#84 Master Pages 26-49 3/22/04 4:30 PM Page 36

Equipment Review

Marantz VP-12S3L High-Performance HD2+ DLP™

G REG R OGERS Marantz VP-12S3L High-Performance HD2+ DLP™ Video Projector

Third-Generation Technology Enhances Picture Quality

The Marantz VP-12S3 is the company’s third-generation 720p single-chip DLP pro- jector. It features new technology to increase contrast, lower black levels, and automati- cally calibrate its gray scale. There are short throw (VP-12S3 - $12,500) and long throw (VP-12S3L - $16,000) versions of the projector to accommodate different room sizes and placement requirements. A VP- 12S3L was provided for this review. “I was particularly impressed by the color accuracy and the bril- liance of color detail on network broadcasts and D-Theater movies” Specifications:

Texas Instruments HD2+ ™ 6 Picture Modes: Theater, Standard, Dynamic, Innovation Technology User A, User B, User C High Definition 1280 x 720 DMD™ Semiconductor 5 Preset User Gammas The VP-12S3 utilizes Texas Instruments’ Lamp: 200 W SHP DC Powered 18 Picture Memories HD2+ Digital Light Processing™ technology, a Lens: f: 26.5 to 30.7 / F: 3.0 - F:5.0 4 Aspect Modes Contrast Ratio: > 3800:1 5 Color Temperatures 7-segment 5x-speed color wheel, and custom Light Output: > 700 ANSI LUMEN Typical Black Level Selection Minolta optics with a remote-controlled two- Brightness Uniformity: 90% Economy Lamp Mode position iris that dramatically improves the con- Long Life Lamp: (Average 2000 Hours) No Light Leakage (Double Sealed Cabinet trast ratio and black level, compared to previ- Structure) ous generation HD2 DLP projectors. In addi- Video Inputs Extremely Quiet (Noise Canceling Construction, Composite Video:1 (RCA) Sealed Color Wheel Motor) tion, the 200-watt SHP projection lamp is now Y/C: 1 (S-Video) Power Requirement AC 100-120 V / 220-240 V, DC powered to make it less prone to flicker. Component: NTSC/ATSC 2 (3x RCA) 50/60 Hz The projector’s most innovative new feature RGB/HD: 1 (VGA D-Sub 15) Power Consumption: < 300 W is a unique gray scale auto-calibration system. DVI With HDCP: 1 (29 Digital Pin) Dimensions (WDH In Inches): 15 15/16 x 18 9/16 Each projector includes a color analyzer pod x 5 3/16 (excluding feet) In/Outputs Weight (In Pounds): 26.1 that temporarily snaps over the lens like a RS232C: 1 (D-Sub 9) Price: VP-12S3 $12,500 (short throw lens) lens cap. The auto calibration system gen- RC-5: 2 (3.5 mm mini) VP-12S3L $16,000 (long throw lens) erates appropriate test patterns and reads DC Trigger: 2 (3.5 mm mini) data from the color analyzer pod through a Manufactured In Japan For: cable that attaches to the rear panel RS-232 Features port. The projector also incorporates a color Lens Up/Down Shift Marantz America, Inc. Adjustable Iris 1100 Maplewood Drive ™ correction filter (ORCA ) to remove excess Video Processing Using Faroudja® Processing Itasca, Illinois 60143 yellow from the light that passes through the with DCDi™ Enhancement Tel: 630 741 0300 color wheel. A more neutral white light is 2-3 Pulldown Progressive Scan Film Detection www.marantz.com said to improve the color palette accuracy 10-bit Digital Gamma Processing and the green primary color in particular. Horizontal and Vertical Keystone Correction

