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Equipment Review

Lumagen VisionPro™ Processor, Video Upconversion & Signal Switching

G REG R OGERS Lumagen VisionProª

Reviewer’s Choice

The Lumagen VisionPro™ Video Processor is the type of product that I like to review. First and foremost, it delivers excep- tional performance. Second, it’s an out- standing value. It provides extremely flexi- ble scaling functions and valuable input switching that isn’t included on more expen- sive processors. Third, it works as adver- tised, without frustrating bugs or design errors that compromise video quality or ren- Specifications: der important features inoperable. Inputs: Eight Programmable Inputs (BNC); Composite (Up To 8), S-Video (Up To 8), Manufactured In The U.S.A. By: Component (Up To 4), Pass-Through (Up To 2), “...blends outstanding picture SDI (Optional) Lumagen, Inc. Outputs: YPbPr/RGB (BNC) 15075 SW Koll Parkway, Suite A quality with extremely : 3:2 & 2:2 Pulldown Beaverton, Oregon 97006 Reconstruction, Per- Motion-Adaptive Video Tel: 866 888 3330 flexible scaling functions...” , Detail-Enhancing Resolution www.lumagen.com Scaling Output Resolutions: To In Product Overview Increments, Plus Dimensions (WHD Inches): 17 x 3-1/2 x 10-1/4 Price: $1,895; SDI Input Option, $400 The VisionPro ($1,895) provides two important video functions—upconversion and source switching. The versatile video processing algorithms deliver extensive more to upconversion than scaling. Analog rithms to enhance edge sharpness while control over input and output formats. Video source signals must be digitized, and stan- virtually eliminating edge-outlining artifacts. enthusiasts and professional calibrators, dard-definition must be The scaling algorithms also provide extensive can optimize the image format for each converted to progressive video. Then the image sizing and output format options. standard-definition source in a home theatre. progressive video can be scaled to create There are eight analog video inputs, and the desired number of horizontal lines per SDI Input an optional SDI input ($400). frame. If 1080i signals are required, pro- All eight analog inputs accept composite or gressive frames must be converted back Sadly, the analog signal quality of many S-video signals, or up to four inputs can be into interlaced fields. Finally, the digital DVD players is rather poor. Edge outlining used for YPbPr component video signals. video fields or frames may be converted to and ringing artifacts can severely compro- Alternatively, two of the latter inputs accept analog YPbPr or RGB component video to mise image quality, and are often worse on YPbPr or RGBHV pass-through signals. drive a high-resolution projector or monitor. progressive outputs than interlaced outputs. The VisionPro provides YPbPr or RGB Every step in the upconversion process Digital and analog filters in the digital-to- output signals with a complete selection of visibly affects picture quality, and each element analog converter system are the main cul- sync options. It produces virtually any pro- is addressed in the VisionPro design. It utilizes prits. Unfortunately the problems are not gressive video format between 480p and 10-bit over-sampled analog-to-digital and limited to lower-priced players—many high- 1080p and also generates 1080i for CRT- digital-to-analog converters to improve signal er-end DVD players are the worse offenders. based rear-projection TVs. linearity and reduce video noise. A Silicon Consequently, it’s not surprising that DVD Image SiI-504 digital processor provides players with Digital Visual Interface (DVI) digital Upconversion optimal inverse- deinterlacing for - video outputs have been well received. A DVI sources and motion-adaptive deinterlacing for output bypasses the digital-to-analog conver- Consumer upconverters are usually original interlaced-video sources. Lumagen sion in the DVD player to eliminate a major called video scalers, but there is much developed its own proprietary scaling algo- source of artifacts. For the same reason, video

