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EQUIPMENT REVIEW

Lumagen Vision™ Groundbreaking Processor

G REG R OGERS

Introduction

Lumagen is a new video company with an exciting goal and two Visions. It believes that existing video scalers are too expensive and intends to provide high-performance video processors at more affordable prices. The Vision™ ($999) and VisionPro™ ($1,895) are the first entries in the Lumagen product line. Both share the same circuits, but the VisionPro includes addition- al input switching capabilities. The ground- their own proprietary scaling algorithms. horizontal lines of a single . To avoid breaking Vision is the subject of this review. You might also expect a wide-area a new field is displayed priced at $999 to be limited to only a single approximately 60 times per second. Product Overview output format. Instead, the Vision provides Inter-line flicker occurs along horizontal more image sizing features and display format edges because the top or bottom edge of The Vision upconverts standard-definition options than scalers many times its price. It an object appears to lie on an odd line in to match the native, or opti- also provides YPbPr or RGB output signals, one field and an even line in another. As mal resolution of projectors, flat-panel dis- with a complete selection of sync options. odd and even fields are alternately dis- plays, and high-definition direct-view moni- The Vision does have a few limitations when played, the edge appears to move up and tors. It will produce virtually any progressive compared with far more expensive scalers. down by one line in the picture. Since odd video format from 480p to , and also It doesn’t have variable adaptive detail fields and even fields are each displayed generates for the many CRT-based enhancement, and it only upconverts standard- approximately 30 times per second, the rear-projection TVs that accept that format. definition interlaced video formats. Hence, it edge appears to blink on and off, or bob up Video upconverters are usually referred to won’t scale 480p input signals, nor deinterlace and down, at a 30 Hz rate. This is most as scalers in the consumer world, but scal- 1080i signals. But it provides a high-band- commonly called line-twitter. ing is only part of the upconversion process. width pass-through input to connect 480p or Line twitter is not limited to the edges of Analog interlaced signals must first be digi- high-definition signal sources to the display. objects. It can appear wherever there are tized and converted to a progressive format high-contrast horizontal lines in an inter- by a process. Then the pro- Why Deinterlace Or laced image. The addition of slow vertical gressive format is scaled to a display format Scale? motion increases the twittering as horizontal with more scan lines per frame, and finally edges move across field lines. converted back to analog component video The purpose of deinterlacing and scaling Inverse- deinterlacing can eliminate to drive a high-resolution projector or monitor. is to eliminate interlaced video artifacts, and line twitter from interlaced film-sources, and When 1080i signals are required, an addi- reduce the visibility of scan lines on CRT motion-adaptive deinterlacing can reduce line tional progressive-to-interlaced step occurs projectors, or match the native resolution of twitter from original interlaced-video sources. prior to the digital-to-analog conversion. fixed-pixel displays. The larger the screen the But to reduce line twitter on interlaced dis- Every step in the upconversion process is more visible artifacts become. The most objec- plays, vertical filtering is applied in video critical to the ultimate picture quality, and tionable interlace artifacts are inter-line flicker cameras and film-to-video DVD transfers to you might expect a product at this price to (line twitter), jagged edges, and motion comb- soften horizontal edges. For that reason, cut some corners in its signal processing. ing. I’ll briefly discuss each of these artifacts. deinterlacing 480i video can never produce But that isn’t the case. The Vision uses 10- Interlaced video is composed of a the full vertical resolution that would otherwise bit oversampled analog-to-digital and digi- sequence of fields, where each field con- be possible from an unfiltered 480p source. tal-to-analog converters to maximize signal tains only the odd or the even horizontal Jagged edges (jaggies) along diagonal linearity and minimize noise. Inverse- lines of picture information. In the 480i-inter- lines are an unavoidable consequence of a telecine deinterlacing with 3-2 field pull- laced format, each field contains 240 active discrete line or pixel structure, but interlac- down detection is used to optimally deinter- (visible) lines of picture information. When ing exacerbates jaggies. Segments along a lace film sources, and motion-adaptive the fields are sequentially displayed on a diagonal edge will appear to flicker on and deinterlacing is used for original interlaced CRT monitor, we perceive that the odd and off because they lie in different interlaced video sources. Lumagen has even developed even lines create a picture with twice the fields. If there is slow vertical movement the

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EQUIPMENT REVIEW