36 Widescreen Review • Issue 84 • May 2004 Page 1/7 #84 Master Pages 26-49 3/22/04 4:30 PM Page 38

Equipment Review

Appearance video formats. In addition to the usual 50, Contrast, Brightness, Color (Saturation), Tint 59.94, and 60 Hz field and frame rates, the (Hue), Sharpness, Noise Reduction, Color The projector has a light gray case with projector also displays 48 Hz 720p and Temperature, and Fine Menu. When a vari- a sparkly metal-flake finish. A somewhat 1080i signals at their native vertical rates. (I able Picture Adjust item is selected, the darker bezel surrounds the larger than nor- wasn’t able to try that feature.) The analog menu disappears and is replaced by a sin- mal lens assembly, which is slightly offset RGB input is compatible with the same gle bar graph and numerical value near the from the center of the projector. The fans video formats, and 60 Hz PC display for- bottom center of the screen, which makes it exhaust warm air through the front bezel. A mats up to 1024 x 768. According to the easier to perform adjustments without part manual lens shift dial is located on top of the manual, PC formats at other vertical rates of the picture being covered. When the case, along with a set of operating controls. will be accepted, but not displayed proper- adjustment is completed the menu reap- All inputs are on the recessed rear panel. ly. The DVI digital input accepts the same pears. The Picture Adjust items change video formats and 60 Hz PC formats. depending on the input and the signal for- Setup The rear panel includes an RS-232C mat. For example, the Tint and Noise control port, and Remote Control In and Out Reduction controls are only available for A 16:9 (1.78:1) screen should be used jacks for connection to a Marantz audio composite and S-video signals. to match the projector’s native aspect ratio. component. There are also two 12V Trigger The Fine Menu item produces a submenu With a 100-inch diagonal (87 3/16-inch x output terminals. One is active whenever that includes Luminance, Chrominance, 49-inch) screen, the short throw Minolta the projector is turned on, and the user can Sub Control, and Miscellaneous. The first zoom lens provides a lens-to-screen throw specify which aspect ratios enable the other two items provide a large number of adjust- distance of between 10 feet 9 inches and 12V output to control screen masks. ments for detail and edge enhancement. I’ll 12 feet 6 inches. The long throw zoom lens The rear panel also includes a standard discuss those in a separate section. The provides a throw distance of between 16 three-prong power cable socket and a light Sub Control item produces a menu that feet 8 inches and 22 feet 7 inches. Focus switch that illuminates the rear panel for includes red, green, and blue (RGB) Contrast and zoom are manual adjustments—not changing cables in a dark room. That much and Bright controls, which are equivalent to available from the remote control. appreciated feature even works when the the usual RGB Gain and Bias controls for The mechanical lens shift function per- projector is in standby mode. adjusting color temperature and grayscale mits the center of the lens to be mounted tracking. There are also Clamp Width and anywhere between the top and bottom Controls Clamp Position adjustments for analog RGB edge of the screen, regardless of whether signals, which can be useful for signals that the projector is ceiling mounted or table The slender 1.75-inch-wide remote con- have non-standard timing. The Miscellaneous mounted. The projector can be tilted if it trol is logically laid out, but only seven of item produces a menu that includes DCDi™ must be located above or below the screen, the 25 buttons are backlit. Those include (On/Off), CCS (cross color suppression) but this will cause the picture to keystone. the Menu, V-Mute (picture mute), Input, (On/Off), FRC (frame rate conversion) Electronic Keystone Correction can be used Aspect, Pattern, Standby, and Power On (Auto/On), and Sharpness Filter (0-4). to restore the image to a rectangle, but key- buttons. There are also six dedicated input The Setting submenu includes Lamp stone correction produces moiré patterns buttons, four Aspect Ratio buttons, and four mode (High/Low), High Bright (On/Off), on closely spaced lines, so it should be buttons that select Picture Modes. On- Aspect Ratio, VCR mode (On/Off), Cinema avoided if possible. screen menu items are navigated and (Auto/Off), Iris (5.0/3.0), and Black Setup. selected with a tilting cursor-pad button. The Lamp mode changes the lamp bright- Connections There are also buttons for changing the ness by switching the lamp power. The mode and displaying status High Bright mode increases brightness by The rear panel has six video inputs— information. producing an overly blue gray scale and one composite (RCA connector), one S- The Standby button is an annoying oper- should be avoided for critical viewing. The video (4-pin mini-DIN), two YPbPr (RCA ator trap that immediately turns off the pro- VCR mode is for poor quality video sources. connectors), one RGB (15-pin D-sub), and jection lamp without asking for conforma- It forces the projector to use intra-field verti- a DVI-D input. The YPbPr component video tion. If it is pressed accidentally you must cal interpolation for deinterlacing and inputs accept standard-definition or high- wait for the entire cooling off period before should be left off for DVDs and most broad- definition signals. The RGB input accepts the projector can be turned back on again. cast video. The Cinema mode enables signals with positive or negative HV sync, The top of the projector includes an alter- inverse-telecine deinterlacing for standard- but not sync on green. nate set of buttons for on-screen menu naviga- definition film sources. The F5.0 Iris mode The DVI-D input, which includes HDCP tion, input selection, the focus pattern, and Power maximizes the contrast ratio at the expense (High-Definition Content Protection), can be On/Standby. There are also Warning/Lamp, of picture brightness. Black level setup configured in a menu to accept digital RGB Power, and Standby indicators. The maxi- selects a 0 IRE or 7.5 IRE black level for or YCbCr signals. The latter can be set for mum lamp life is 2,000 hours, but Marantz analog input signals, and RGB-video or standard or high-definition color decoding. recommends replacing the lamp after 1,000 RGB-PC levels for DVI signals. You can select the Normal mode for DVI hours. The lamp is user replaceable. The System submenu selects the signal signals with RGB-Video levels (black at digital format (Auto, NTSC, PAL, 480i, 720p, etc.) code 16 and 100 IRE at 235), or the Extend On-Screen Menus for each input, but the Auto value worked mode for RGB-PC levels (black at 0 and fine for all of my sources. This menu also 100 IRE at 255). The black level is switched The on-screen menus are arranged in provides RGB or YCbCr (standard or high correctly, but you will want to re-adjust the hierarchical levels. The Main menu includes definition) selection for the DVI input. contrast levels if you switch signal types. Picture Adjust, Setting, System, Display, The Display submenu includes Vertical and The YPbPr inputs are compatible with Config, Trigger 2, and Preset. Horizontal Keystone, Auto Adjust, Vertical 480i/p, 540p, 576i/p, 720p, 1035i, and 1080i The Picture Adjust submenu provides and Horizontal Size and Position, and Phase.

