Pre-IFA: Three new Full-HD home cinema projectors from Mitsubishi

According to electronics manufacturer Mitsubishi Electric, its \"outstanding new introduction\" is the \"HC7000\" home cinema projector. The glossy black LCD projector allows for a contrast ratio of a gigantic 70,000:1 and promises noise levels of just 17 dB. It is being presented at the IFA as its world premiere.

Mitsubishi Electric intends to present the \"HC7000\" at the IFA in its own cinema at the trade fair stand. With the co-operation of Paramount Home Entertainment, excerpts of coming Blu-Ray releases such as \"Transformers\" and \"Kung Fu Panda\" in 1.080p format will be shown.

In addition, Mitsubishi Electric is also presenting its \"HC6500\" Full-HD projector with a contrast ratio of 15,000:1 and the beginner model \"HC5500\" at the IFA. Both projectors are to be displayed in a realistic living room atmosphere.

New DVDO EDGE !!

The DVDO® EDGE™ $799 retail is an affordable high quality video processor and A/V hub that converts standard definition, high definition and PC signals from up to ten sources (including six HDMI 1.3 compatible devices) to any HDTV resolution up to 1080p. EDGE has a very intuitive user interface which makes installation a breeze. EDGE has two HDMI 1.3 outputs, one with audio and video and one with audio only to facilitate connections to an HDMI/DVI equipped display and HDMI AV Receiver. An optical audio output is available for older AV Receivers. A backlit universal remote control with a luxurious “soft-touch” finish is also included. Images are available at the bottom of this post.

The DVDO EDGE incorporates all of Anchor Bay’s acclaimed Video Reference Series, VRS™, technologies on the ABT2010 ASIC, including:

Precision Deinterlacing™ – 480i/576i/1080i 10-bit Motion, Edge & Source Adaptive Deinterlacer
• Five-field motion adaptive deinterlacing
• Edge adaptive processing to produce smooth diagonal edges
• Three frame video processing delay (Max)
• Game Mode with very low latency (sub-1 frame delay)
• Arbitrary cadence detection (any:any) to detect non-standard cadences in input signals.
o Reliable 2:2 pull-down detection for 50Hz countries
o Detection of 2:2 ↔ 3:2 crossfades and out of phase 3:2 crossfades
o Detection of multiple source types within a frame
o Bad edit detection and compensation to minimize artifacts caused by sequence breaks in film content

PReP™ - Progressive ReProcessing of 480p, 576p and 1080p input signals allows poor deinterlacing of any source to be undone and done correctly using Precision Deinterlacing™.

Mosquito Noise Reduction - Reduces random noise which appears along the edges of compressed images in SD and HD content

Fine Detail Enhancement – Extracts fine detail in low resolution or compressed SD or HD content

Edge Enhancement – Sharpens edges without adding ringing

Precision Video Scaling II™ - 10-bit Scaling up to 1080p

Progressive Cadence Detection™ of 480p, 576p, 720p and 1080p input signals – Allows source-locked framerate output of film-based content (24/25Hz)

Rightrate™ – High-Performance Framerate Conversion which enables 1080p-24Hz output of film-based content.

Precision A/V Lipsync™ - Intelligent digital audio delay technology to match Audio and Video timing

AutoCUE-C™ – Automatic Chroma Upsampling Error detection and correction

Features

Sleek New Product Design with luxurious “soft-touch” finish (Image available at the bottom of this post)

Intuitive Display/Source Setup Wizards make installation a breeze

User Definable Names for all inputs using keyboard entry

On Screen ‘Hints’ available for all controls

Dedicated HDMI Audio Only Output for connections to AV Receivers and Processors

Backlit Learning Universal Remote Control with luxurious “soft-touch” finish and Discrete Input selection. (Image available at the bottom of this post)

Rear Panel IR Input (mini-jack) for use with existing automation systems.

6 HDMI 1.3 Inputs which process 480i/p, 576i/p, 720p-50/60, 1080i-50/60, 1080p-24/25/50/60, and VGA-SXGA@60Hz signals. One of the inputs is hidden on the “front panel”. All HDMI inputs/outputs have increased spacing between connectors for cables with large overmolding.

Internal Universal Power Supply

Input Aspect Ratio Controls
•Presets: 4:3 full frame, 4:3 letterbox, 16:9 full frame, Panorama (non linear stretch)
•Flexible Horizontal and Vertical Zooming & Panning controls
•Overscan Adjustment per input with separate memories for SD and HD

Output Aspect Ratio Controls
•Presets: 4:3, 16:9
•Underscan Adjustment to eliminate Overscan inherent in a display

•Advanced time base correction (TBC) with frame synchronization
•High performance, multi-standard video decoder, 10-bit high dynamic range, deep color processing and 3D noise reduction (DNR)
•NTSC/PAL 3D comb filter
•Flexible Digital and Analog Audio switching and routing – 6 HDMI audio/video inputs, 5 assignable audio inputs (3 optical/1 coaxial/1 analog) with 1 HDMI audio/video output, 1 HDMI ‘Audio Only’ output, and 1 optical audio output.


•Preset output resolutions:

480p-60 (720x480@60Hz)
720p-60 (1280x720@60Hz)
1080i-60 (1920x1080@60Hz)
1080p-60 (1920x1080@60Hz)

576p-50 (720x576@50Hz)
720p-50 (1280x720@50Hz)
1080i-50 (1920x1080@50Hz)
1080p-50 (1920x1080@50Hz)

1080p-24 (1920x1080@24Hz)

VGA (640x480@60Hz)

Technical Specifications

Ten Video Inputs

• One Composite (NTSC/PAL/SECAM)
• One S-Video (NTSC/PAL/SECAM)
• One Component (YPbPr or RGB/S) processes 480i/p-60, 576i/p-50, 720p-50/60, 1080i-50/60, 1080p-60
• One Component/RGBHV (YPbPr/RGBS/RGBHV) processes 480i/p-60, 576i/p-50, 720p-50/60, 1080i-50/60, 1080p-60, VGA/SVGA/XGA/SXGA@60Hz
• Six HDMI 1.3 processes 480i/p, 576 i/p, 720p, 1080i, 1080p- 24/25/50/60, VGA/SVGA/XGA/SXGA@60Hz

Eleven Audio Inputs

• Six HDMI (HDMI v1.3)
• One Coaxial Digital (assignable)
• Three Optical Digital (assignable)
• One Analog Left/Right (assignable)

One HDMI Audio/Video Output (For Display Connection)

• Backwards compatible with DVI displays
• Configurable for YCbCr or RGB
• Also carries audio (HDMI v1.3)

Two Digital Audio Outputs

• One HDMI 1.3 ‘Audio Only’ output for receivers with HDMI
• One Optical Digital for receivers without HDMI