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Equipment Review

enthusiasts were adding SMPTE 259M serial formats are output with ITU Rec. 709 high- ration memories. A SAVE command is pro- digital interfaces (SDI) to DVD players long definition color matrix encoding. So unless vided to separately store each individual before DVI outputs began to appear. SMPTE a display has a user selectable option to configuration in non-volatile memory, which 259M is a professional SDI standard that trans- apply Rec. 709 color decoding to 480p sig- will be retained when the unit is unplugged. ports uncompressed 480i (or ) YCbCr digital nals, that YPbPr format should be avoided. video signals on a single 75-ohm coax cable. When the SDI option is included the Remote Control Lumagen recently added an optional SDI AUX BNC jack becomes the serial digital input to the VisionPro. This connection bypass- video input. Otherwise, the AUX jack can be The infrared remote control buttons are es digital-to-analog (D/A) conversion in a DVD used as a TTL-level input to turn on the backlit and feature distinctive sizes and shapes player and analog-to-digital (A/D) conversion in VisionPro or as an output to turn on another that make it a pleasure to use in a dark the- the video processor. That eliminates DVD player device. The VisionPro does not have a DVI atre. Menu, OK, Exit, and cursor buttons edge artifacts, potential noise and jitter from output, which would complete a purely digi- provide intuitive navigation of the OSD (on- D/A and A/D conversions, and it maintains the tal video path to a DLP projector. screen display) menu system. A numeric full luma and chroma resolution of DVD images. An RS-232 connector is provided to oper- keypad provides direct selection of any of ate the VisionPro from a personal the nine inputs. There are also dedicated Appearance or home theatre controller, or to update the buttons for selecting the A and B configura- firmware with new enhancements. The RS- tion memories, and the 4:3 (1.33:1), LBOX, The VisionPro has a black-anodized, 232 serial interface commands are included 16:9 (1.78:1) or 1.85:1 input aspect ratios. brushed-aluminum front panel with only three in the User Manual, and firmware enhance- There are also component configuration buttons and a backlit LCD status display. The ments are documented and posted on the files (.ccf) for a Pronto remote control posted on all-metal case is entirely black and occupies a Lumagen Web site (www.lumagen.com). the Lumagen Web site (www.lumagen. com). 17- x 10.25-inch footprint. Adapters are includ- An external power module supplies 5-volts ed for mounting in a standard 19-inch rack DC through a cable to a rear panel jack. The OSD Menus (2-RU, 3.5-inch height). There is no fan, so power module includes a separate power cord the video processor operates silently. to connect to the AC power line, and an LED that The most commonly used VisionPro features indicates when the module is receiving power. are arranged into four menu groups—IN, Inputs And Outputs OUT, MISC, and SAVE. Some additional setup Configuration functions are not included in the OSD menus, The rear panel includes eight analog video Memories and must instead be accessed by entering a inputs that can be configured to accept a short numeric sequence on the remote control. variety of signal formats. All eight analog Configuration memories store all of the set- That simplifies the on-screen menu struc- inputs can be designated to accept com- tings that apply to processing the video signals ture and prevents a user from making inad- posite or S-video (Y/C) signals, or four of (pass-through signals are not processed). vertent changes to basic setup parameters. the inputs can be selected to accept YPbPr Each of the eight analog video inputs, plus the standard-definition interlaced component optional SDI input, has two configuration Input Features video signals. Two of the latter four inputs memories (MEMA/MEMB) that are unique for can also be used as pass-through inputs for each input. By default, all configuration mem- The IN menu functions can be individually YPbPr or RGBHV signals. The pass-through ories share the same output format. But the calibrated for each input source. The PDSTL inputs are buffered and provide 300-MHz user can also choose to save independent and ENHNCE settings in the ADJ submenu nominal bandwidth for high-definition video output formats for each configuration memory. should be made prior to adjusting black signals, but only standard-definition inter- The configuration memories are selected level, contrast, color saturation, and hue in laced signals can be deinterlaced or scaled. with the MEMA and MEMB buttons on the the COLR submenu. High quality 75-ohm BNC jacks are provid- remote control. The dual configuration PDSTL (pedestal or setup) should be set ed for all video inputs and outputs, which are memories for each input provide a number to match the nominal black level (0 or 7.5 preferable for their superior electrical and of useful possibilities. The MEMA configura- IRE) of each input signal. The standard for mechanical properties. Lumagen includes a tion memories could be used to store set- composite and S-video signals is 7.5 IRE in selection of conversion cables and adapters to tings that are optimized for critical movie North America. The black level for YPbPr accommodate consumer video sources that viewing in a totally dark theatre, while the signals is usually 0 IRE, which follows the use RCA or 4-pin mini-DIN connectors. Two MEMB memories might hold settings for EIA/CEA 770.2 standard, but it may be 7.5 sets of three BNC-to-RCA cables, two BNC- viewing in a brighter, socially interactive IRE on older DVD players. Some DVD play- to-S-video cables, and three BNC to RCA environment. Another possibility would be to ers include an option for “no setup,” “dark,” adapters are provided. Additional conver- store settings optimized for film sources in or “enhanced-black,” which all refer to sion cables and adapters are available from MEMA and settings for live sports broad- black at 0 IRE. Lumagen or other cable manufacturers. casts in MEMB. ENHNCE expands the lowest 2 IRE of Either YPbPr or RGBHV signals can be out- The VisionPro includes special modes that the input signal. I would normally turn the put (5 BNC jacks). RGB signals are configurable can automatically select MEMA for incoming ENHNCE feature off (it is enabled by with separate HV or composite sync, or embed- NTSC signals and MEMB for PAL signals. default), but it may be useful with some ded sync on green. Embedded sync can be Another related feature provides the ability to non-CRT based displays that can’t produce bi-level or tri-level. Any combination of H,V specify one output format for all incoming totally dark black levels. or composite sync polarities can be selected. NTSC signals and another for all PAL signals. The other ADJ submenu items are SIZE, YPbPr signals with bi-level or tri-level COPY functions simplify setting up the Y/C-DLY, SHARP, and SYNC. SIZE provides sync can be produced for any format, but configuration memories by allowing the adjustments to scale and position the only 480p, , 1080i, and 1080p are current input settings, or output format, to incoming image with respect to the output industry standard YPbPr formats. All YPbPr be separately copied to one or all configu- frame. It is valuable because image position