jaggies may appear to strobe or move (run- The remote control includes On and Menu Functions ning jaggies). Standby buttons, but there is no power Interlaced combing occurs when an switch on the processor. The Vision includes The Vision has an exceptionally broad list object is in motion. Our eyes tend to track a small external power module that supplies of features, some of which are accessed the object, particularly on a wide screen. 5-volts DC through a cable to a rear panel with dedicated buttons on the remote con- Since the object appears at different loca- jack. The power module includes a sepa- trol, and others through an on-screen hierar- tions in the odd and even fields, we per- rate power cord to connect to an AC power chical menu structure. ceive the odd and even scan lines sepa- line, and an LED that indicates when the The menu functions are logically rately, rather than integrating them into a full module is receiving power. arranged into four main groups—IN, OUT, picture. Vertical and diagonal edges of MISC, and SAVE. moving objects may appear like the teeth in Inputs And Outputs a comb because each field has only half Input Features the scan lines of the frame. Even when The rear panel includes composite, S- objects aren’t in motion, a small component video, and YPbPr component video inputs The IN group submenus include COLR, of vertical jitter in the picture may cause our for standard-definition interlaced video ADJ, BIAS, NAME, and COPY. The COLR eyes to lock onto the fields and see scan sources. The Vision is compatible with NTSC, submenu provides adjustments for black lines as individual fields rather than frames. PAL, and SECAM signals. The S-video input level, contrast, color saturation, and hue. As This is far more likely on larger screens, accepts a standard 4-pin mini-DIN connec- always, it is critical to calibrate these adjust- where the spacing is greater. tor while the other inputs use RCA jacks. ments for each input source with AVIA: Guide The remedy for interlace artifacts is to There is also a 15-pin D-sub (VGA style) To Home Theater or Video Essentials. The deinterlace the video and display progressive pass-through input with a 300-MHz rated PDSTL item in the ADJ submenu should be set frames. Then by scaling the video to have bandwidth for RGB or YPbPr signals. to match the black level (0 or 7.5 IRE) of the more horizontal lines per frame, the visibility of The Vision outputs RGB or YPbPr signals input signal prior to making these adjustments. the individual lines and jaggies along diago- through a 15-pin D-sub connector. It will The ADJ submenu includes SIZE, CPHASE, nal edges can be reduced or eliminated. produce RGB signals with separate H and V SHARP, PDSTL, ENHNCE, and SYNC. The sync, composite sync, or sync on green. SIZE item provides adjustments to scale and Do You Need A Any combination of H, V, or composite sync position the incoming image with respect to Scaler? polarities are selectable from the remote the output frame. This feature will allow you to control. It will output YPbPr signals with bi- remove an annoying line of vertical blanking CRT front projectors always require dein- level or tri-level sync in any output display interval data at the top of an image, or match terlacing and scaling for standard-definition format, but only 480p, 720p, 1080i, and image positions and widths for several sources. interlaced video signals, and very few of 1080p are standard SMPTE YPbPr formats. The CPHASE adjustment delays the luma them have built-in scalers. CRT projectors The rear panel jacks are a bit too tightly signal relative to the chroma signal by ±7 also have a “sweet spot,” or “golden” dis- packed together. There is little room for fin- steps at 1/4 pixel (about 18.5 nS) per step. play format that maximizes their perform- ger space while inserting or removing The SHARP adjustment provides four set- ance. The Vision has the ability to create a cables, and connectors enter the jacks at a tings. The default setting is 1, but the flat custom display format to match the “sweet slight angle because interference between frequency response setting is 0. The ENHNCE spot” of virtually any CRT projector. the connector bodies pushes them apart. item slightly expands the bottom 2 IRE of the Most current generation fixed-pixel pro- input signal and may be useful with a display jectors and flat-panels intended for home Configuration that can’t produce totally dark black levels. theatre applications include excellent built- Memories The SYNC item only appears when using in deinterlacing and scaling processors, as the pass-through input. It permits RGB sync do the best current generation HD-capable Each input, except the pass-through signals to be converted to the same polarity rear-projection TVs. But the built-in deinter- input, is provided with two configuration as internally generated sync signals, or to lacing and scaling in many previous gener- memories, which are selected with the MEMA pass through without altering their polarity. ation displays was less than ideal. The pic- and MEMB buttons on the remote control. This is important if the display changes con- ture quality of those products may be signif- Configuration memories contain all set- figuration settings for input signals with dif- icantly enhanced with the addition of a high- tings that pertain to processing signals from ferent sync polarities, as my CRT projector quality external scaler. a particular input, plus the output display does. External sync signals should have an format settings. By default, all configuration amplitude of 2.0-volts or greater. Product Appearance memories share the same output format. The BIAS submenu selects FILM or But the user can also chose to save inde- VIDEO bias for the deinterlacing algorithms The Vision proves the old adage to not pendent output display formats in each con- that determine whether incoming signals are judge a book by its cover. Its austere black figuration memory. from original interlaced-video or film case is fashioned from two pieces of sheet Two COPY functions simplify setting up sources. In most cases, the VIDEO setting metal to form a simple box two-inches in the configuration memories by allowing the works well even for film-sources, but on height, eight-inches wide, and nine-inches current configuration’s input settings, or out- movies with edit errors the FILM setting deep. There are no buttons or controls on put format, to be separately copied to any might produce superior results. the front panel—only an IR (infrared) sensor one, or all configuration memories. A SAVE The NAME item permits the input configu- and a single LED that flashes whenever a command is provided to separately store ration memories to be assigned names with command is received from the remote con- each individual configuration in non-volatile four or less characters. The COPY item trol. That is the only front panel indication memory, which will be retained even when saves time by providing the ability to copy that the processor has power. It operates the unit is unplugged. the IN group settings between configuration silently without the need of a fan. memories.