Controls

• Backlit Universal IR remote control with direct input access codes and rear panel IR connector for RF-to-IR remote controls(mini-jack)
• Functions accessible via On Screen Display (OSD)
• USB port for service updates (not intended for new features)
• Fully programmable controls for each separate video input with non-volatile memories:
- Automatic input source detection & input priority selection
- Picture controls with memory for each input: Fine Detail, Edge Enhancement, Brightness, Contrast, Saturation, Hue
• Output Controls: Format/Resolution

Physical Dimensions (height x width x depth)

• 2.2” x 17” x 10.4” (26.3cm x 43.4cm x 5.5cm)

MSRP: $799

FAQs

Q: What new features does EDGE have that have never appeared in a DVDO product?
A: • New Intuitive User Interface
• Setup Wizards
• Front Panel HDMI Input
• Sleek New Product Design
• Improved Spacing between All HDMI Connections
• Rear Panel IR Connection
• Internal Power Supply
• Backlit Universal Remote Control

Q: What VRS™, Video Reference Series, technologies are incorporated into the DVDO EDGE?
A: EDGE incorporates Anchor Bay\'s Mosquito Noise Reduction, Fine Detail Enhancement, Edge Enhancement, Precision Deinterlacing™, Precision Video Scaling II™, PReP™ (Progressive ReProcessing), Progressive Cadence Detection™, RightRate™ framerate conversion, AutoCUE-C™, and Precision AV LipSync™

Mosquito Noise Reduction

Video compression is a commonly used technique to squeeze more video content onto a disc, or beam down more channels via satellite, or transmit more channels over a cable. By using video compression content providers can achieve better economies of scale and offer the consumer more video content - e.g. more channels, bonus materials, etc. The problem with nearly all video compression methods is that too much of it causes compression artifacts. These artifacts are often seen by the viewer as ugly ringing around text letters or noise - often called mosquito noise.

To counter this Anchor Bay has developed a proprietary method of selectively removing mosquito noise. Unlike some methods of noise reduction that often makes the image worse by removing too much detail or causing blurring during motion, Anchor Bay\'s Mosquito Noise Reduction is designed to isolate the most objectionable of artifacts without removing detail or causing motion blur. To do this Anchor Bay had to devise a proprietary method of both isolating and predicting areas in the image where this noise is likely to occur. The end result is a highly effective noise reduction method that is impervious to motion, yet, largely maintains the integrity of the detail in the image through our conservative approach in removing video compression artifacts.

Images available here: http://www.anchorbaytech.com/support...0pro.php#faq10

Fine Detail & Edge Enhancement

Sharpness controls are not new in the world of video - nearly every TV sold in the last 20 years features a sharpness control. However, sharpening controls merely accentuate medium detail at the expense of fine detail and often add horrible \"halos\" around the edges and lines. While this trick was a reasonable approach for standard definition TV, when screen sizes were well under 30 inches, today\'s large screen TVs and HDTVs have made traditional sharpness controls highly undesirable since the damage they cause is now magnified with such larger screens. In addition, traditional sharpening controls tend to exaggerate any noise in the image by making it more pronounced so noise becomes even more pronounced when viewed on a large screen HDTV.

Anchor Bay has designed Fine Detail & Edge Enhancement with large screen HDTVs in mind. Using patent pending technology, Fine Detail & Edge Enhancement is able to isolate areas of the image where hard edges are prevalent and increase fine details without adding halos or ringing. The net effect is quite extraordinary - images have more \"pop\" and fine detail such as blades of grass or even the pores on an actor\'s face are drawn out making your large screen HDTV even more enjoyable. Moreover, Mosquito Noise Reduction can be used to remove objectionable ringing and noise in the image before using Fine Detail & Edge Enhancement to draw out the fine details in the image.

Images available here: http://www.anchorbaytech.com/support...0pro.php#faq10

Precision Deinterlacing™

Anchor Bay\'s 10-bit Precision Deinterlacing of standard and high definition delivers the image quality demanded by today\'s large-screen, high-resolution displays. It eliminates many of the artifacts found in common deinterlacers to produce a smooth image, free of artifacts such as jagged edges and combing. Precision Deinterlacing features five-field motion-adaptive deinterlacing and edge-adaptive processing for video sources, along with advanced cadence detection for film and animation sources. All processing is performed at full 10-bit resolution to preserve all the detail and subtle nuances in the video source. Edge-adaptive processing uses an adaptive, continuous-angle detection algorithm to accurately identify and smooth image edges.

Unique, \"any-cadence\" processing automatically locks to the wide variety of film and animation cadences found in current video sources, including non-standard cadences, and will track right through many types of \"bad edits\" and cadence changes. Precision Deinterlacing also features “Game Mode” with low-latency processing for maximum “playability”.

Precision Video Scaling™

Anchor Bay\'s 10-bit Precision Video Scaling technology is based on Anchor Bay\'s proprietary video scaling engine that can independently scale an image horizontally and vertically to achieve an outstanding picture quality for today\'s high resolution video displays. The scaling engine is completely flexible, accepting standard definition (480p, 576p) and high definition (720p, 1080i and 1080p) inputs and outputting the most popular resolutions from VGA (640x480) to 1080p (1920x1080). Since the scaling engine is completely flexible, other image manipulation features are also supported including zoom and pan.

PReP™, Progressive ReProcessing

Anchor Bay\'s Progressive ReProcessing (PReP™) is the video processing industry\'s first processing method that significantly improves progressive video signals and removes artifacts caused by inferior interlaced-to-progressive conversion.

Video signals that originate in an interlaced format are often degraded by artifacts incurred when the signal is converted from interlaced to progressive formats by general purpose chips in DVD players, AV receivers, and set-top boxes. Until now, there has been no way to improve these signals to optimize images on high-resolution displays. Poor interlaced-to-progressive conversion is especially problematic with large-screen HDTVs, as upscaling to higher resolutions often amplifies artifacts created in the conversion process, making them more noticeable.

As a solution to this problem, Anchor Bay introduces PReP, an advanced video processing technology that reverts the progressive video signal output from source equipment to its original interlaced format. PReP then converts the interlaced signal to progressive format, this time applying the source, edge, and motion adaptive algorithms in its Precision Deinterlacing™ technology to eliminate jaggies, combing, and other degrading effects. PReP technology allows 480p, 576p, 1080p/50, 1080p/60, and other formats to be processed by this method.

Progressive Cadence Detection™

Film-based content, which originated at 24 frames per second, is broadcast at 50 or 60Hz. Anchor Bay\'s Progressive Cadence Detection can lock on to the original 3:2 cadence in the broadcast, reacquiring the original 24 frames per second. This signal can then be output at a source-locked 24Hz eliminating the judder that existed in the original broadcast signal. Progressive Cadence Detection can be used with 480p, 576p, 720p and 1080p input signals.