38 Widescreen Review • Issue 84 • May 2004 Page 2/7 #84 Master Pages 26-49 3/22/04 4:31 PM Page 40

Equipment Review

Auto Adjust determines the Size, Position and respectively) from 10-60 IRE and then fall the center of a 16:9 screen with black side- Phase settings automatically for analog RGB off at higher signal levels. The ‘C’, ‘D,’ and bars. The Zoom mode is used to display 4:3 signals. The Config submenu includes Auto ‘E’ gamma curve values rise below 20 IRE letterboxed pictures by expanding the Power Off, OSD Position, Language (6 choices), (to about 2.02, 2.09, and 2.11 at 10 IRE) image proportionally in the vertical and hori- Ceiling (mount) (On/Off), Rear (projection) and are relatively constant (about 1.85, zontal directions to fill the width of the (On/Off), Color Temp Calibration, Reset Lamp 1.75, and 1.85) to about 70 IRE before screen. The Through mode displays any for- Life, and Reset All. The Trigger 2 submenu falling off. Therefore, dark image areas mat with less than 720 vertical lines (or pix- selects the Aspect Ratios that enable the appear darker as the gamma changes from els) in its native pixel resolution without 12V Trigger 2 output terminal. ‘A’ to ‘E.’ The ‘a’ curve is much like ‘A’ scaling the image. There is no mode to non- The Preset submenu selects the Picture (about 1.64) with a slight gamma increase linearly stretch a 4:3 image to fill the screen. Mode (Theater, Standard, Dynamic, User at the dark end. The ‘b’ curve is relatively A/B/C), Index (1, 2, 3, Default), and Gamma flat with an average gamma of about 1.83, Gray Scale (A, B, C, D, E, a, b, c). The Gamma setting can and the ‘c’ curve is nearly the same as ‘C’ only be selected for the User picture modes. without falling off at the bright end. A custom color analyzer pod is included These are all unusually low gamma val- to automatically calibrate the projector’s Lamp Mode ues. A display gamma of 2.2 is required to grayscale. The color analyzer pod snaps produce a system gamma of 1.0, and as over the lens like a lens cap, and has a The Lamp mode selects the brightness of I’ve indicated in previous reviews a system cable that plugs into the RS-232 port on the projection lamp. This is one of the quietest gamma of 1.1 to 1.2 is advantageous when projector’s rear panel. To perform an auto- projectors I have measured. In the High Lamp viewing a picture with a dark surround. That matic calibration the user only needs to ini- mode, the fan noise measured only 51 dB, requires a display gamma of 2.45 to 2.67. I tialize the sensor, center the lens shift C-weighted at 12 inches from the front prefer a display gamma of about 2.5. adjustment, snap the color analyzer over (exhaust side) of the projector. The noise level On this projector I preferred the ‘c’ the lens, and press a button. About 5 min- dropped below the 50 dB sensitivity of my gamma curve even though ‘E’ had a higher utes later the process is complete. sound level meter in the Low Lamp mode. gamma at 10 IRE. I wasn’t sure why until I After running the auto calibration I meas- realized that the brightest parts of the pic- ured a gray scale of 6601K +267/-8K from Picture Modes ture (above 70 IRE) were compressed (too 20-100 IRE. There was a 5-8 dE (delta-E) bright) because the gamma falls off at the deviation from D65 (x = 0.3127, y = 0.329) Each of the six picture modes (Theater, top of the ‘E’ curve. That bothered me more over that range. The color temperature Standard, Dynamic, User A/B/C) stores than the additional brightness at the dark increased to 7408K at 10 IRE with a dE of 17. three sets (Index 1-3) of Picture Adjust set- end of the gamma curve, which makes I manually calibrated the Color tings and a gamma mode. These are global shadow details more visible, but leaves Temperature and gray scale tracking to settings that can be used with any input. some images a bit flat with too little contrast. match D65 using the red, green, and blue When an input is switched, the picture There are no controls to modify the pre- Contrast (gain) and Bright (offset) adjust- mode and index last used with that input set gamma curves, but the manual men- ments in the Fine Picture menu. The manu- are restored. tions that special PC software can be used ally calibrated gray scale measured 6500K to create custom curves. That software was +47/-49K from 20-100 IRE, and 6702 at 10 Gamma not available at time of the review. IRE. More importantly, the gray scale devia- tion from D65 measured just 0-2 dE from There are eight preset gamma curves Aspect Ratios 20-100 IRE, and 4 dE at 10 IRE. (A-E, a-c). The gamma curves for the Theater, Standard, and Dynamic picture There are four Aspect (ratio) Modes— Black Level And modes are ‘a’, ‘b,’ and ‘c’ respectively. Any Full, Normal, Zoom, and Through. The Full Contrast Ratio of the eight gamma curves can be selected mode is used to display 16:9 sources— for the User picture modes. HDTV (720p/1080i) and 16:9 (anamorphic) An AccuPel HDG-3000 Calibration gen- The ‘A’ and ‘B’ gamma curve values are DVDs. The Normal mode is used to correct- erator (www.accupel.com) was used to gen- relatively constant (about 1.62 and 1.73 ly display full frame 4:3 (1.33:1) pictures in erate test patterns for measuring grayscale,