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Output Features are the same size and shape with most An Optimal Format arranged in two tightly packed arrays. That For Every Display The OUT group submenus are used to set makes the remote more difficult to learn to up the display format. The submenus include use in a dark room. However, Lumagen pro- The Vision provides eight preset display RES, ASPECT, GBAR, MODE, and COPY. vides component configuration files (.ccf) formats—480p, 540p, 600p, 720p, 768p, The RES submenu provides adjustments for a Pronto remote control on its Web site 840p, 1080p, and 1080i. The format desig- to specify the number of active scan lines in (www.lumagen.com). nates the number of active (visible) scan the display format, the vertical , lines in the picture area. and the horizontal line rate. Dedicated but- Input Aspect Ratio When used with fixed-pixel projectors or tons are also provided on the remote control Formats flat panel monitors, the format should be for each of these functions. The RES sub- selected to match the native vertical pixel menu also includes output size and position The Vision will scale incoming signals with resolution of the display. If you have a dis- adjustments for displays without these user different aspect ratio formats to display prop- play that doesn’t match one of the preset controls, or to match pass-through signals. erly on a screen with a specified aspect formats you can specify any format from The ASPECT submenu is used to select ratio. When this feature is used, any aspect 480p to 1080p in single line increments. For the screen aspect ratio from 1.33:1 to 2.35:1 ratio switching that a display may have will instance, you can match a in 0.01 increments. The remote control also not be used. This will be a welcome feature panel with a 1024 pixel vertical resolution by includes a dedicated button for this function. for owners of some early HD-capable rear using the VRES button and numeric keypad The GBAR submenu adjusts the intensity projectors that only display 480p signals on the remote control to specify 1024 active of the gray vertical sidebars when display- correctly when they are in the 16:9 format. (visible) lines per frame. ing a 4:3 (1:33:1) image on a wider screen. By selecting the 4:3 input aspect ratio on Most HD-capable rear projectors accept The MODE submenu specifies whether the the Vision, a full-frame 4:3 picture will be only a few formats—normally 480p and configuration memories all use the same correctly displayed in the center of a wider 1080i, and sometimes 540p or 720p. But output format or independent formats. The screen. The letterbox (LBOX) aspect ratio CRT front projectors are usually compatible COPY submenu allows the current output can be used to correctly display widescreen with a wide range of scan formats. Although format to be copied to one or all configura- movies that are not available in the 16:9 720p or 768p is a good choice for 7-inch tion memories. (anamorphic) DVD format. and 8-inch CRT projectors, it may not be Owners of CRT front projectors have the optimum, and most 9-inch CRT projectors Other Menu Features choice of using the aspect ratio scaling fea- perform best between 840p and 1080p. tures of the Vision, or using the display siz- Optimum performance is normally obtained The MISC submenu includes items to ing features of their projector to create the when each horizontal scan line just touches enable or disable on-screen status mes- appropriate display aspect ratios for differ- the line above and below it. This is the sages, lock configurations to prevent ent sources. It is certainly more convenient “sweet spot,” or “golden” display format, changes, set the power up state, and enter to set up and maintain a CRT projector to referred to earlier. The Vision’s ability to a user-defined power-on message. Test pat- only display a single frame format and use exactly specify the number of active scan terns with the current display format can the Vision to scale the input aspect ratio as lines per frame allows it to operate at each also be selected. The patterns include a full appropriate. But in some cases, better projector’s “sweet spot.” screen white field or a smaller white win- image quality may be achieved by using the Contrary to popular belief, this alone does dow, and a crosshatch pattern. The intensity analog sizing capabilities of a CRT front not increase the brightness of the display, but of each pattern can be selected in 10 IRE projector instead. it allows a CRT projector to be calibrated to increments from 10-100 IRE. The Vision also includes a special 1.85:1 produce a brighter picture without degrading The SAVE submenu provides a command input aspect ratio mode that is intended to gray scale performance. The maximum pic- to save the current configuration in non- correct film material that was