RightRate™

Anchor Bay\'s RightRate technology converts the input frame rate to the optimal display frame rate without causing \'tearing\' in the output frame. Anchor Bay\'s high performance frame rate conversion also supports converting film sources from 24 frames per second to 60 frames per second for NTSC format and from 25 frames per second to 50 frames per second for PAL/SECAM format.

AutoCUE-C™

Anchor Bay\'s AutoCUE-C technology automatically detects and removes chroma artifacts that are caused by incorrect upsampling of the chroma (color) signals by MPEG decoders in DVD players and satellite receivers. These artifacts are especially noticeable as horizontal streaks in images with highly saturated colors. When the artifacts are removed, the resulting picture quality is significantly improved, providing a much clearer and true-to-life image.

Precision AV Lipsync™

Anchor Bay\'s Precision AV LipSync technology is designed to automatically delay the audio signal to match the video processing delay in other Anchor Bay products. As a result, the AV Lipsync problem that is caused by video processing delay is eliminated. If required, the audio delay can also be further adjusted (up to 200 milliseconds) to correct any AV Lipsync problem that may be already be present in the AV source.

Q: What is \'Game Mode\'?
A: This mode can reduce the amount of video delay to less than a single frame. In many competitive processors the effects of applying complex algorithms to the video image results in upwards of a seven frame delay. This can inhibit the real-time performance for gamers who want instantaneous response to react to stimuli and to realize peak performance from their application. The VRS Precision Deinterlacing™ Game Mode will reduce frame delay down to slightly less than one frame of video.


Q: What signals can the EDGE output?
A: EDGE has one HDMI 1.3 output that outputs both audio and video. The second HDMI output only carries audio, with blank 720p video, which is intended to carry audio to a connected Audio/Video Receiver. If your source has a DVI output (and no HDMI output), a DVI-to-HDMI adapter or cable will be needed to connect this source to the EDGE. The same is true, if your display does not have an HDMI input, but does have a DVI input. DVI does not carry audio, so for DVI sources/displays an alternative method of connecting audio must be used.

EDGE can automatically determine and output the ‘preferred’ format of the display by reading the EDID of the connected display. Some displays do not report the correct information in which case, the user can select one of the available output formats including VGA, 480p, 576p, 720p, 1080i, 1080p and 1080p-24.


Q: Tell me more about the HDMI connections on EDGE
A: There are six HDMI inputs on EDGE (five on the back panel and one on the front). The HDMI inputs on EDGE can process 480i/p-60, 576i/p-50, 720p-50/60, 1080i-50/60, 1080p-24/25/50/60 and VGA/SVGA/XGA/SXGA@60Hz. The HDMI input and output connectors on the EDGE are backwards compatible with DVI-D inputs and outputs when used with an HDMI-to-DVI adapter or cable. Please note that DVI is a video-only connection that does not carry audio so an alternative method of connecting audio must be used.

Note that if you have an HDCP source and a non-HDCP display, you will probably not get a picture, whether or not you use EDGE.

Q: What kind of aspect ratio control does the EDGE offer?
A: EDGE offers full control over the input aspect ratio. There are 4 predefined input aspect ratio settings:

4:3 Full Frame: to watch 4:3 content while preserving the aspect ratio

4:3 Letterbox: to watch 4:3 Letterbox, non-anamorphic, content full screen with no geometric distortion on a 16:9 display.

4:3 Non-Linear Stretch (Panorama): to watch 4:3 content stretched to fill a 16:9 display. In this mode, the image is distorted such that most of the stretching occurs at the side of the image, not the center.

16:9 Full Frame: to watch 16:9 anamorphic content while preserving the aspect ratio. This mode can also be used to watch 4:3 content on a 16:9 screen, although the image will be stretched horizontally

You may also use the zoom and pan controls to customize the input aspect ratio to your tastes. This allows the user to reformat the image in any way desired, so the EDGE doesn\'t enforce a set of fixed aspect ratios.

If you would like to zoom in on the image to remove the small black letterbox bars found with a 1.85:1 source on a 16:9 display, then you can simply do this with the direct access ‘Zoom -/+’ controls on the remote control or via the graphical user interface, GUI.

Q: What audio formats can the EDGE support?
A: EDGE has three audio outputs: the HDMI audio/video output, the dedicated HDMI 1.3 audio only output and the optical digital output. If a source connected using HDMI is outputting high bit-rate audio, Dolby TrueHD or DTS Master Audio or SACD, and EDGE is connected to an AV Receiver or Processor that supports these formats they will be passed through with the proper amount of delay to be in sync with the processed video. If the optical output is used with a source that supports high bit-rate audio, EDGE will communicate with the source to output an audio format that the optical connection is capable of carrying, stereo PCM or Dolby Digital/DTS. Audio that is input via the analog inputs can be output over HDMI or optical.
There are some HDMI sources that do not output the correct audio signal when connected to an HDMI repeater, like an AV receiver or video processor. In these instances, we recommend that use an alternative method of sending audio, like the optical or coaxial digital audio outputs.

The audio section of EDGE supports S/PDIF and PCM formatted audio with sample rates ranging from 24kHz to 192kHz. It will likely handle sample rates beyond this range, but is only guaranteed to support sample rates within this range. The EDGE will pass digital audio having any bit-depth resolution up to 24 bits, at all supported sample rates.

EDGE will also pass compressed digital audio (e.g. Dolby Digital or DTS) provided the audio bitstream has been properly formatted for S/PDIF (IEC60958 or EIAJ-CP1201 standard) transmission by the digital audio source (according to international standard IEC61937). The EDGE does not alter the sample rate, format, or content of the digital audio whatsoever; it merely inserts a programmable delay into the transmission path.

Users should take care to use proper digital audio cables in order to guarantee valid audio reception and re-transmission. Both coax and optical cables should have high-quality, positive mating connectors at both ends. Coax cables should have a 75-ohm characteristic impedance. The use of couplers or other types of adapters to extend the digital audio cabling is not recommended.

Q: Tell me more about the lipsync correction on EDGE
A: EDGE has 4 discrete digital audio inputs (3 optical and 1 coaxial) and 1 analog audio input (L/R) each of which can be assigned to any of the video inputs. The HDMI 1.3 inputs can also accept audio, if the video signal is on the same input. EDGE is also compatible with high bit-rate audio, like Dolby TrueHD and DTS-Master Audio. If the incoming HDMI signal has HDCP, then EDGE can not output this audio using the optical or coaxial digital outputs, only the HDMI output. When you switch to a particular video input, then the audio input which has been user-assigned to that video input will also be selected. For example, when you switch to Video, then the audio input which has been user-assigned to Video will also be selected.

The digital audio outputs provide a delay which matches the video processing delay of EDGE. Note that this delay will vary depending on the current configuration and processing mode of EDGE. 50 Hz sources will require a different amount of delay than 60 Hz sources, and frame rate conversion requires more delay than no frame rate conversion.