40 Widescreen Review • Issue 84 • May 2004 Page 3/7 #84 Master Pages 26-49 3/22/04 4:31 PM Page 42

Equipment Review

contrast ratio, and color accuracy. Measure- the size and location of one or more bright but they are balanced so that the position of ments were made after adjusting for the objects within each individual image. Hence the yellow, cyan and magenta complemen- maximum calibrated light output (Contrast we can only define a figure-of-merit based tary colors are extremely close to the stan- control) with a peak-white PLUGE pattern on an artificial test pattern. One such figure- dard colors. The hues of flesh tones and the (98 IRE stripe against a 100 IRE background), of-merit is the ANSI contrast ratio, which other colors within the color gamut are quite and the optimum black level (Brightness involves measuring 16 blocks (8 white and accurate and images are brilliantly vivid. control) with a conventional PLUGE pattern. 8 black) of a 4 x 4 checkerboard image and The CIE u’,v’ diagram for the 480i YPbPr With the gray scale manually calibrated then computing the contrast ratio from the input shows that the complementary color to D65, the F5.0 (high contrast)/Low Lamp average luminance of the white and black hues are still extremely accurate, even mode produced 13.4 fL from my 1.3 gain, blocks. This is laborious and fraught with though the red primary is a bit farther out- 85.3-inch wide, 16:9 Stewart Filmscreen, practical measurement uncertainties. side the Rec. 601 primary for standard-defi- which slightly exceeds the 12 foot-Lambert I’m using a modified “ANSI” measure- nition video. You will likely want to use the (fL) SMPTE recommendation for digital cine- ment that is the average contrast ratio of the YPbPr (or S-video) input, which provides a ma. The on/off contrast ratio measured an four central blocks in the 4 x 4 checker- Color control if reds are oversaturated or too exceptional 3005:1, which produced an board. The contrast ratio for each block is vivid on some video broadcasts or a DVD. absolute black level of just 0.0045 fL when measured separately by fixing the position displaying a 0 IRE (black) field. and angle of the light meter a few feet in Edge And Detail The F3.0/Low Lamp mode produced front of the projector, and then electronically Enhancement 16.6 fL from my screen, and a still excellent reversing the black and white blocks of the on/off contrast ratio of 2104:1. That mode checkerboard pattern. This increases the The projector includes more than a could be used on slightly larger screens if magnitude of the “black” values to minimize dozen adjustments for edge and detail the F5.0 mode produced too dim of a pic- the influence of room reflections and enhancement that separately affect luma ture. The High Lamp mode can also be improves the computational accuracy. It and chroma portions of the image. The used for larger screens, but remember that also eliminates other issues related to mak- Luminance submenu in the Fine Menu a lamp may lose 40 to 50 percent of its light ing measurements off the screen. Starting includes eight adjustments for the Gain and output over its useful life. So it’s a good idea with this issue I will include this modified Threshold of the horizontal and vertical to plan your screen size with the Low Lamp “ANSI” contrast ratio measurement in each Edge and Detail enhancement. The mode, and reserve the High Lamp mode for projector review. The VP-12S3L measured Chrominance submenu includes additional use during the latter part of the lamp’s life. 604:1. The only other HD2+ DLP projector adjustments for Horizontal Edge Gain and The High Lamp mode increased bright- that I have reviewed measured 728:1. This Threshold, Vertical Edge Gain, Enhancement, ness by about 25 percent. The F5.0 mode is outstanding performance for both products. and Delay. The Enhancement item is only produced 16.9 fL, and the F3.0 mode pro- As video levels approach black, dither- enabled for composite and S-video signals. duced 20.7 fL from the 1.3 gain screen. The ing noise has been another significant prob- The Threshold adjustments determine the latter is equivalent to about 454 lumens. If lem in earlier generation DLP projectors. An minimum luma or chroma amplitudes that additional brightness is desired for viewing excellent way to look for dithering noise is the enhancement processing will affect. The sports in a dimly lit room, the High Bright to view the 1-10 IRE 10-step luma patterns Gain adjustments control how much enhance- mode can be enabled. It increased the from the AccuPel generator. Dithering noise ment is applied to edges or fine details. brightness about 20 percent, but the color was visible on the 1 to 3 IRE steps of the The Sharpness control (in the Picture temperature increased to over 10,000K. luma pattern when viewed close to the Adjust menu) acts like a master gain control The on/off contrast ratio is extremely screen, but it was nearly invisible from a for the Luminance enhancement processing. If important for DLP and LCD projectors normal seating distance. the Sharpness control, or all of the Luminance because it determines the absolute black- enhancement gain controls are set to zero, est level in the darkest scenes. A tiny White Field Uniformity there is no luma enhancement. As the increase in the black level dramatically Sharpness control is increased, the enhance- reduces shadow detail discrimination in a Brightness uniformity on a white-field ment increases proportional to the individual predominantly dark scene. I also find it test pattern was extraordinary. There was Luminance enhancement gain settings. objectionable if the “black” background in only a 1 percent variation in brightness from The Sharpness control appears to work an image is noticeably brighter than the the top to bottom center of the screen, and more like an on-off switch for the Chrominance black surrounding the screen. 7 percent or less from side to side for both enhancement. If the Sharpness is set to A distinctly different picture quality factor the F3.0 and F5.0 contrast modes. The zero, the Chrominance gain adjustments is the ability to see contrast differences color temperature uniformity was within 70K seem to have no effect. But if the Sharpness when there are bright objects in a scene. over most of the screen, with a variation of is set to ‘1’ or higher, the Chrominance gain Then the displayable contrast ratio is much about 230K at one edge in both modes. adjustments take full effect. When the less than the on/off contrast ratio because Enhancement item is enabled, it appears to light from the bright objects will be scat- Color Accuracy have master control over the Chrominance tered over the image obscuring darker gain adjustments. objects. The light scattering occurs within The CIE x,y diagram shows the 720p Even when the Sharpness control and the lens and the optical system of the pro- DVI RGB color accuracy compared to the the other Chrominance gain adjustments jector, but it may also occur within your the- Rec. 709 (HDTV) colorimetry. The same are set to zero, there appears to be some atre as light reflects around the room and measurements are also shown on a CIE chroma edge enhancement on the Pb back onto the screen. u’,v’ diagram, which provides a more per- channel. The leading edge transitions of There is no single measurement that can ceptually uniform presentation of the color blue patches in the Snell & Wilcox pattern precisely describe this intra-field contrast space. The projector primaries are slightly of Video Essentials appear to be shortened, ratio for all images because it depends on more saturated than the HDTV primaries, and the Y/C delay pattern on AVIA: Guide

