bring the color temperature of a projector as fast on the desired point as with the HD1. It handed to co-ordinate the color temperature of a middle brightness stage (50%) and all other brightness stages behaved identically.
Improved color temperature with the help of the RGB automatic controllers
Unfortunate it is with the fact only that the outstanding "Middle" Preset cannot be after-corrected, but "the user 1/2" modes as starting point always the much to cool "High" Preset at the basis put. Also the RGB values of the Middle Presetes in the normal menu are not indicated, so that one cannot umkopieren them also. Nevertheless: The concerns around the color temperature adjustment possibilities of the HD1 were unfounded.
In the result the projector shows a natural color representation, which comes the cinema original very close. The balance of the basic colours succeeded thereby outstanding, to chromatic distortions in the Greens or blue ones does not emerge not, also not with the secondary colors. Here and there the HD1 works however a little too multicolored, which must be attributed to the large color area. The compromise is according to our opinion acceptable however to favour of the many more beautiful "cinema colors" more than. Who wants it still better, which must change over to xenon.
3,4 schwarzwert, contrast, brightness (Know How left here)
Now we come to the however position characteristic of the DLA-HD1: No less than 15000:1 native contrast is to avoid the Beamer on the canvas, that is approximately a trebling of the possible one, all the same which projection technology.
A value, which sounds too beautiful, in order to be true. For this reason we particularly exactly measured and us again all three standard sets before-buttoned. The results thereby were convincing: The HD1 actually reaches this factory specification, and even on adherence to the D65-Videonorm, speak with correct colors. It gives to consider however a few details: So the zoom shot has a direct influence on contrast and brightness. The more near one the projector to the canvas places (the more largely the zoom shot), the more lights has one on the canvas, the smaller is however the contrast. One places the projector with same dimension of picture area away (small zoom shot), the better continues to become Schwwarzwert and contrast, but one has also less maximum brightness on the canvas.
Contrast/brightness - measuring table
JVC DLA-HD1
Zoom shot Color mode Lamp mode Light/lumen Contrast
Max one Means (D65) High 720 12000:1
Max one High High 808 14000:1
Max one Means (D65) Normally 600 12000:1
Max one High Normally 670 14000:1
Mid Means (D65) High 615 13500:1
Mid High High 695 15900:1
Mid Means (D65) Normally 520 13500:1
Mid High Normally 590 15900:1
Min Means (D65) High 500 15700:1
Min High High 541 19300:1
Min Means (D65) Normally 408 15700:1
Min High Normally 465 19300:1
As one can infer from the table, the maximum zoom shot offers more brightness to approximately 25%, than the minimum zoom shot. At the same time however the contrast is better around likewise approximately 25% with the minimum zoom shot. Here the user, if it permits the area, can even bestimmern, who weighting it wants to have. A good compromise is always a list in the middle zoom shot range.
We conversed with JVC about this phenomenon. Reason for these large differences is a combination of extremely large zoom shot range of the optics and the firm iris in the focus. It is not correct under any circumstances the fact that the HD1 has no screen in the optical path how in some tests falsely states. In the focus of the optics, is a firm scattered light screen, which increases the in image contrast clearly.
Scattered light screen in the optics
In the large "professional brothers" of the HD1 the screen adapts mechanically to the adjusted zoom shot and permits so always same contrast and brightness. In the HD1 however a static screen was blocked, so that above tolerances are to be regarded regarding the zoom shot as normal.
Concerning the results of measurement we would like to mention that they failed with all standard sets tested by us very constantly and homogeneously (+/- a few per cent). Thus also in the series a good Konstanz is ordered here, which corresponds to the factory specifications. Again one must express JVC for its honesty large praise.
The high native contrast of the JVC projector is to bring in relation to adaptive iris solutions, like for example with the Sony VPL-VW50, advantages. "why that?" so some reader will ask itself, "on/off contrast is equal to on/off contrast". This is correct in practice however not completely. The following diagram is intended to clarify the difference:
Left the contrast relationship of the JVC is represented schematically, it amounts to always 15000:1. That is, the black level is always equal darkly, the weisspegel always equivalent brightly. Right the adaptive function of a screen is described. It closes with dark scenes and improves the schwarzwert. In bright scenes it opens and improves the maximum brightness. Which however is the native contrast of the projector, which lies in the case of the VW50 for example between 2000:1 and 4000:1, remains always unchanged (depending upon opening degrees). In other words: In and the same picture can white be at the most 3000 times brighter as black. With the DLA-HD1 white can be 15000 times brighter however, as black. Either bright details are thus brighter in an predominantly dark scene, or the schwarzwert is better.