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Equipment Review

errors are common from many sources. It zontal line rate, the output size and position, The MISC submenu also enables test can also be used to remove an annoying and the screen aspect ratio. The latter can patterns. Red, green, blue and gray fields, line of vertical blanking interval data (visible be set from 1.33:1 to 2.35:1 in 0.01 incre- gray windows, and crosshatch test patterns as white dashes) at the top of an image. ments. are included. The intensity of each pattern The Y/C-DLY adjustment delays the luma The GBAR submenu adjusts the intensity can be adjusted in 10-IRE increments from signal relative to the chroma signal by ±7 of the gray sidebars (0-49 IRE) when dis- 10-100 IRE. steps at 0.25-pixel per step. The SHARP playing a 4:3 image on a wider screen. The SAVE submenu provides a com- adjustment provides four settings. The There is also a sidebar-pan feature that is mand to save the current configuration in default setting is 0, which provides the most enabled with a numeric key sequence. non-volatile memory, and an UNDO com- level frequency response. Every few minutes it moves a 4:3 image mand that restores the configuration that The SYNC item only appears when slightly left or right to minimize differential was overwritten by the last SAVE command. using pass-through signals. Incoming RGB phosphor aging (“burn-in”). The FCTRY command sets all parameters to sync signals can either be processed to The LEVL submenu permits an output the factory defaults without overwriting the automatically match the polarity of internally black-level pedestal (7.5 IRE setup) to be non-volatile memory. generated sync signals, or simply buffered turned on or off. This should normally be set without altering polarity. This is an important to 0 IRE unless it is necessary to match the Input Aspect Ratio feature because many displays use sepa- signals from another source that also drives rate configuration settings based on the the display. If the aspect ratio of a source is not the polarity of incoming sync signals. The MODE submenu provides a versa- same as the screen aspect ratio, scaling is The TYPE submenu configures appropriate tile set of options that associate the output required to display a picture with correct inputs to accept composite, S-video, compo- format with incoming signal formats. The proportions. In most cases, a projector or nent, or pass-through signals. The NAME COPY submenu permits the output format monitor provides the necessary scaling. But submenu permits the input configuration to be copied to other configuration memo- aspect ratio scaling in some fixed-pixel pro- memories to be assigned names with four ries. jectors and display panels may be consid- or less characters. The COPY item provides erably less than optimal, and some early the ability to copy the IN group settings Other Menu Features HD-capable rear projectors only display between configuration memories. 480p signals correctly when they are The MISC submenu provides the ability received in a 16:9 format. Output Features to enable or disable on-screen status mes- The VisionPro includes Input Aspect sages, lock configurations to prevent Ratio scaling so a display need only receive The OUT menu provides precise adjust- changes, set the power up state, enter a and process video frames in its native ment of the video output format. The RES user defined power-on message, and screen aspect ratio. For most home theatre submenu specifies the number of active change the AUX connector function (unless displays the screen will be 1.78:1 (16:9), scan lines, the vertical , the hori- the SDI option is present). but the VisionPro can be set to output