42 Widescreen Review • Issue 84 • May 2004 Page 4/7 #84 Master Pages 26-49 3/22/04 4:32 PM Page 44

Equipment Review

To Home Theater indicates a delay in the an issue in the analog 480p YPbPr signal are apparently filtered and produce no visi- blue channel. But the latter could also be a path, because 480p RGB signals looked ble lines in the top two bursts of the result of shortening the leading edge transi- very good. The fast signal transitions are AccuPel 720p multiburst pattern, which tions. In any event, I couldn’t identify any typical of a PC video card. When the AccuPel means that the horizontal resolution is related image degradation or color fringing generator’s slower edge transition option was below 640 pixels per picture width. There is artifacts on DVD movies. used, the outlining was reduced but still visible. also significant outlining (about 6 pixels) on You can spend your rainy afternoons The top burst in the multiburst pattern vertical edges and additional ringing. individually optimizing these adjustments for showed only a slight roll-off in frequency Slower edges only slightly reduce the outlin- your DVD collection, or you could try the response. Overscan was 3.5 percent on the ing artifacts. The analog YPbPr input per- default settings that are loaded when you sides, and 2.5 percent top and bottom. forms similarly with 1080i signals. There are select one of the predefined Picture modes. The DVI digital video input had no prob- 4 to 5 pixels of outlining, and the overscan I found all of the default Picture mode set- lem with 480p signals and provided excep- is about 1 percent on each edge. Again tings to be much too aggressive, but you tionally good scaling with the Sharpness there are no visible lines in the top two might want to start with them and use the Filter set to zero. There were only 1 to 2 bursts of the multiburst pattern, which Sharpness control to modify the overall pro- (720p) pixels of outlining on horizontal and means that the horizontal resolution is cessing gain. For most of my DVD collec- vertical edges, and all of the bursts in the below 960 pixels per picture width. tion I ended up setting the Sharpness con- multiburst pattern looked excellent. In addi- Because of the poor frequency response, I trol to ‘1’ with very small individual enhance- tion there was no overscan—not a pixel was would avoid using the YPbPr inputs for ment gain settings, or at zero to bypass the lost at the top, bottom, or sides of the image. high-definition signals and use the DVI or enhancement. But there were a few DVDs The S-video chroma bandwidth is excel- RGB input instead. with rather soft transfers that I used some lent. The 1.5 MHz chroma stripes on Video The analog RGB input does a much bet- additional enhancement to an advantage. Essentials’ Snell & Wilcox test pattern were ter job with 720p and 1080i signals. When The Luminance and Chrominance bright, although not equivalent to the fre- the slower AccuPel edge mode is used, enhancement processing is not available for quency response of the YPbPr signals. So which is equivalent to a high-definition set- analog RGB or DVI signals. For those inputs you should still use YPbPr signals from a top box, the edge outlining is acceptably a separate Sharpness Filter is added to the DVD player or a digital broadcast receiver faint. But when the faster edge mode is Miscellaneous menu. It has 5 settings (0 to when they are available. used, which is similar to most PC video 4) where ‘0’ produces no edge enhancement. cards, the edge outlining was about 8 pix- The Delay control in the Chrominance High-Definition Scaling els to the right of vertical edges on 720p submenu was not useful. It is intended to signals (5 to 7 pixels on 1080i) and there is delay the color signals relative to the luma The projector produces a spatially “pixel additional ringing. So I would avoid