This theory is more than plausible, can be sceptically regarded however in this form. Because it ignores various scattered light factors, which reduce the in picture contrast inevitably. Also with a native contrast of 15000:1 in most scenes a projector will be able to never hold a contrast of 15000:1 within a picture. The ANSI Kontrastmessung is thereby a good example: With a projected chessboard the contrast between white and black fields corresponds never to the on/off contrast, but always only a fraction, mostly between 250:1 and 600:1.
Nevertheless: Actually the advantages of the native contrast in the direct comparison were to be seen clear. Straight one in dark scenes visibly profited the picture depth. While the schwarzwert was on easily better level than with the VPL-VW50, bright details were at the same time substantially more radiating worked out. This e.g. with a starlit sky from star Wars, the stars was clear was worked out substantially more clearly clearly more radiating than with the SXRD projector, the contrast between black space and bright leuchtpunkten. The following spaceship worked likewise clearly more radiating, the picture won increasingly in picture depth. This observation could be transferred to many scenes. Even in brighter TV scenes in parts platischere working out of details was noticeable owing to higher in image contrast clearly.
Above comparison approximates the impression locally much:
The HD1 (right) worked better out contrasts straight in dark scenes
In addition it must be said that it concerns with the projection picture of the VPL-VW50 an uncommonly plastic picture. The Sony projector belonged at present also to the reference standard in the home cinema and offers everything else as a dull picture. Many are already inspired of the picture depth of the Sony Beamers. The JVC DLA-HD1 succeeds in nevertheless setting still "one drauf". The projector is still more platischer, contrasts is still better worked out. This shows, on which high level we move here. No question, in things contrast sets the new JVC projector new yardsticks, and this not only regarding its direct competitor, but regarding all at present usual techniques within the home cinema range. In addition, one must say to it that the differences are not like day and night, it is however a visible step of "Gut+" on "much property".
In things native contrast promised JVC not too much. The HD1 belongs with distance to the plastischten Heimkinobeamern, which give it - and includes all technologies.
3,5 gamma distribution/homogeneity (Know How left here)
How well does the DLA-HD1 exhaust its high contrast, does speak, the brightness distribution (gamma) is how good "programmed"? Similarly as with the color temperature standards must be kept here, in order to obtain as plastic and natural an picture impression as possible.
As already describes under operation, the HD1 offers to only four Werkspresets for the gamma influence, a gamma manager is not yet officially announced at present. We examined the four Presets:
Factory setting is gamma off, speaks "native" projectors gamma, here we for the investigation of the series dispersion of three devices tested.
Gamma Werkspreset (normal)
Two of our test models exhibited thereby an exemplary 2.26-Gamma to be recognized as in the measuring diagram above. One of the devices offered an easily higher gamma of 2,3. It is to be accepted thus that the tolerance permits a gamma between 2,2 and 2,3 here. This is for a Werkspreset protruding, corresponds it nevertheless to the practical video standard and permitted so the most natural image representation.
It continues to go with the next Preset, which was called unfortunately insignificant "A". How does the projector behave here?
Gammapreset "A"
First an exemplary even 2,24-Gammakurve, it shows up also here seems hardly a change to give. The image representation remains actual to a large extent invariably, but with a difference: Dark picture elements near at black are emphasized and worked out more strongly. It is possible to reach in not optimized areas of more Durchzeichnung in dark pictures. Who the measuring diagrams regards this exactly to read off also there will be able: The at the beginning of the curve (left) is attached with the "A"-Setting more highly than "normal".
Little meaningful the Settings brings to "B" and "C", with first the gamma is easily raised, whereby the Durchzeichnung suffers, but the Bildplatizitaet does not rise. "C" however is a flatter gamma, which is meant probably for projections on low light conditions.
With the two Werkspresets "the DLA-HD1 in each home cinema offers normal" and "A" an uncommonly plastic picture that to the video standard adheres exemplary. No details are swallowed in the dark one, nothing work artificially over-radiated, here give it to nothing to expose. It becomes difficult, if the user liked to realize a steeper gamma, in order to increase the subjective plasticity of the picture. This is not at present possible with the HD1!