vertically ture brightness and gray scale tracking are volatile memory, and an UNDO command stretched by about 4 percent to convert an tradeoffs that should be calibrated by a pro- that restores the configuration that was original 1.85:1 film aspect ratio to the 16:9 fessional with appropriate instrumentation. overwritten by the last SAVE command. The (1.78:1) DVD format. However, this doesn’t The service menu provides a special fea- FCTRY command sets all parameters to the apply to all 1.85:1 films using the 16:9 DVD ture to improve gray scale calibration. The factory defaults without overwriting the non- format. The same aspect ratio conversion red, green, and blue signal gains can be volatile memory. may have been accomplished by cropping independently adjusted at 20, 30, 50, 80, the width of the picture by 4 percent, or by and 100 IRE to optimize the color tempera- Remote Control including 4 percent more of the image height ture at those levels. This is particularly use- on the DVD than was seen at the cinema. ful with CRT projectors, which often have a The remote control takes a “more is bet- bluish color temperature in the middle of the ter” approach with 40 buttons that include Image Zoom brightness range. dedicated keys for eight preset display for- mats, three input aspect ratios (4:3, letter- Another feature of the Vision is the ability Display Format box, 16:9), YPbPr and RGB signal and sync to enlarge the incoming image using Zoom Adjustments types, A and B configuration memories, and scaling. The Zoom function enlarges the four display format parameters. There are image by 15 or 33 percent. The latter will fill The Vision provides other display format also buttons to directly select each of the the height of a 16:9 screen with a 2.40:1 adjustments in addition to the number of four inputs, but those are shared with the widescreen movie image, but a significant active lines per frame (VRES). These numeric keypad and are only labeled with portion of the will be lost on each include the horizontal line rate (HRATE) and the digits 1 to 4. side. the vertical frame rate (VRATE). I recom- None of the buttons are backlit, and all mend that users leave these last two adjust-

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ments set to the factory values, with the scaled signals to a pass-through source, so Essentials shows cross-luminance (dot- exceptions noted below. a display will only need one set of size and crawl) within the color stripes. There is also The HRATE value (along with the VRATE position adjustments. The POS adjustments some luma smear on diagonal edges that value) determines the total scan lines per reposition the video output image horizon- produce a softer picture than the S-video or frame, which includes the active scan lines tally and vertically within the total scan lines YPbPr inputs. plus additional black lines for the vertical of the frame. The SIZE adjustments scale retrace interval. When the VRES (active the output image to occupy more or fewer Pass-Through Input scan lines) value is altered, the HRATE value scan lines, and more or fewer pixels per is changed automatically to maintain an scan line, without changing the total number I tested the pass-through input with the acceptable vertical retrace interval. Hence, of scan lines in the frame, or the total num- 720p and 1080i Sharpness pattern from the there is no reason for a user to alter the ber of pixels per line. AccuPel HDTV Calibration Generator and HRATE setting unless a display specifically found no visible edge ringing or outlining. requires a particular timing that is different Resolution And Scaling The pass-through frequency response was from the Vision’s automatic setting. Monitor down only -0.47 dB at 30 MHz, and just -1.00 specifications can be difficult to interpret so I used AVIA test patterns to check resolu- dB at 60 MHz. I recommend consulting with the display tion. The vertical and horizontal wedge pat- manufacturer or Lumagen before deviating terns showed excellent response out to the Deinterlacing from the automatic HRATE settings. limits of standard-definition video using the The VRATE setting specifies the number 480p output format. The modulation depth The Vision uses the Silicon Image SiI-504 of video frames displayed per second. The (contrast between the closely spaced black Digital Video Processor to provide ideal North American broadcast standard is and white lines) in the resolution wedges and inverse-telecine deinterlacing for film 59.94 frames-per-second (to be more pre- the 6.75 MHz vertical line pattern was only sources, and motion-adaptive deinterlacing cise it is exactly 60/1.001), although SMPTE slightly reduced by scaling to other formats. for original interlaced-video sources. standards also permit 60 FPS (frames-per- This illustrates that contrary to popular myth, Successful