the ana- signal, but it also separated the luma signal perfect” image when its DVI input is driven log output of unfiltered PC video cards. The into multiple color components creating an by 720p video signals from an AccuPel 720p single pixel lines in the top burst of effect that resembles misconvergence on a Calibration Generator. Each active (visible) the AccuPel multiburst pattern showed CRT projector. Hence the Delay control should pixel from the source is mapped to a single good resolution and depth of modulation. always be left at its zero (default) position. projector pixel. There is not a single pixel of The single pixel lines in the 1080i multiburst overscan or underscan. The single pixel were aliased. The Sharpness filter is Standard-Definition lines within a multiburst pattern are precise- enabled for 1080i and the best setting was Scaling ly rendered as single pixel lines with full res- the default (2) setting, as it was for 1080i olution. The Sharpness Filter is disabled DVI signals. The Auto Adjust feature worked Scaling performance varies depending on when the DVI (or analog RGB) input well, and produced an image with no over- the input signal type and format. The analog receives 720p signals. scan or missing pixels for 720p. With 1080i 480i YPbPr scaling is excellent. With the The DVI input also worked well for 1080i analog signals there was 2 percent top and Sharpness control turned off (zero) outlining digital signals. There were only 1 to 2 pixels bottom overscan, 1 percent right edge, and around horizontal and vertical edges is only of faint outlining on vertical and horizontal none on the left edge. about 1 to 2 native (720p) pixels, and there lines in the Sharpness pattern, with 1 to 2 is no additional visible ringing. The 6.75 pixels missing at the edges. However, the Deinterlacing MHz burst (single-pixel black and white ver- combined effect of the 1080i deinterlacing tical lines) from the AccuPel generator had (vertical-interpolation) and scaling could be The projector uses Faroudja deinterlac- negligible bandwidth loss and little aliasing. seen on the overscan patterns, where some ing technology, which includes film-mode Overscan varied between 2 to 2.5 percent of the horizontal lines were 3 to 4 pixels (inverse-telecine) deinterlacing for stan- top and bottom, and 3 to 3.5 percent on the thick. The Sharpness Filter had little effect dard-definition movies, and DCDi sides. The analog RGB input also accepts on the 1080i edges, but it affected the (Directional Correlational Deinterlacing) pro- 480i signals, but the deinterlacing is poor mulitburst response. The top burst (1920 cessing for standard-definition original inter- (not done by the Faroudja components) and pixels per picture width) was necessarily laced video. I wouldn’t recommend using it. aliased, but the filter rolled off the aliasing Inverse-telecine deinterlacing provides The appearance of 480p YPbPr signals when set below 4. The default (2) setting artifact-free deinterlacing of film-source was not as good. Outlining around horizon- was best, below that the frequency video as long as the video processor can tal edges was just 1 to 2 pixels, as it was response of the previous burst also began lock onto the 2-3 field pulldown cadence with 480i signals. But there were 4 to 5 to roll off. that results from transferring 24 frame-per- (720p) pixels of outlining on vertical edges When the analog YPbPr input is used for second film to 60 field-per-second inter- and additional ringing when fed fast signal 720p signals, the projector scales the laced video. It also completely eliminates transitions from the generator. I don’t image to create about 1 to 1.5 percent over- vertical interpolation in the deinterlacing believe this was a scaling effect, but rather scan on each edge of the screen. The signals process, thereby maintaining the full resolu-