Interlaced Video Artifacts The purpose of converting interlaced video to progressive video twitter from original interlaced-video sources. But to reduce line twitter on (deinterlacing) is to eliminate interlaced video artifacts. The most objec- interlaced displays, vertical filtering is applied in video cameras and tionable interlaced video artifacts are inter-line (line twitter), film-to-video DVD transfers to soften (blur) horizontal edges. For that rea- jagged edges, and motion combing. son, deinterlacing 480i video can never produce the full vertical resolu- Interlaced video is composed of a sequence of fields, where each tion that would otherwise be possible from an unfiltered 480p source. contains only the odd or the even horizontal lines of picture information. In the Jagged edges (jaggies) along diagonal lines are an unavoidable 480i-interlaced format, each field contains 240 active (visible) lines of picture consequence of a discrete line or pixel structure, but interlacing exacer- information. When the fields are sequentially displayed on a CRT monitor, we bates jaggies. Segments along a diagonal edge will appear to flicker on perceive that the odd and even lines create a picture with twice the horizontal and off because they lie in different interlaced fields. If there is slow verti- lines of a single field. To avoid wide-area flicker a new field is displayed cal movement the jaggies may appear to strobe or move (running jaggies). approximately 60 times per second. Interlaced combing occurs when an object is in motion. Our eyes Inter-line flicker occurs along horizontal edges because the top or tend to track the object, particularly on a wide screen. Since the object bottom edge of an object appears to lie on an odd line in one field, and appears at different locations in the odd and even fields, we perceive an even line in the next field. As odd and even fields are alternately dis- the odd and even scan lines separately, rather than integrating them into played, the edge appears to move up and down by one line in the pic- a complete picture. Vertical and diagonal edges of moving objects may ture. Since odd fields and even fields are each displayed approximately appear like teeth in a comb, because each field has only half the scan 30 times per second, the edge appears to blink on and off, or bob up lines of the frame. Even when objects aren’t in motion, a small compo- and down, at a 30 Hz rate. This is commonly called line-twitter. nent of vertical jitter in the picture may cause our eyes to lock onto the Line twitter is not limited to the edges of objects. It can appear wher- fields and see scan lines as individual fields rather than frames. This is ever there are high-contrast horizontal lines in an interlaced image. The more likely on larger screens, where the scan line spacing is greater. addition of slow vertical motion increases the twittering as horizontal The remedy for interlace artifacts is to deinterlace the video and dis- lines or edges move up or down across field lines. play progressive frames. Then by scaling the video to have more hori- Inverse-telecine deinterlacing can eliminate line twitter from inter- zontal lines per frame, the visibility of the individual lines, and jaggies laced film-sources, and motion-adaptive deinterlacing can reduce line along diagonal edges, can be reduced or eliminated.