The correct audio delay for all inputs is set automatically, so you need to do nothing extra to match audio and video delays. In addition, there is a user-adjustable delay which can be added or subtracted on top of the automatically set delay for problem sources.

Anchor Bay\'s digital audio technology is called \"Precision AV Lipsync™\".


Q: Does EDGE have an On Screen Display (OSD)?
A: Yes, there is a very intuitive OSD that allows you to control all of the major parameters: output resolution, aspect ratio, picture controls, and audio delay. There are hints available with all controls to assist inexperienced users.

Q: How does EDGE detect incoming signals?
A: EDGE has been designed to detect which of the ten possible input devices is turned on and is generating an active signal, and then to automatically switch to that input. With this capability, you can switch inputs simply by turning one input device on or by turning another device off.

EDGE also includes an \"Input Priority\" option which specifies which of the inputs to use when they are multiple active inputs.

Q: What kind of power supply does EDGE have?
A: The EDGE comes with a universal internal power supply, which accepts 100-240 VAC at 50/60Hz.

Q: Will the EDGE improve the picture quality of standard definition channels from my satellite system (DSS)?
A: Picture improvement of heavily compressed standard, and even high, definition satellite channels is often very subjective, and depends to a great deal on exactly which aspects of the image are objectionable. The EDGE does incorporate three new technologies that do specifically address this issue: Mosquito Noise Reduction, Fine Detail Enhancement and Edge Enhancement.

One artifact of compression is mosquito noise. This kind of compression noise is apparent along the edges of compressed images, especially text. Anchor Bay\'s Mosquito Noise Reduction can significantly reduce this noise providing an appreciably better picture. Additionally, Anchor Bay\'s Fine Detail Enhancement can extract fine details in the image that were masked by this compression. Finally, Anchor Bay\'s Edge Enhancement can improve the perceived sharpness of the image without adding additional ringing.


Q: What does the color of the power LED on EDGE mean?
A: EDGE power LED color table:

LED Description
No LED = Standby Mode
Red/Solid = No Signal Received
Green/Solid = Unknown/Unsupported Signal Received
Blue/Solid = The EDGE is processing the input


Specifications and features subject to change without notice.

DVDO and DVDO EDGE are trademarks of Anchor Bay Technologies.
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__________________
Josh Allen
DVDO Product Manager
Josh@DVDO.com

MITSUBISHI DIGITAL ELECTRONICS AMERICA’S NEW HC5500 1080p PROJECTOR BRINGS ADVANCED FEATURES TO COST-CONSCIOUS CONSUMERS

IRVINE, Calif., June 18, 2008 — Mitsubishi Digital Electronics America’s Presentation Products Division, known for award-winning, high-quality, high-definition presentation and display products, is bringing higher-grade features to its newest 1080p (1920 x 1080) resolution home theater projector, the HC5500. This new projector replaces Mitsubishi’s wildly successful HC4900, upgrading features for the same manufacturer’s suggested price of $2495.

“Our new HC5500 is very similar to our HC6000, but we’re targeting it to the same price point as our old HC4900,” said Wayne Kozuki, product manager, Mitsubishi Digital Electronics America’s Presentation Products Division.

Mitsubishi’s HC5500 is designed with inorganic LCD panels that are more durable and that provide a more consistent, evenly toned color image than previous generation LCD panels. With a newly developed LCD panel cooling duct, the HC5500 is designed to be one of the quietest projectors in the world at 19 dBa, so you can focus on the movie instead of a distracting hum of
the fan.

With the HC5500 Mitsubishi has also included an improved automatic iris function for quicker black-to-light image shift and has increased the contrast ratio to 10,000:1. This combination allows for dynamic, smooth transitions between light and dark and sharper overall details in dark areas, even in fast-action spaceship scenes or classic film noir.

Most importantly, Mitsubishi incorporates the Emmy® award-winning HQV (Hollywood Quality Video) high-performance video processor inside this entry level 1080p projector. The HC5500 comes with the Reon-VX video processing chip often found in more expensive high-end devices and offers advanced noise reduction and reduced chroma up-sampling for superior video performance.

Reon-VX’s HQV processing delivers sharp, detailed HD images by using features such as true 1080i-to-1080p HD deinterlacing and a sophisticated multidirectional diagonal filter that helps ensure video is free from jagged edges. HQV also makes standard definition material approach HD quality by employing advanced scaling, per-pixel detail enhancement and noise reduction technology to remove noise and artifacts caused by compression.

The projector’s 3LCD technology delivers unbelievable color, amazing detail and road-tested reliability. Using an advanced three-panel design, Mitsubishi’s HC5500 produces both rich and vibrant colors with extraordinary details for outstanding picture quality.

With up to 5000 hours of lamp-life (in low mode), HC5500 owners won’t have to change lamps often, but when it’s necessary the new projector design makes replacement quick and easy. Users simply switch lamps through an easily accessed lamp housing without taking the mounting structure apart or physically handling the projector.

“Mitsubishi continues to lead the market with advanced features and functions at unprecedented price points,” said James Chan, director, product marketing, Mitsubishi Digital Electronics America’s Presentation Products Division. “We’re excited to offer so many advanced features for a suggested price under $2500.” USD

Pricing, Availability and Warranty
The suggested retail price of Mitsubishi’s new HC5500 is $2,495 USD and will be available in June through authorized Mitsubishi dealers and select online resellers. The projector comes with Mitsubishi’s two-year limited warranty on parts and labor plus a one-year limited warranty on the lamp.

About Mitsubishi Digital Electronics America Presentation Products Division
Mitsubishi Digital Electronics America’s Presentation Products Division markets an extensive line of professional presentation, front-projection high definition home entertainment, and rear-projection video wall cube display systems and digital signage monitors that are designed with DLP® or LCD technology, and is known for its award-winning, high-quality, accurate color reproduction technology. Products are sold through authorized distributors, resellers, retailers and system integrators throughout the United States and Mexico. Mitsubishi Digital Electronics America is located at 9351 Jeronimo Road, Irvine, Calif., 92618. For more information, please call 888-307-0312 or visit http://www.mitsubishi-presentations.com

Optoma Introduces Worlds First Pico Handheld Projector
Based on Texas Instruments\' DLP Pico® Chipset, Features Sleek Design and Extreme Portability

LAS VEGAS, NV (June 18, 2008) – Optoma, a leading manufacturer of award-winning digital projection and display devices, introduces the first Pico projector based on the DLP Pico chipset. Smaller than most smart phones, this new micro-portable projector fits in your palm and is the ideal companion to ultra-portable media devices such as iPods®, PDA\'s, smart phones and digital cameras.