3.6 sharpness/illuminating/convergence (Know How left here)
With FullHD the optical sharpness of the projection became particularly important. The picture can convert only then the high resolution of the picture signal, if the sharpness of the optics permits this. Also the tuning of the three basic colours one on the other, speak convergence, must be as exact as possible.
The projektionsoptik of the HD1
The optics of the HD1 carries here good work out, it ensured over the entire picture an even sharpness, which dissolves also finest details appropriately. Only when extreme use the Lensshifts Unschaerfen can in-smuggle themselves in boundary regions, which are however technically conditioned and occur rarely in practice.
For the convergence we examined again all three devices parallel. JVC betrayed us that the work tolerances permit approximately a half pixel disalignment in the picture center and to pixels in the boundary regions. Practice shows that these strict tolerances are well kept.
Our first test equipment showed only a minimum blue disalignment of approx. a half pixel (see above). This is to be constituted only from next proximity and disturbs the dissolution of the projector in no way.
The other two devices exhibited an easy disalignment of red, which constitutes half pixel approximately with the help of the digital convergence shift over the entire picture. Also these are clearly better for a 3-Chip FulHD projector outstanding results, than with so some competition model.
And also in things illuminating does not afford the HD1 weaknesses: Even to the boundary regions no uneven illuminating is to be recognized. Also Desktop projections (computer use) work absolutely evenly. In the black however easily lightened corners are to be noticed, regular readers already know this phenomenon by the Sony SXRD projectors also with the standard sets.
Easily lightened corners in black
The Auhellung of the corners is however so subtle that she is not noticeable in the film enterprise.
3,7 Overscan (Know How left here)
In the chapter "operation" we already dealt with it: The HD1 has a masking function, not however over adjustment possibilities of the Overscans. Here one depends thus on factory settings of the manufacturer:
- 1080i/p/720p
At the hp passing on the DLA-HD1 works perfectly freely from Overscan, the entire picture content is represented, in the case of 1080p signals even pixel-perfectly.
With this result each home cinema fan is lucky, no contours artificially is nevertheless cut off. If necessary function a black Blanking framework can be faded in with the "MASK", which will however probably do nobody in practice. The advantage of a Blankings instead of Overscan is with 1080p passing on the retention of the pixel-exact control.
- 576p
Bicht so well looks it when the progressive PAL (576p) passing on. Here approximately 25 (PAL)Pixel on each side becomes cut off.
Not changeable Overscan with 576p
Such a lighter Overscan for the representation of television transmissions sense makes, but would be it better, if the user could determine the Overscan, how it is with almost any home cinema projector today the case.
-576i
Directly too largely finally the Overscan is with conventional PAL, speaks 576i (Interlaced). Over 40 pixels on each side are cut off, that are alone horizontal over 10% of the picture content.
To large Overscan with 576i
Particularly disturbing is besides that with Cinemascope films the 21:9 format is not maintained. Also this Overscan cannot be affected with the HD1.
Who wants to always admire the entire picture content on the canvas with the new JVC Beamer, does not come around around as native a HDTV passing on as possible. Are recommended therefore as Zuspieler DVD Player and Satellitenreceiver, which can spend directly by inserted Scaler 1080i/p. Considering the efficient gene around chip in the HD1, which would show a better scaling in the case of doubt, this unnecessary deficiency of the Overscans is incomprehensible, in these High ending class only to almost any entrance projector offers meanwhile a variable Overscan for all dissolutions, this should also here be possible.
3,8 De-Interlacing (Know How left here)
Considering the large Overscans with 576i-Signalen the De-Interlacing becomes already nearly a purely academic question, at least with PAL. We examined it nevertheless in used detailedness:
Standard definition (SD) material
The Gennum VXP comes outstanding with video material rightfully. After Motion adaptive one procedure it interlaces reliably standing picture elements, while it moved high-interpolated. The processor is thereby in any case sport & televisionsuited.
Likewise outstanding works the film Deinterlacing for features, which are noted with 24(25) pictures per second. Also with PAL material the projector gets along problem-free and finds the correct Rhytmus for the half-image interlacing reliable.
High definition (hp) material
For the De-Interlacing of hp (1080i) material is used likewise the Gennum with VXP. We examined and were very impressed again the De-Interlacing with numerous Hp DVDs and Blu rays with difficult film scenes: The De-Interlacer succeeds in to prepare also filmmaterial outstanding and avoiding disturbing edge flares. Even most difficult scenes remained stable for picture errors on the canvas, are the absolute exception. So far is us no better Hp De Interlacing meets, than with the Gennum VXP.