44 Widescreen Review • Issue 84 • May 2004 Page 5/7 #84 Master Pages 26-49 3/22/04 4:32 PM Page 46

Equipment Review

Marantz VP-12S3 terlacing, and regardless of the technique black level of earlier generation projectors. Gray Scale Tracking 720p IRE Auto Manual Auto Manual there are always tradeoffs between line twit- There is also a similar improvement in intra- °K °K dE dE ter, jaggies (static or moving stair-steps on field contrast, which enhances dark detail edges), and a loss of picture resolution. The recognition and image depth in scenes with video segments of the Video Essentials extremely bright objects. Back To The Future 10 7408 6702 17 4 “Montage” provide good sequences for and The Usual Suspects contain notable 20 6868 6451 5 2 comparing deinterlacers. Unlike many other examples. In addition, those troublesome 30 6608 6532 6 2 deinterlacers, the DCDi processing com- scenes are also free of visible contouring 40 6608 6532 6 2 pletely eliminates jaggies on the bobbing artifacts (discrete brightness steps in pat- 50 6601 6547 7 1 frozen branch and the stripes of the rippling terns resembling a topological map sur- 60 6601 6492 7 0 American flag. But the Faroudja processing rounding bright objects). 70 6601 6485 7 1 appears to produce some color bleed The projector produces brilliant, vivid 80 6593 6492 8 0 between the red and white stripes of the colors with accurate hues. But because the 90 6593 6547 8 1 flag. There is also more line twitter with ver- primaries are a little more saturated than the 100 6593 6547 8 1 tical movement across horizontal lines in the Rec. 601 standard-definition primaries, I train yard and during the zoom-out of the city. slightly reduced the Color control for films The DCDi processing does a good job with highly saturated reds or deep skin of minimizing jaggies on most standard-def- tones, such as The Thomas Crown Affair inition broadcast programming, but it was (1999) and Indiana Jones And The Last less effective with fast motion sports. Jaggies Crusade. The hues remain accurate and the and line twitter were bothersome on basket- colors are still vivid with a small reduction in ball broadcasts as the camera panned color saturation (color depth). Many other across lines and logos on the court, but they films look glorious without any color adjust- were much worse with the DCDi disabled. ments. I especially like the warm, natural colors in Runaway Jury. The on-location DVD Movies images looked especially realistic, far sur- passing the believability of the script. But I used the analog YPbPr and DVI digital the exchanges between Gene Hackman video inputs to evaluate picture quality with and Dustin Hoffman are wonderfully enter- DVD sources. All of my viewing was done in taining, and the DVD transfer has excellent the F5.0 (highest) contrast mode with Low detail that is superbly delineated by the pro- tion of the film-to-video transfer. The inverse- Lamp brightness. I was most impressed by jector (check out Hoffman’s sport coat). telecine film-mode processing handled a with the superior image clarity, dark blacks, The unusually low gamma values can be wide range of DVD movies without any visi- and vivid, accurate color. seductive because they make the darkest ble deinterlacing artifacts, and had no prob- At least two factors are responsible for image areas brighter and expose more lems when jumping between DVD chapters. the exceptional clarity of the DVD images. shadow detail. But they also make dark The Cinema mode must be enabled to use The analog 480i and digital 480p scaling interiors and exterior night scenes brighter the film-mode deinterlacing. It will then auto- have minimal edge outlining, and the than expected. I selected the ‘c’ gamma matically switch between inverse-telecine dein- Minolta lens has superior focus and little curve because it was the setting that pro- terlacing for film sources, and motion-adaptive vanishing chromatic aberration over the duced the darkest shadow regions without deinterlacing (with or without DCDi) for original entire screen. Chromatic aberration pro- compressing the brightest whites. I found it interlaced-video sources. The automatic duces color fringing on gray or white lines, pleasing for the widest range of movies. It switching worked seamlessly without any similar to the effect of misconvergence on a provided the most natural contrast for cruis- glitches or combing artifacts on the Video CRT projector. Projectors in this price range ing the late-night streets of American Graffiti, Essentials “Montage Of Images,” which cuts are prone to have some chromatic aberra- and was the most convincing gamma for back and forth between segments transferred tion, which gets progressively worse toward the lunar excavation and Discovery’s trip to from film and original . the edges of the picture. But test patterns Jupiter in 2001: A Space Odyssey. However, The DCDi processing uses directional revealed that the VP-12S3L maintains sharply I wanted a higher, more conventional interpolation to reduce jaggies along edges. focused lines with virtually no color fringing gamma for classic black and white films The DCDi mode can be turned off in the out to the edges of the screen. That quality such as The Philadelphia Story, which Miscellaneous menu, and then the video of performance is normally only found on appeared rather flat with insufficient contrast. mode deinterlacing uses only motion-adaptive much more expensive projectors that have I preferred a 480p or 720p DVI connec- deinterlacing. The VCR mode turns off the a larger, more costly lens. (I did not have a tion for the most highly detailed film-to- motion-adaptive deinterlacing for particular VP-12S3 with the short throw lens to test.) video transfers. The digital video path pro- poor sources, and uses a field-based vertical It is hard to overstate the improvements vides a noticeable advantage in image defi- interpolation algorithm regardless of video that the HD2+ DMD™ (Digital Micromirror nition compared to a 480i YPbPr analog content. That creates a substantial loss of Device™), 7-segment color wheel, and new connection, which must include an addition- vertical resolution, and shouldn’t be used iris technology have brought to this genera- al digital-to-analog and analog-to-digital unless you find other deinterlacing artifacts tion of DLP projectors. The much lower conversion. But the advantage was less sig- with poor sources particularly objectionable. black level lifts a hazy veil that had been a nificant on DVDs with only average detail. In It is much more difficult to deinterlace shroud over predominantly dark films, such fact, the 480i analog path was advanta- original interlaced video sources than it is to as The Game or Dark City. Moreover, almost geous on transfers with softer images deinterlace video from film sources. There every movie contains some scenes that had because the luma and chroma enhance- are no ideal methods for video source dein- previously been partially obscured by the ment processing, which is not available for