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frames that represent any aspect ratio from The VisionPro provides eight preset out- the total scan lines of the frame. The SIZE 1.33:1 to 2.35:1 in 0.01 increments. put formats—480p, 540p, 600p, 720p, adjustments scale the image to occupy The remote control provides four Input 768p, 840p, 1080p, and 1080i. The format more or fewer scan lines, and more or fewer Aspect Ratio buttons. Select 4:3 to correctly designates the number of active horizontal per scan line, without changing the display full-frame 4:3 images in the center lines in each frame. The preset formats will total number of scan lines in the frame, or of a wider screen. Select 16:9 to display be adequate in many applications, but the the total number of pixels per line. widescreen movies that are available in the VisionPro can also produce any format from The HRATE value (along with the VRATE 16:9 (“anamorphic”) DVD format or LBOX 480p to 1080p in single-line increments. For value) determines the total scan lines per for other widescreen movies. instance, you can match a frame, which includes the active scan lines The 1.85:1 selection provides a special panel with a 1024 pixel vertical resolution plus additional black lines for the vertical mode to display film material that was verti- by specifying 1024 lines per frame. The retrace interval. When the VRES (active cally stretched to convert a 1.85:1 film preset formats can be selected by entering scan lines) value is altered the HRATE value aspect ratio to the 16:9 DVD format. a numeric sequence or any format can be is automatically changed to maintain an However, this doesn’t apply to all 1.85:1 set in the OUT/VRES menu. acceptable vertical retrace interval. Hence, using the 16:9 DVD format. The aspect Most HD-capable rear projectors accept there is no reason to alter the HRATE setting ratio conversion is sometimes accom- only a few formats—normally 480p and unless a display specifically requires a par- plished by cropping the width of the picture 1080i, and sometimes 540p or 720p. But ticular timing that is different from the auto- by 4 percent, or by including 4 percent CRT front projectors are usually compatible matic setting. more of the image height on the DVD than with a wide range of scan formats. Although The VRATE setting specifies the number was seen at the cinema. 720p or 768p is a good choice for 7-inch of video frames displayed per second. The CRT front projectors include analog siz- and 8-inch CRT projectors, it may not be North American broadcast standard is ing to display multiple aspect ratio formats, optimum, and most 9-inch CRT projectors 59.94 (60/1.001) frames-per-second (FPS), in which case the VisionPro input aspect perform best with formats between 840p although ATSC standards also permit 60 ratio scaling isn’t required, but it may still be and 1080p. Optimum performance is nor- FPS. The VisionPro factory default value is useful. It is more convenient to set up and mally obtained when each horizontal scan set to 59.94 FPS. Nevertheless, slight timing maintain a CRT projector to display a single line just touches the line above and below differences produce a dropped frame about frame format than multiple formats. it. This is the “sweet spot,” or “golden” dis- once every 10 minutes. Although this would Although analog sizing is technically advan- play format for CRT projectors. The rarely be noticed, Lumagen has implement- tageous, in practice the reduced effort or VisionPro’s ability to exactly specify the ed a genlock function (for 59.94 Hz NTSC cost to maintain only a single display format number of active scan lines per frame per- and 50 Hz PAL rates), which ensures that may encourage improved projector calibra- mits each CRT front projector to operate at one frame is output for each incoming field. tion, and consequently better picture quali- its optimum “sweet spot.” Lumagen’s genlock implementation pro- ty. Contrary to popular belief, that alone will duces slightly non-standard output formats not increase the brightness of the display, that may not work with every display. For Zoom but it allows a CRT projector to be calibrat- that reason the genlock function can be ed to produce a brighter picture without enabled or disabled through a numeric key The Zoom function enlarges the image by degrading gray scale performance. The sequence. 15 percent or 33 percent. The latter will fill the maximum picture brightness and optimum The VRATE setting can be adjusted from height of a 1.78:1 (16:9) screen with a 2.40:1 gray scale tracking are tradeoffs that should 48-75 FPS in 0.01 steps for all formats widescreen movie image, but a significant be calibrated by a professional with appro- (rates up to 120 FPS at 600p), but I can’t portion of the will be lost on each priate instrumentation. envision a reason to use any setting other side. The remote control’s up/down cursor The service menu provides a special than 59.94 FPS. Higher settings force buttons adjust Zoom when a menu is not on feature to improve gray scale calibration. repeated frames, and lower settings result screen. The Zoom factor can be changed to The red, green, and blue signal gains can in dropped frames. For movie viewing it produce 5 percent increments by entering a be independently adjusted at 20, 30, 50, would be desirable to display each 24 FPS numeric sequence from the remote control. 80, and 100 IRE to optimize the color tem- film frame exactly 3-times at 72 FPS (actual- perature at those levels. This is particularly ly 71.93 FPS) to create smoother motion, Optimal Formats For useful with CRT projectors, which often but there is no provision to ensure that each Every Display have a bluish color temperature in the mid- deinterlaced film frame will be repeated dle of the brightness range. The adjustment exactly 3-times. Instead, 60-percent of the The fundamental purpose of a scaler is resolution was increased from 100 to 1000 time a 4-2 pattern will result rather than a 3- to change (scale) the number of horizontal steps in a recent firmware enhancement. 3 pattern, which makes judder worse rather video lines in each video frame. If there are than better. too few horizontal (scan) lines in a CRT- Output Format based display, we see the vertical gaps Adjustments Shared Enhancements between the lines and a jagged stair-step appearance (jaggies) along diagonal The VisionPro provides other output for- The Lumagen Vision ($995) and VisionPro edges. Scalers are also required for fixed- mat adjustments in addition to the number share the same video processing algorithms pixel displays because each row of pixels in of active lines per frame. These include out- and key integrated circuits. I reviewed the the display device must ultimately be driven put SIZE and position (POS), horizontal line Vision in Issue 72, May 2003, shortly after it by one horizontal video line. Hence, the rate (HRATE), and vertical frame rate was introduced. Since the Vision review, both number of active (visible) horizontal lines in (VRATE). products have been enhanced with perform- each video frame must be scaled to match The POS adjustments reposition the out- ance improvements and additional features via the native resolution of each fixed-pixel display. put image horizontally and vertically within firmware upgrades that are available from the