When connected to an ultra-mobile device, the four-ounce Optoma Pico Projector allows users to share photos and videos, and enjoy a far better visual experience with an image that is up to 100 times larger than the small screen of the source device.

\"The Pico Projector is the next step in sharing visual media for today\'s ultra-mobile consumers. Fitting in your shirt pocket, the Pico Projector can display pictures, videos or any content from a mobile media player or smart phone\" says Jon Grodem, director of Product Management for Optoma. \"Optoma\'s Pico breaks free from the limitations of the 2 or 3 inch displays found on today\'s mobile devices. This category defining projector creates a new benchmark for sharing content-on-the-go.\"

Optoma\'s Pico Projector utilizes the latest LED technology resulting in a colorful and vivid image. The small and powerful unit is based upon DLP technology assuring the highest possible contrast.

\"The handheld Pico projector represents the latest advancement in the mobile device display industry. We view the Pico projector as a completely new and exciting market – one which dramatically expands the reach and potential of projection products into new end user applications,\" says Dr. William Coggshall, founder and president of Pacific Media Associates.

The product will be first shown at Texas Instrument\'s InfoComm 2008 booth C909 and will be available in limited distribution in Europe and Asia in late 2008, with a worldwide launch in 2009.

MITSUBISHI DIGITAL ELECTRONICS AMERICA ANNOUNCES ECONOMICAL HC1600 HOME THEATER PROJECTOR

New 720p Projector Replaces Award-Winning HC1500
IRVINE, Calif., June 18, 2008 — Mitsubishi Digital Electronics America’s Presentation Products Division, known for award-winning, high-quality, high-definition presentation and display products, today announced its HC1600 HD home theater projector designed for budget-minded video enthusiasts or home theater newbies.

At 1700 lumens, the HC1600 is brighter than its best-selling award-winning predecessor, fits more viewing environments and at a suggested retail price of only $999, it fits smaller budgets as well. Mitsubishi’s HC1600 makes a dynamic large screen HD home theater experience truly affordable, allowing more people to step up from fixed-size televisions to portable, flexible home entertainment in high definition.

“We continue to lead in home theater projection, especially in terms of a value proposition,” said Wayne Kozuki, product marketing manager, Mitsubishi Digital Electronics America’s Presentation Products Division. “It’s always exciting to bring such high-end entertainment experiences to a level where almost everybody can easily enjoy them at home or on the road.”

Using Texas Instruments latest DLP® chip, the DDP3020 Digital Light Processing® TrueVision™ Image processing with BrilliantColor™, Mitsubishi’s HC1600 HD projector blasts a bright 1700 lumens and provides an outstanding 2500:1 contrast ratio for high action and detailed video impact, even with the lights on. The combination provides advanced capabilities that greatly enhance white segment processing and secondary color boost to improve mid-tone brightness.

BrilliantColor processing technology uses a patented color-processing algorithm and system-level enhancements for more brightness and truer lifelike colors. As a result, the HC1600 treats viewers to rich and vivid 720p high-definition images.

Mitsubishi’s HC1600 is affordable from the point of purchase and offers an exceptionally low cost of ownership with an estimated 3000-hour lamp life in low lamp-life conservation mode. It’s also designed with an advanced filter-free construction that makes the projector’s optics resistant to dust, dirt and other micro particles within the its light path. Because there’s no filter, periodic maintenance is greatly reduced, making the projector more economical over time, and allowing users more time to enjoy their home theater. Furthermore, the tedious task of cleaning and replacing a filter is eliminated, saving both time and money.

Subdued scenes are easy to hear with the HC1600’s quiet 25-decibel level engine, and its HDMI™ and DVI™ inputs offer true high-definition connectivity. Digital keystone correction makes set-up easy, efficient and more flexible in different room configurations.

“Mitsubishi is committed to increasing value in our home theater and presentation projectors,” said James Chan, director, product marketing, Mitsubishi Digital Electronics America’s Presentation Products Division. “We offer a wide selection designed to meet home theater newbies as well as enthusiasts who want the best that their budget can afford, with no compromise.”
Pricing, Availability, Warranty

The suggested retail price of Mitsubishi’s HC1600 is $999; the projector will be available in August 2008 through popular online resellers, selected retail outlets and authorized Mitsubishi dealers. The projector comes with Mitsubishi’s one-year limited warranty on parts and labor plus a one-year limited warranty on the lamp.

About Mitsubishi Digital Electronics America Presentation Products Division
Mitsubishi Digital Electronics America’s Presentation Products Division markets an extensive line of professional presentation, front-projection home entertainment, and rear-projection video wall cube display systems and digital signage monitors that are designed with DLP® or LCD technology, and is known for its award-winning, high-quality, accurate color reproduction technology. Products are sold through authorized distributors, resellers, retailers and system
integrators throughout the United States and Mexico. Mitsubishi Digital Electronics America is located at 9351 Jeronimo Road, Irvine, Calif., 92618. For more information, please call 888-307-0312 or visit http://www.mitsubishi-presentations.com

CANON CANADA INTRODUCES THE REALiS WUX10 – THE WORLD’S FIRST WUXGA LCOS PROJECTOR, AND THE REALIS SX80 – THE WORLD’S FIRST PICTBRIDGE COMPATIBLE PROJECTOR


The REALiS WUX10 Projector provides image display that exceeds 1080 HDTV resolution;
The REALiS SX80 Projector is a feature-packed high-resolution SXGA+ Projector with USB/Pictbridge connectivity for “PC-Free” presentations

MISSISSAUGA, ON, June 3, 2008 – Canon Canada Inc., the leading provider of digital imaging solutions, has again advanced the acclaimed REALiS Multimedia Projector line with the introduction of two new models that provide unprecedented performance and features along with cutting-edge technology.

Canon’s top-of-the-line REALiS WUX10 is the world’s first WUXGA-resolution (1920 x 1200) widescreen Multimedia Projector using LCOS (Liquid Crystal on Silicon) technology. It delivers the highest resolution of any Canon projector and provides precise colour reproduction and exceptional image quality. The WUX10 is the perfect solution for the increasing number of professional users displaying and/or creating widescreen visual content.

Canon’s REALiS SX80 Multimedia Projector is a high-resolution SXGA+ (1400 x 1050) model that combines multiple user-friendly features, including being the world’s first projector to offer PictBridge connectivity. With easy installation and affordability, this projector is ideal for users in corporate, education and other professional fields.

“We are seeing the world rapidly transitioning to high-resolution image display in every sector including HDTV, personal computers, DVDs and Web video, which raises the public’s image-quality expectations,” said Ian Macfarlane, Vice President and General Manager of the Consumer Imaging Group at Canon Canada Inc., a wholly owned subsidiary of Canon U.S.A., Inc. “For this reason, presentation professionals need high-resolution, widescreen, large-image display solutions that are affordable and compact. Answering this need are Canon’s new REALiS WUX10 and REALiS SX80 Multimedia Projectors, which are breakthrough products that are totally manufactured by Canon and engineered to meet the demands of displaying high-resolution digital imagery.”