46 Widescreen Review • Issue 84 • May 2004 Page 6/7 #84 Master Pages 26-49 3/22/04 4:33 PM Page 47

Equipment Review

the DVI input, can improve the apparent the very darkest signals, which was virtually previous generation DLP and LCD projec- picture definition if used judiciously. invisible from a normal viewing distance. tors. It also includes a unique gray scale However, it is crucial to use a DVD player auto calibration system to maintain consis- that has minimal edge outlining on its 480i Summary tent color accuracy. Faroudja deinterlacing, analog output. It may also be necessary to excellent scaling, and a superior Minolta use the analog YPbPr input if the movie The Marantz VP-12S3L is a third-genera- long throw lens produce pristine image clar- contains extremely saturated red colors, tion 720p DLP projector. It features Texas ity for DVD movies from 480i YPbPr because the DVI input does not include a Instruments’ newest HD2+ DLP technology, sources. The HDCP-equipped DVI digital Color saturation control. which provides a dramatic improvement in video input is preferred for 480p and HDTV black level and contrast ratio compared to sources. ■■ HDTV

I used the DVI and analog RGB outputs of a Samsung SIR-T165 HDTV Receiver to feed high-definition broadcast video to the projector. The IEEE 1394 (i.Link®/FireWire®) output of a JVC HM-DH40000 D-VHS® D- Theater™ VCR was also connected to the Samsung, which provided an entirely digital video path for high-definition D-Theater movies. My favorite D-Theater film transfer con- tinues to be X-Men. Its exceptionally sharp edges and fine detail present a difficult challenge for 720p-native projectors. The VP-12S3L rendered X-Men with more defini- tion than any DVD movie, but the image appeared slightly softened by the 1080i to 720p cross-conversion, and jaggies ran along diagonal edges during camera pans. The horizontal slats of a park bench also exhibited line twitter during vertical camera movement. I hope manufacturers will make it a top priority to incorporate inverse- telecine deinterlacing for 1080i film sources in the next generation of DLP projectors. NBC’s The Tonight Show With Jay Leno continues to produce some of the finest HDTV images, and it looked striking on the Marantz projector. The cityscape backdrop was particularly impressive with its vivid col- ors and fine structure. The depth-of-field of the high-definition studio cameras maintain splendid focus, and the projector’s scaling produces very little edge outlining. But there is no motion adaptive deinterlacing for 1080i video, which somewhat softens the picture. The 1080i DVI signals produced slightly better definition than the analog RGB signals. I was particularly impressed by the color accuracy and the brilliance of color detail on network broadcasts and D-Theater movies. However, a few HDTV broadcasts pushed red saturation to the limit. Although I never found it seriously objectionable, it would have been desirable to make a small reduction in color saturation on some pro- grams, which is not possible with the DVI or analog RGB inputs. In the F5.0 Low Lamp mode, with a peak brightness of 13.4 fL, there was virtually no visible pixelization or spurious digital noise other than a small amount of dithering on

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