inverse-telecine deinterlacing second). My evaluation sample was set to a scaling can’t add resolution to an image! In depends on accurately detecting the 3-2 factory default value of 60 FPS. The differ- fact, scaling slightly softens images. But the field pulldown pattern that is used to con- ence between 60 FPS and 59.94 FPS is goal of scaling is not to increase resolution, vert film to interlaced video and smoothly 0.06 FPS, so an additional frame must be but to eliminate the visibility of scan lines handling breaks in that cadence at edit repeated every 16.67 (1/0.06) seconds. and reduce the visibility of stair-step jaggies points. The Vision did an excellent job of While watching basketball broadcasts the that appear along diagonal edges. handling the transitions between the film repeated frame created a very noticeable I used the AVIA Sharpness pattern to look and video segments of Video Essentials’ break in the motion as the camera panned for edge ringing, outlining and static scaling Montage of Images. There were no glitches to follow the players running up and down artifacts on vertical and horizontal lines. The or flashes of line combing at any transition. the court. I also observed the same stutter Sharpness control adds band-pass peak- It also performed flawlessly on a broad while watching the bridge pan early in the ing, centered at about 2.6 MHz, to the hori- selection of DVD movies. Montage of Images on the Video Essentials zontal frequency response, which produces It is much more difficult to deinterlace DVD. Consequently, Lumagen has changed outlining (halo) around vertical and diagonal original video sources, since the images the factory default to 59.94 FPS. lines even at the default (1) setting. originate as interlaced fields and not progres- The VRATE setting can be adjusted from But with the Sharpness control set at 0, sive frames. Unlike inverse-telecine deinter- 48-75 FPS in 0.01 steps. But I can’t envision which is the flat frequency response posi- lacing for film-sources, there are no ideal a reason to use any setting other than 59.94 tion, there was virtually no visible edge ring- motion-adaptive deinterlacing algorithms, FPS. Higher settings force repeated frames ing or outlining using the 480p display for- and there are inevitably tradeoffs between and lower settings result in dropped frames. mat. This is excellent performance and bet- jaggies, line twitter, and picture softening Due to the adjustability of this critical ter than most progressive-scan DVD players depending on image content and the spe- parameter, it is best to verify the setting with achieve. Some other display formats cific processing algorithms that are used. a frequency counter. showed a slight thickening of horizontal On the Montage of Images, the Vision did You may wonder if setting the vertical lines as a result of vertical scaling, but no an exceptionally fine job with the zoom and frame rate to 72 FPS will create smoother ringing or outlining. This was extremely pan shots of the vertical and diagonal motion when displaying film sources. (It good scaler performance. bridge structures, and the difficult zoom into should actually be 3*24/1.001 = 71.93 FPS.) The performance of the S-video input was the leafy tree. It exhibited only a few jaggies Unfortunately, the Vision can’t ensure that particularly impressive. The chroma response on the bobbing frozen branch and the wav- each deinterlaced film frame is repeated of the S-video and YPbPr inputs were nearly ing American flag. That is excellent perform- exactly three-times (3-3 pattern). I verified indistinguishable on the 1.0 MHz color ance, but not quite state-of-the-art on the that experimentally, and directly with stripes of Video Essentials’ Snell & Wilcox latter two segments. Lumagen. Instead the output will slowly shift test pattern. The S-video chroma response The most severe test for video source between a 3-3 and 4-2 pattern, but 60-per- was still good at 1.5 MHz, but the YPbPr deinterlacing is live sports. I watched por- cent of the time it will produce a 4-2 pattern, chroma resolution was significantly better. tions of several basketball games and the which makes judder appear worse. The composite input also had excellent Vision did a good job minimizing jaggies chroma response, but its 2D Y/C separation along the on-court lines and logos, but pro- Other Format filter exhibited significant cross-color and duced a slightly soft picture. Line wobble Adjustments some cross-luminance artifacts. The AVIA was the most prominent artifact when cam- resolution pattern reveals the cross-color era movement created vertical motion over The SIZE and POS adjustments in the (rainbows) on the 3.0-4.1 MHz patterns and horizontal edges, such as the steps in the OUT menu can be used to match internally the Snell & Wilcox pattern from Video stadium seating behind the court.