Both of these new REALiS Multimedia Projectors feature new LCOS reflective LCD panels which were developed by Canon. The REALiS WUX10 incorporates a 0.71-inch WUXGA (1,920 x 1,200 pixels) panel, the world\'s first LCOS panel of its size to achieve such a level of resolution. The REALiS SX80 features a 0.55-inch SXGA (1,400 x 1,050 pixels) panel. Compared with devices utilized in projectors employing different types of projection systems, LCOS panels facilitate the reproduction of exceptionally high-resolution images free of the “screen door effect,” a visual distraction common to LCD projectors, in which a faint grid pattern appears over the projected image. Realizing high levels of imaging performance, LCOS technology has garnered considerable attention within the industry.

In addition, both of the new Multimedia Projectors feature Canon’s proprietary AISYS (Aspectual Illumination System) Optical Engine. AISYS equalizes the light from the projection lamp and maximizes the performance of the LCOS panels to achieve high brightness, excellent contrast, exceptional resolution and a more compact projector form factor. Both of these new Multimedia Projectors also feature newly developed Genuine Canon 1.5x Powered Zoom/Focus Lenses that deliver increased resolution and suppression of lens aberrations, and improved 10:0 lens offset, reducing the need for tilting and/or keystone correction. In addition, these lenses include Canon’s new lens coatings, which reduce both glare and ghosting.

The new Canon REALiS WUX10 and SX80 Multimedia Projectors include such unique Canon user-friendly features as: Off and Go, which allows users to pack-up quickly after a presentation by simply unplugging the power cord while internal circuitry continues to run the fan and cool the projector; Auto Set-Up functions for focus, keystone, signal inputs and screen colour-correction; and an RJ-45 Network Connection and a built-in network interface for centralized control and monitoring of multiple projector units (both projectors are also compatible with industry-standard controllers).

The REALiS WUX10: The Top-of-the-Line
Responding to the rapidly expanding need for a widescreen, high-resolution projection solution that is also affordable, Canon engineered its top-of-the-line REALiS WUX10 Multimedia Projector to deliver clear, defined WUXGA-resolution (1920 x 1200) images. The REALiS WUX10 supports 1080 video content and WUXGA 16:10 computer resolution. This projector’s significantly larger display area enables Macintosh and Windows users to project their computer’s entire screen in its true proportions, just as it appears on their widescreen desktop or laptop computer monitors.

Rated at 3200 Lumens of brightness and with a contrast ratio of 1000:1, the AISYS-enhanced LCOS REALiS WUX10 Multimedia Projector can project full and precise display of photographs, intricate spreadsheets with small text, CAD drawings and full-motion HD or SD video. In addition, this projector features the ability to process analog RGB and component signals, from input to display, in 10-bit resolution for higher-quality images. The REALiS WUX10 Multimedia Projector weighs 10.8 lbs. and is scheduled to be available in October 2008 at a suggested list price of $12,999.**

The REALiS SX80: The New Generation of SXGA+
Canon’s new REALiS SX80 Multimedia Projector heralds the arrival of a new generation of SXGA+ resolution (1400 x 1050) display excellence. Featuring a new, streamlined, glossy pearl-white design, the projector delivers 3000 Lumens of brightness at a contrast ratio of 900:1. This new projector provides an expanded display area that is compatible with multiple computer-display formats such as WXGA and SXGA, with an entire SXGA screen being displayed in its true proportions - just as it appears on a PC monitor.

The screen size of the REALiS SX80 Multimedia Projector can also be changed to accommodate different presentation venues and/or applications.
Convenient interfaces are key features of Canon’s line of REALiS Multimedia Projectors, and the new REALiS SX80 advances these benefits even further. If desired, users can take advantage of the USB/PictBridge connectivity for “PC-Free” presentations. A convenient USB port enables users to connect a “flash” or “jump” drive or a PictBridge compatible digital camera or digital camcorder directly to the REALiS SX80 Multimedia Projector to display jpeg photos. A wide selection of video and audio inputs – including a DVI-I interface for Macintosh and Windows computers – and an HDMI terminal for digital video camcorders (such as Canon’s new XL H1S or VIXIA HF10), Blu-ray and other DVD players, further increases content-playback device options. Optional accessories for the REALiS SX80 Multimedia Projector include a new “folding” ceiling attachment to facilitate maintenance and replacement of the projection lamp or filters. The REALiS SX80 Multimedia Projector weighs 11.5 lbs. and is scheduled to be available this month at a suggested list price of $3,999.**

Both the Canon REALiS WUX10 and the REALiS SX80 include a three-year parts and labor/120-day lamp limited warranty.

About Canon Canada Inc.
Headquartered in Mississauga, Ontario, the company employs 1,400 people at its offices nation-wide, servicing the Canadian market from coast to coast. Innovation and cutting-edge technology have been essential ingredients in Canon\'s success. Canon\'s leadership in imaging, optical and document management technology and solutions is based in large part on the thousands of patents the company has secured throughout its history. For the 16th consecutive year, Canon Inc. is among the top three US patent recipients.

The company’s comprehensive product line includes networked multifunction devices; digital copiers (colour and black and white); printers, scanners, image filing systems and facsimile machines; calculators, digital camcorders, digital and analogue cameras and lenses; semiconductor, broadcast and other specialized industrial products.

Canon supports programs that help preserve and protect the environment. The company instituted the Clean Earth Campaign in 1990, which assists various environmental and recycling initiatives. The Campaign has also supported leading environmental organizations, such as World Wildlife Fund - Canada and the Canon Envirothon.
For more information, visit www.canon.ca

Gefen Shows Inventive Methods of HDTV Extension Using Alternative Cabling With Full 1080p Support At CES

Las Vegas, NV -- In addition to Gefen\'s existing selection of HDTV extenders based on fiber, copper and CAT-5 cables, CES will see new innovations in which the HDMI signal can travel over coax and RGB cables in addition to a wireless version that needs no cables.

HDMI Over Coax Extender
This sender/receiver solution extends any HDMI source up to 300 feet from the display or projector using a single coax cable. It supports high definition resolutions up to 1080p with full HDCP compliance and IR remote pass-through capability.

HDMI Over RGB Extender
This extender is designed to be a \"dongle\" replacement for existing component solutions where projectors or displays are extended using RGBH&V cable terminated with BNC. The system employs Gennum\'s ActiveConnect technology and is capable of transmitting high definition audio/video up to 150-feet making it well suited for most home installations today. This extender supports HDMI at 1080p resolutions, offers complete HDCP-compliance and operates with Gefen\'s trademark plug and play ease.