Is missing does to the HD1 only a Reverse Pulldown for the reconstruction of the original cinema frequency of 24Hz at fed 1080/60Hz signals. That is unfortunate, because in addition the Gennum processor is not able, but can one for the HD1 reproaches here make. No other model at the market (with exception of the Projecion Design 1080) offers this feature.
3,9 detail loyalty/scaling/sharpness (Know How left here)
We expect likewise good results from the scaling abilities of the HD1 with its Gennum VXP processor. Still the scaling is important, because conventional PAL will accompany us still many years.
Horizontal the Gennum carries outstanding services out, it converts the Pa run solution adequately and hardly provokes also in difficult frequency ranges interference.
Very good scaling characteristics
without linearity fluctuations
Also the drop in level of highest dissolution resolutions precipitates small enough, in order to provoke no sharpness losses in the picture. Vertically likewise outstanding scaling results show up.
Also vertically hardly scaling artifacts
Even single-line details (screen SHOT above) are represented absolutely freely by scaling us artifacts. Better a scaling can hardly fail, the high native FullHD dissolution of the projector comes to meet much.
As far as so good, to here it has the appearance that the scaling characteristics of the DLA-HD1 do not leave desires open. This applies also to similar sources (e.g. YUV), and digital passing on over HDMI RGB or HDMI YPbPr 4:4:4. With HDMI YPbPr 4:2:2 was noticeable to us however unfortunately a Chroma Upsampling problem:
HDMI 4:2:2 Chroma Upsampling with 576p/i material
If one feeds the HD1 with digital 576p material in 4:2:2 procedure coded, then the projector must project the Chromaaufloesung themselves. Here an error in-crept, vertically columns was exchanged. Well one can examine with Hife of a color Multibursts.
In the above screen SHOT one recognizes the vertical banding, which provokes disturbing artifacts in the picture. This becomes still clearer with colored diagonal edges:
Incorrect Chroma Upsampling
This phenomenon is us in the courseness frequently meets, we in appropriate places on it had reported:
Also in the current film picture, particularly with multicolored scenes, the picture impression can be clouded.
Above screen SHOT shows clearly, as the Chromabug can make itself bermerkbar: Both the blue and red outlines show fraying and even doubling tires, which are to due in each case to the column permutation.
Also Buzz Lightyear shows clear fraying in eye and chin portions. As is the case for many things such Verfremdungen can disturb much, if one became attentive to her.
Above Detailausschnit, this time from the material film "star Wars",
shows likewise the stairway steps
But there are "Workarounds": Solution of the problem is switching to HDMI RGB and/or YPbPr 4:4:4. With such passing on the farbkanaele will individually completely transfer and the disturbing picture fraying will disappear.
DVI/HDMI RGB, no fraying
With DVD Playern this is thus unproblematically, simply the Player on DVI or HDMI (RGB) switches, already disappears the problem. But which is with future sources of picture such as satellite, BluRay or HP-DVD? Here it is not yet clear whether they will at all still support all the RGB standard, and also they will increasingly be used for PAL material.
No solution gives it for the representation of digital 576i-Signalen, how they can be spent by some DVD Playern and receivern. Here the projector seems to process only one quarter of the dissolution, which expresses itself by rough Kloetzchenbildung:
576i over HDMI, reduced dissolution
Digital 576i-Signale is rather the rarity, so that the fehlerhate representation should not constitute anything in practice. It is however unfortunate that one thus cannot fall back to the outstanding De-Interlacing-characteristics of the Gennum. Nevertheless a better De-Interlacing could succeed to the HD1, than so some DVD Player or receiver.
Considering the high preisklasse and the high-quality signal processor Upsampling errors described above should not emerge with the HD1. We referred engineers to this 576p-Probleme and one insured us that on an update one works. As soon as this appears, we will report on it.
But apart from this "nose" the HD1 in things scaling and detail representation offers outstanding results. The scaling is almost freely of linearity fluctuations, fine details cleanly is dissolved and angmessen sharply, i.e. over-sharpens not artificially, brought on the canvas.
3,10 Shading (Know How left here)
The color homogeneity (Color Uniformity) is a large topic with 3-Chip projectors and it voraussichltlich also still for some time will remain still.