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Lumagen Web site. The remote control the default (0) setting. Otherwise, it adds and there are inevitable tradeoffs between described in this review is also new, and can band-pass peaking centered at about 2.6 jaggies, line twitter, and picture softening be purchased from Lumagen for the Vision. MHz to the horizontal frequency response, depending on image content and the spe- One of the more significant firmware which produces outlining (halo) around ver- cific processing algorithms that are used. enhancements is a vertical filter that improves the tical and diagonal lines. On the “Montage Of Images,” the Chroma Upsampling Error (CUE) that is pres- The S-video inputs have better than VisionPro does an exceptional job with the ent in the MPEG decoder of many DVD players. usual chroma response. The 1.0 MHz color zoom and pan shots of the bridge struc- The filter also improves the video quality of origi- stripes on Video Essentials’ Snell & Wilcox tures and the difficult zoom into the leafy nal interlaced-video sources that suffer from a test pattern were reproduced with nearly tree. Jaggies appear along the frozen similar type of chroma upsampling problem. equal brightness using S-video or YPbPr branch and the waving American flag, but There have also been new features to inputs. At 1.5 MHz the S-video response the picture is sharper than deinterlacers automatically switch between an S-video was still quite good, but less than the YPbPr that render those images without jaggies. and pass-through input for satellite/cable chroma resolution. Sports broadcasts are the toughest chal- boxes that auto-switch SD/HD outputs, side- Composite video signals should never lenge for video-source deinterlacing. I bar-panning to help CRT and plasma dis- be used in a home theatre because the watched several basketball games and the plays avoid image retention problems inevitable cross-color and cross-luminance VisionPro fared well. There was a good bal- (“burn-in”), genlock (discussed earlier), and artifacts can be avoided by using compo- ance between minimizing jaggies along the individual input size, position and zoom set- nent or S-video signals from digital video on-court lines and logos, and only slight tings for each input-aspect ratio. sources. The VisionPro is not immune to picture softening. I preferred the VisionPro Other improvements include a reduction these problems when driven with composite to upconverters with fewer jaggies, but soft- in video delay (now 3 to 4 frames), addition- video signals. The AVIA Guide To Home er pictures. al output size and position range for dis- Theater resolution pattern generated severe plays with excessive overscan, additional cross-color (rainbows) on the 3.0-4.1 MHz Viewing Impressions resolution for the grayscale/gamma calibra- diagonal line patterns, and the Snell & tion feature, adjustable H-sync width for dis- Wilcox pattern from Video Essentials pro- I used a Runco IDP-980 Ultra CRT Front play compatibility, and improvements to duced cross-luminance (dot-crawl) within Projector to evaluate picture quality using a avoid black-level differences between the color stripes. There was also luma smear variety of VisionPro output formats. Lumagen sources with or without Macrovision. on diagonal edges that produced a softer also provided a modified Panasonic DVD- picture than the S-video or YPbPr inputs. RP91 DVD player with an SDI output to Resolution And Scaling evaluate performance with the SDI digital Pass-Through Input video interconnect. The VisionPro provides exceptional scal- The Lumagen scaling algorithms are ing performance when its Sharpness control I tested the pass-through input with the very impressive. Aside from some slight is set to the default (0) position. Its scaling 720p and 1080i Sharpness patterns from image softening on formats other than algorithms maintain excellent sharpness, the AccuPel HDG-3000. There is no visible 480p, there are virtually no visible artifacts while avoiding visible edge outlining or ring- edge ringing or outlining artifacts, even with from inverse-telecine (film-mode) deinterlac- ing artifacts when scaling horizontal and the generator’s fastest edge transitions. ing or scaling. vertical line patterns with standard video When driven with analog video signals edge transitions from an AccuPel HDG-3000 Deinterlacing the VisionPro displays the same impressive Calibration Generator (www.accupel.com). performance that the Lumagen Vision did Even when the generator is set to produce The VisionPro uses the Silicon Image SiI- in Issue 72. Color decoding accuracy is much faster edges, there is only an insignifi- 504 Digital Video Processor to provide ideal virtually perfect, and the YPbPr chroma cantly faint halo on vertical lines, which is inverse-telecine deinterlacing for film sources bandwidth produces excellent color detail. barely visible when standing close to the and motion-adaptive deinterlacing for origi- The 10-bit A/D converters provide excel- screen. Therefore, the VisionPro won’t add nal interlaced-video sources. lent digitizing linearity to render superb edge artifacts to the output of DVD players Successful inverse-telecine deinterlacing shadow-level detail without contributing that seek to maximize sharpness and reso- depends on accurately detecting the 2-3 visible luma or chroma noise in dark lution by pushing video filtering beyond field pulldown pattern that is used to con- scenes. I also verified the excellent small- standard frequency limits. vert film to interlaced video and smoothly signal linearity and low noise using the 1- Horizontal resolution is excellent for all handling breaks in that cadence at edit 10 IRE patterns from the AccuPel HDG- output formats. The 540p and 1080i formats points. The VisionPro did an excellent job of 3000 generator. exhibit excellent modulation depth (contrast handling the transitions between the film The VisionPro’s digital-to-analog con- between the closely spaced black and and video segments of Video Essentials’ version system is exceptionally free of white lines) and no on the AccuPel “Montage Of Images.” There were no glitch- edge ringing and outlining artifacts. pixel-burst patterns. Slight aliasing is visible es or flashes of line combing at any transi- Combined with its excellent scaling, it can on some output formats, but the modulation tion. It also performed flawlessly on all of render pictures with superb clarity and depth remains extremely good on the 6.75 the DVD movies that I viewed over a period image definition. But it is critical that the MHz single-pixel burst lines. The vertical of several months. DVD player’s digital-to-analog conversion resolution is also consistently excellent. It is much more difficult to deinterlace system provide signals that are free of There is no loss of vertical resolution when original video sources, since the images edge artifacts to realize the full benefits of deinterlacing (480i to 480p) static patterns, and originate as interlaced fields and not pro- the VisionPro. vertical scaling creates only modest softening gressive frames. Unlike inverse-telecine Video system performance can get along horizontal edges for other formats. deinterlacing for film sources, there are no even better when the VisionPro is supplied The Sharpness control should be left at ideal motion-adaptive deinterlacing algorithms, with digital signals through the optional