Wireless For HDMI Extender
This solution offers a high quality method of HDTV extension using ultra wideband (UWB) wireless technology for easy in-room connections of high definition video sources to displays up to 30 feet in distance without cables. It supports HDCP compliance and offers a method of switching between two sources for added value.

About Gefen:
Gefen leads the industry in audio/video solutions for professionals and consumers with an eye for superior quality and reliable performance. In the high definition digital domain, Gefen delivers advanced technologies with multi-platform extension, switching, distribution and conversion capabilities. Gefen equipment is valued all over the world in professional AV/IT and consumer electronics/home theater environments. Their add-on hardware maximizes system functionality by enabling AV systems to operate beyond their original capabilities. A selection of high quality cabling is also available. Visit www.gefen.com for detailed product information.


For more information:

Linda Morgan
linda@gefen.com
610.436.4759

Blu-ray or HD-DVD, Format war, who will win? Here is a chart that will show the current Studio support for each format.

Click Here en.wikipedia.org/wiki/Comparison_of_high_definition_optical_disc_formats#Studio_support

JVC DLA-RS2
Evan Powell, December 11, 2007
ProjectorCentral.com

Last March JVC started shipping the DLA-RS1, a 1080p projector featuring D-ILA technology (JVC\'s proprietary version of LCOS) with a high native contrast ratio of 15,000:1. This month, the DLA-RS2 comes to market, offering even higher performance at a higher price. JVC will continue to market both models at two different price points.

The differences between the RS1 and RS2 can be summarized as follows:


1. The contrast rating on the RS2 has been boosted to 30,000:1 native (that is, this rating is not inflated by the effect of a dynamic iris, as it often is on competing units.)
2. The contrast improvement on the RS2 derives from improved light polarization wich reduces light scatter into the lens. The net effect is that contrast and black levels are improved, but actual lumen output is reduced by about 18%, as measured against comparable operating modes on the RS1 (on our two particular test units).

3. Powered zoom and focus has been added to the RS2. On the RS1, the zoom and focus controls are manual.

4. The RS2 has a Vertical Stretch function for high definition signals to accommodate an anamorphic lens, whereas the RS1 does not.

5. The RS1 is HDMI 1.2 compatible, and the RS2 is HDMI 1.3.

6. The RS2 has an overscan adjustment for component video inputs, so that a 100% full frame picture can be obtained. On the RS1, overscan automatically cropped the image from analog signals by 2.5% on each edge without the ability to adjust it.

7. Current MSRP on the RS2 is $7,995, and the RS1 is $5,495.


Specifications
ANSI lumens: 600

Contrast (full on/off): 30,000:1

Light Engine: 1920x1080, native 16:9, 0.7\" three-chip D-ILA (LCoS), with a 200W UHP lamp.

Video Compatibility: 1080p/60/50/24, 1080i, 720p, 576p, 576i, 480p, 480i. NTSC/PAL/SECAM.

Data Compatibility: SXGA, XGA, SVGA, VGA

Connection Panel: Two HDMI ports, one set of YPbPr Component inputs, one s-video port, one composite video port, one RS-232C port for service and remote control.

Lens and Throw Distance: 2.0:1 manual zoom/focus lens with manual H/V lens shift. Throws a 100\" diagonal 16:9 image from 10\' to 20\'.

Lamp Life: 2000 hours.

Replacement lamp cost: $379

Warranty: Two years (90 days on the lamp).


Overview


The DLA-RS2 is essentially an RS1 with a few refinements and modifications. Both projectors are designed to accommodate any type of installation that your room demands?ceiling mount, rear shelf, or table top placement. Several features contribute to this flexibility. They offer a long 2.0x zoom lens that allows them to be placed anywhere between 10 feet and 20 feet from the screen for a 100\" diagonal image (distance as measured from the front of the lens to the screen). In addition, vertical lens shift allows you to move the picture up or down within a total range of 2.67 picture heights. Horizontal shift allows you to move the projected image to the left or right of center in a range equal to 34% of the picture width in either direction.

Air intake is on the front right bezel as you are viewing it from the front, and the exhaust vent is on the front left side. This design helps to prevent heat build-up if the projector is to be placed near a rear wall.

The lamp is accessible through a door on the side of the case, so lamp replacements can be accomplished without taking the unit down from a ceiling mount. (Lamp replacements are $379, which is normal for this class of product, and much lower than lamp costs on previous generation JVC products.) There is also easy access to the air filter on the side of the projector as well.



The connection panel is on the rear of the unit. It offers three inputs for higher quality video signals, those being two HDMI ports and one component video.

The RS2 is physically identical in size and looks to the RS1. It measures about 18 inches square and weighing 25 lbs. It needs several inches of clearance from a rear wall to accommodate cable attachments to the connection panel. So keep in mind that a shelf about two feet in depth will be required if you want to do a rear shelf installation.

Out of the box, our RS2 had a visible bias toward green and was not particularly well color balanced. Sharpness was a bit overdriven for our taste as well. But there are ample controls on color temperature to tweak it up, and it has the capability to deliver an excellent, beautifully balanced picture once calibrated. Folks who are spending this much money on their projector will most likely want to get it professionally calibrated, but any home theater hobbyist who is familiar with color controls will be able to make adjustments to get an extremely satisfying image.

Deinterlacing and scaling is identical on both units, and it is first rate. It appears no changes were made to the video processing circuitry.

Fan noise is equal on both models, which is to say very quiet in normal lamp mode. In high lamp, fan noise increases to a more noticeable whisper if you are sitting next to it, but still nowhere near the fan noise that came from JVC\'s earlier generation D-ILA projectors. High altitude mode increases the fan to compensate for thinner atmosphere, and the manual recommends putting the unit into High Altitude mode if operated above 900 meters, or about 3,000 feet. This is a lower tolerance than most projectors we see, which typically recommend High Altitude fan settings above 4,500 to 5,000 feet elevation. Fan noise in High Altitude mode is about the same as it is in High lamp mode, so not really a big cause for concern if you need to use it.


RS2 and RS1 side by side
Though they are identical in so many ways, the two key differences in image between the RS2 and RS1 are related to brightness and contrast. Side by side, the RS1 is somewhat brighter--no meter is needed to tell the difference. Highlights are more brilliant, and due to its brightness, in some scenes with average or above average light levels it has the impression of being equal to the RS2 in contrast. However, in darker scenes, the RS2 clearly achieves much deeper black levels. That may be hard to imagine, considering that the RS1 is already an outstanding performer in this regard. On a black screen with white rolling credits, the black background is obviously blacker on the RS2, while the whites on the RS1 are brighter.

Related to the RS2\'s incremental contrast is the fact that the RS2 has deeper color saturation. But the RS1 does not look in any sense washed out in comparison. Basically, the difference to the eye is that a saturated object will look more saturated on the RS2, but a bit brighter on the RS1.