As the experience shows, isolates projectors particularly much or in addition, little Shading (color clouds) can to exhibit. For this reason we regarded again several standard sets, in order to find an overview of the work tolerances.
The results are throughout good thereby: Here approximately there easy color temperature fluctuations are to recognize (usually minimum reddish in the right half screen), but are so small the tolerances in in-laminar gray tones that they are not noticeable in the current film picture. The Shading of the devices sighted by us was on an exemplary level.
3,11 result picture
In the preceding sections we treated many aspects for itself. Within most ranges the JVC DLA-HD1 made a very good to outstanding figure. But to which for a picture impression all this help the projector, how each aspect contributes its part?
We begin with the colors, with which the spirit of some home cinema fans (again once) will separate: The color area of the projector was designed not stubbornly for the video standard, but orients themselves at that much larger color area of the cinema original. With cinema there are now times stronger and stronger colors, than they permit our video standards, which are to due to a large extent to outdated tube technology. The LCOS technology offers however the Potenzial for strong colors, so that one did not want to give away her with the HD1 artificially. Some will state here as criticism the fact that (Hp)DVDs for so a large color area was not gemastert, then a too strong representation of some colours is inevitable. Actually the HD1 is inclined also to represent colors very strongly one succeeds to him much believe will representation of nature and face colors, the outstanding tuning of the color temperature contributes however nevertheless to it. The friend of strong colors will answer that the adjustment of the cinema original already represents a rough Verfremdung of the original on the small video color area of itself and with akkurater color reproduction not too much to do has, the JVC variant to the criticism this bad state only against would work. A generally accepted "wisdom" to this topic will not probably give it. Fact is however that the straight current LCOS projectors color variety with naturalness combine impressing. In the case of the DLA-HD1 however a Color management would have been desirable, so that the experienced user can put on hand, in order to realize its personal desires. In this preisklasse such adjustment possibilities are actually standard.
With the very much responding color representation a sayful high native contrast of 15000:1 with the HD1, which can be actually also achieved in practice, associates. No other projector at the market has such a high native contrast, so that the first picture impression of the HD1 affects also on the experienced eye a large fascination. Particularly predominantly dark scenes with at the same time bright picture elements profit. By the high in image contrast the HD1 is competitionless in such scenes. With many scenes the ANSI contrast is by far less crucial, than the native on/off contrast, the HD1 occupies this in impressing way. We will publish their own Special row to the topic soon.
By the very good gamma tuning ex factory the projector succeeds in also bringing the unbelievable picture depth reliably and naturally on the canvas. However applies also here: Adjustment possibilities lacking specify the user on factory setting, own optimizations can not be accomplished.
Apart from above main criteria the HD1 affords few weaknesses also in many partial aspects of the image representation. With the D-ILA technology the absence of any digital artifacts is particularly beautiful, so that the picture on the Leiwand the Zellulloid original comes astonishing close. As some little thing disturbs however, as the not influenceable Overscan, the projector of more adjusting parameters also here would not have harmed. Disturbing the inadequacies are therefore real with HDMI 576p (YUV) signals, the user should absolutely make certain that he uses RGB suited Zuspieler.
Small weaknesses or ago, the DLA-HD1 impresses with his image representation, like hardly a projector before. The combination of grandiosen colors and unique picture depth produce even with home cinema fans for many years an AHA effect, like never before. We were allowed to experience this with several presentations of the Beamers. There is probably nobody, which does not certify the HD1 a good picture, and this succeeded practically still to no other Beamer before.
Evaluation picture entirely: 1,3 (very much property -)
Schwarzwert & contrast
1,0 (very much property)
Sharpness & interpolation
(because of Chromabug)
1,4 - 4.3 (very much property to sufficient)
Color extent/temperature
1,3/1.2 (very well -)
De-Interlacing
1,6 (property +)
Other aspects
1,3 (very much property)
(all evaluations refer to the respective kind of projection and the current state of the art. A direct system-spreading comparison is only conditionally possible therefore!)
4. Result
After the so far always rather halfhearted attempts of a home cinema projector the manufacturer JVC wanted to make this time nails with heads. A goal was a projector, which was adapted in all interests on the needs of the home cinema.
This ambitious project succeeded on whole line. This begins with the mad processing and the noble exterior that directly the feeling of a high-quality product for the customer arrange. Unfortunately the finish failed a little too empfindlcih, it dusty and scratched very easily.