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Equipment Review

SDI input. Eliminating the DVD player’s The SDI connection also eliminates any small-signal performance of the DVD player. digital-to-analog conversion completely loss of luma or chroma bandwidth during I also tested the pass-through input with eliminates that source of edge artifacts analog and digital signal conversions. The 720p and 1080i HDTV broadcast signals. that degrade picture definition. The SDI loss of luma bandwidth is often insignifi- There was no visible degradation of picture connection also eliminates sampling jitter cant, but the reduction in chroma band- quality that I could detect. during analog-to-digital conversion, which width during the DVD player’s D/A conver- can result from noise on the DVD player’s sion is visible on many . Although Summary analog signals. Sampling jitter blurs fine there is no difference in color accuracy, the details and reduces picture definition. difference in chroma resolution is visible The Lumagen VisionPro provides excep- The improvements you will see with an throughout The Fifth Element. Small color tional performance, features and value. It blends SDI connection obviously depend on the details are slightly brighter and clearer outstanding picture quality with extremely quality of your analog signals. Compared using the SDI input instead of the YPbPr flexible scaling functions and includes input with the best analog DVD player signals, input. Even more apparent is the improved switching for eight analog video sources. the differences in image definition are subtle, clarity of intricate color patterns in Mike The SDI option adds a digital video input, but the serial digital video interface is supe- Myer’s coat and the strands of yarn in which eliminates several DVD player prob- rior. The difficult to render haystacks at the Heather Graham’s dress during the London lems that can degrade picture quality. The beginning of Star Trek: Insurrection have street scene in Austin Powers: The Spy VisionPro will satisfy video enthusiasts and never looked clearer. The rock formations at Who Shagged Me. professional installers, who want to optimize the opening of Indian Jones And The Last With black levels very carefully calibrat- the image format for each standard-definition Crusade, and the rough textures in the Cairo ed, I didn’t perceive a noticeable difference source in a home theatre. scenes of Raiders Of The Lost Ark, are also in contrast or shadow detail using the SDI examples that exhibit better definition. input. However, this depends on the analog

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