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Viewing Impressions stone in the opening scene of The Fifth Lumagen Visionª Video Element provide a good example. The Processor I used a Runco IDP-980 Ultra CRT front Vision produces exceptional detail at the projector to evaluate the Vision’s performance minimum (flat response) setting of the Inputs with DVD film sources. I examined all eight Sharpness control and additional enhance- • Composite, S-video, And Component Video preset display formats, but did most of my ment is unnecessary. In fact, I was struck by • Pass-Through, With 300 MHz Bandwidth final DVD viewing using 720p since that will how little I missed the variable adaptive • Studio-Quality TV Decoder With 10-Bit A/D • Adaptive Comb Filter (Three- Or Four-Line) probably be the most commonly used format. detail-enhancement found on some much For Reduction Of Cross-Luma And Cross- I was extremely impressed by the picture more expensive scalers. Chroma Artifacts quality of DVD movies. Scaling and deinter- The Vision’s digital-to-analog conversion • Automatic Selection Of NTSC (M, Japan, 4.43), lacing artifacts were virtually non-existent. is so free of edge ringing and outlining arti- PAL (B, D, G, H, I, M, N, Nc), Or SECAM (B, D, There was the slightest softening of picture facts that particular care should given to G, K, K1, L) For Composite And S-video detail on display formats other than 480p, but mating it with a DVD player that has equally Video Processing that is an unavoidable consequence of scaling good interlaced signal quality. Since many • Film Pull-Down Reconstruction (3:2 And 2:2) and essentially a non-factor with the Vision. DVD players produce less edge ringing on • Per-Pixel Motion-Adaptive Video Deinterlacing Film grain on movies such as Minority their interlaced signals than their progres- • Detail-Enhancing Resolution Scaling Report was scarcely affected by scaling. sive signals, deinterlaced signals from the • Programmable Cropping For Each Input Memory Color decoding accuracy on all inputs Vision can outperform the progressive sig- • Black Level, Contrast, Color, And Hue Calibration was virtually perfect after adjusting the color nals from such a DVD player. • Chroma-Phase Calibration saturation control with AVIA. Flesh colors I was unable to detect any degradation of • Source Aspect Ratio Selection Of 4:3, were ideal even on a film with as deeply picture quality from the pass-through input Letterbox, And 16:9, With Two Zoom Levels saturated colors as Austin Powers: The Spy using 720p or 1080i broadcast signals. For Each Who Shagged Me. The S-video input has • Two Memories Per Input, For Input Calibration, And Output Setup such excellent chroma response that color Summary differences with the YPbPr input were sub- Output tle. Small color details were just slightly The Lumagen Vision brings high perform- • Programmable Output Resolution From 480p brighter using the YPbPr input. ance video scaling to a much lower price To 1080p In Scan Line Increments, Plus 1080i The digitized signal linearity was excel- level. Although some cost considerations are • Programmable Vertical From 48 lent as evidenced by the superb shadow- apparent in its mechanical design, there are To 75 Hz, In Steps Of 0.01 Hz • Programmable Output Aspect Ratio From 1.33 level detail and low light contrast in Memento. no short cuts in its video processing perform- To 2.35, In Steps Of 0.01 Video noise from the 10-bit A/D converters ance. Film-mode deinterlacing and scaling • 10-Bit Oversampled Digital-To-Analog appeared to be below the level of perception. are particularly exceptional. Its ability to size Conversion I tried the Sharpness control at the incoming video and create custom output • RGBHV, RGBS, RGB, Or YPrPb Output Format default setting (1), but I didn’t like the addi- formats exceed the capabilities of scalers • Embedded Bi-Level Or Tri-Level Sync • Discrete RGB Sync Polarities Are Programmable tional emphasis and brightness that it that are many times more expensive. added to edges. The symbols engraved in Power Supply: 100-240 V At 47-63 Hz Dimesions (WHD Inches): 8 x 2 x 9 Price: $999 Produced By Manufactured In The USA By: Lumagen Inc. P.O. Box 91517 Portland, Oregon 97291 Tel: 866 888 3330 www.lumagen.com

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WIDESCREEN REVIEW • ISSUE 72 Page 5/5