Also the need of the Heimkinfans after peace was taken good heed of, because in normally the mode the HD1 behaves pleasantly quietly and disturbs the film evening in keinster way. Only who would like to use all Lichtreserevn, does not come around around a certain noise insensitivity, because in the High mode the ventilation adds a course.
Compromise lot shows up the projector also in its list flexibility: With a very large zoom shot range and a just as large optical Lensshift in both directions the HD1 is the LCSO projector at the market, most flexible with distance. Also unusual positions can be mastered with it problem-free. A little unfortunate is however the absence of any luxury, then all attitudes must become manual vorgenommwn, whereby the Lensshift works besides a little wobbly. So some competitor offers in this preisklasse more comfort.
With two HDMI the HD1 is appropriate for entrances and the support of 1080p/24Hz signals likewise fully in the indication the time. It finished HDTV material and is so on years usable. Hardly another model can maintain this at present from itself. Unfortunate however the "Geiz" is with PC supports: No similar VGA entrance and no support of PC dissolutions (except VGA) limit the projector on pure video representations. It is possible nevertheless to connect a PC by HDMI with suitable dissolution (1920x1080) but in addition only heavy-duty machines are at present able, not however the usual Notebook.
Over the resulting image quality already everything is said: The JVC DLA-HD1 is a projector, which projects a compromiseless, fascinating picture, like hardly equipment before. And this "out OF the box", everything without large Nachkorrekturen by the user. "fascinating" is all around the suitable word, because fascination is written everyone in the face, which regards the picture of the HD1 for the first time on the canvas. Who may admire the picture of the HD1 in the suitable premises, him also fast or other inadequacy in the equipment forgives.
Therefore we can only recommend an attendance with the specialist dealer and the associated personal demonstration to everyone, which is interested at present in that perfect home cinema picture. Also you will be fascinated, that guarantee we!
5. Evaluation
+ Full HDTV dissolution (1920 x 1080)
+ outstanding factory settings
+ unique high native contrast
+ strengthens colors
+ high-quality signal processing
+ no pixel structure
+ no digital artifacts
+ very flexible list characteristics
+ Grandiose pair of overalls image quality
+ property work tolerances
- Chroma Upsampling error with 576p/i signals (4:2:2)
- few picture parameters to persoenlcihen optimization
- no motorized zoom shot, focus or Lens SHIFT
- imprecise Lens SHIFT mechanics
- no support of usual dissolutions of PC
- little similar entrances, no VGA
- no influence possibilities for the Overscan
Evaluation entirely: 1,4 (very much property -)
Equipment
1,7 (property +)
Operation
1,7 (property +)
Technology
1,2 (very much property)
Picture
1,3 (very much property -)
Price achievement
1,0 (very much property)
(all evaluations refer to the respective kind of projection and the current state of the art. A direct system-spreading comparison is only conditionally possible therefore!)
26. February, 2007, corner-hard Schmitt
Inquiry - voices it now off!!
With one click co-ordinate you:
- > I prefer the white version of the DLA-HD1... < -
- > I prefer the black version of the DLA-HD1... < -
- > the color is all the same to me... < -
6. Technical details (manufacturer data)
Display DEVICE
Full hp D-ILA DEVICE
Panel size
0,7 inch of x 3 (16:9)
Resolution
1.920 x 1.080 of pixel
Lens
X2 manual zoom shot/focus lens
f=21.3-42.6mm
F=3.2-4.3
Projection size
60 inch – 200 inch
Lens SHIFT function
80% vertically and 34% horizontal
Light SOURCE lamp
200-watt ultra high pressure mercury lamp
Light output
700 lm
Contrast ratio
15,000:1
Video input terminal
HDMI x 2
Component x 1 (3RCA) CAN thus used as A RGB terminal.
S video terminal (mini DIN4 pin) x 1
Composite x 1 (1RCA terminal)
Control terminal
RS-232 (D-sub9 pin)
Video input of signal
480i/p, 576i/p, 720p60/50, 1080i60/50, 1080p60/50/24, NTSC/NTSC4.43/PAL/PAL-M/PAL-N/SECAM
Noise level
25dB (in normally mode)
Power Consumption
280-watt (2.7-watt while in by)
Dimension (W x H x D)
455 x 172 x 418mm (without extruding)
Measure
11.6kg
Provided of accessories
Power SOURCE cable x 1, self lightening remote control x 1, AAA size batteries, and lens cap
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