JVC publishes very conservative specs when it comes to ANSI lumens--700 lumens on the RS1 and 600 on the RS2. JVC would probably better off not publishing a lumen spec at all, as a few other vendors have done. The reason is that the lumen specs as published by the various projector manufacturers are based on different operating assumptions, and they cannot be used for \"apples to apples\" comparisons. However, the consumer has no way to know that. So many buyers might reasonably infer that a projector rated at 1200 ANSI lumens is brighter than one rated at 600. In theory that is the case, but in actuality, once most projectors are set up for optimal video performance, their real lumen output is only a fraction of the theoretical rating. In JVC\'s case, the brightest video optimized operating modes will produce very close to the rated specification. Thus, despite carrying the lowest lumen specification among home theater projectors, the RS1 is in reality one of the brighter of the home theater projectors under $10,000 on the market, and the RS2 is not that far behind it.

On our test units, in an optimized mode in which the RS1 is producing 550 ANSI lumens, the RS2 delivers about 450 ANSI lumens in the same configuration. So in comparing these two particular test units, the RS2 is less bright by about 18%. Nevertheless, due to its extreme contrast and excellent color saturation, the RS2 is still plenty bright enough to successfully light up a 160\" diagonal screen with an HD DVD, Blu-ray, or HDTV source in a dark viewing environment. As one would expect, standard definition materials look relatively dull by comparison. So if you are going to view a lot of SD material, we\'d suggest keeping the screen size to about 120\" for best results.

Additional factors which influence overall lumen output include the lamp operating mode, which can be either Normal or High. High mode boosts light output by about 22% over Normal mode. There is no affect on anticipated lamp life, which is 2000 hours no matter which mode you run in.

The biggest single factor influencing lumen output on this projector is not the lamp power mode, but rather the position of the zoom lens. Since the zoom range is a long 2.0x, it is not possible to get the same amount of light through the lens when it is extended all the way to maximum telephoto (for new readers, this is true of all long zoom lenses, not just the lens on the RS2). By shifting the lens from maximum wide angle to maximum telephoto, lumen output on the projector is curtailed by 32%. That may sound like a lot, but it is really not much compared to other 2.0x zoom lenses that can cut light by as much as 45%. However, even at this dimmest of lens configurations, and in low lamp mode, the RS2 delivers over 300 ANSI lumens. This is still plenty of light to fill a 120\" screen with great contrast and snap, again due to the latent strength of its contrast and color saturation.

One final note on lumen output?the projector loses about 12% of its light output when the lens shift is set to the extreme ends of the lens shift range as compared to having the lens in the neutral (middle) position. The extreme ends of the shift range would be required for most ceiling mount placements. On the other hand, a ceiling mount may enable you to place the projector closer to the screen, and thereby use the brighter end of the zoom lens. So there are these trade-offs to consider.

Our preference for most set-ups would be to set the projector back as far as possible on a rear shelf, maximizing the throw distance and minimizing the lens shift offset. This enables you to keep the cone of projected light to a minimum angle so that light strikes the screen from edge to edge in as close to perpendicular as possible. This produces the most even illumination of the screen.



So is there anything wrong with it?

In the review of the DLA-RS1 last March, we indicated several items that might be considered deficiencies in that model. First was the lack of powered zoom/focus--not really a huge issue for most users since you set it up once and forget about it. But most projectors in the higher price ranges have powered zoom/focus, and the RS1 did not. We also noted that the RS1 was not HDMI 1.3 compatible, it did not have a vertical stretch mode to accommodate an anamorphic lens, and there was no way to override the automatic overscan of analog signals.

On the RS2, all of these issues have been addressed. It has powered zoom/focus, it has HDMI 1.3, it has a vertical stretch mode, and it has the ability to reset overscan to 100%. So we are getting to the point where there is not much left to complain about. The only thing left to make it essentially perfect would be to have it fully precalibrated to ISF standards, so all you have to do is turn it on. But heck, for true home theater enthusiasts, half the fun of having a high performance video projector is getting into its menus and controls, and tweaking it up exactly to your standards and preferences. So yes, our RS2 was not properly calibrated out of the box. How much of a weakness is that? We will leave it to your discretion.

The DLA-RS2 -- A Projector for the Videophile

The DLA-RS2 is priced somewhat higher than the other 1080p models we\'ve been reviewing this fall. The target market for this model is clearly the purist videophile who wishes to spend more than the typical consumer to get the very best possible performance.

One should be aware that a totally dark room with non-reflective walls, ceilings, furnishings, etc, is required to realize the maximum potential of any super-high contrast projector. Once you get into extreme contrast performance, any reflective surfaces in the room will cause light to bounce back onto the screen, thereby compromising black levels more than it will on a lower contrast projector. However, users who make the effort to darken walls and ceilings (in essence, replicating the environment of a quality commercial movie theater), will be rewarded handsomely with the RS2.

There is sufficient contrast on this projector to forego the high contrast gray screens unless there is a lot of reflected light from walls, ceilings, and carpets in the viewing room. In a room where walls and surfaces are darkened and non-reflective, we prefer the white screens. In viewing on both the Stewart Grayhawk RS (a 0.9 gain high contrast gray screen) and the Stewart Studiotek 130 (a 1.3 gain white screen), the latter produced the more vibrant and satisfying image with the RS2 as it did with the RS1.

In the final analysis, the JVC RS2 surpasses not only the RS1, but all of the 1080p competition anywhere near or below its price range when its natural, filmlike characteristics are taken into consideration. This has always been the latent strength of JVC\'s D-ILA technology, and it shows itself in impressive fashion on the RS1 and RS2 series of projectors. For our taste, JVC has achieved an ideal balance between image sharpness and a natural, lifelike quality.

Last spring it was an easy decision to give the JVC DLA-RS1 our Editor\'s Choice Award. The RS2 is a step up in performance, clearly surpassing the RS1 in contrast, black level, and color saturation. In our view it is certainly worth the extra money just for the incremental improvements in picture quality alone. The new features of powered lens, HDMI 1.3, and anamorphic lens compatibility are just icing on the cake. Thus, it is an equally easy decision to give the JVC DLA-RS2 our Editor\'s Choice Award as well

Optoma Introduces Two New 720p Home Theater Projectors
HD65 and HD71 Deliver Amazing Picture Quality with the Latest Color Processing Technologies and a Multitude of Connectivity Options

MILPITAS, CA (November 13, 2007) Optoma, a leading manufacturer of award-winning digital projection and display devices, introduced two new 720p home theater projectors, the HD65 and the HD71. These latest projectors bring accessibility to high-definition, big-screen video content. The Optoma HD65 and HD71 combine amazing picture quality with extensive connectivity options for optimum performance.

The Optoma HD65 is the company\'s 720p home theater projector that is priced at a remarkable starting point of $999. At 1600 lumens and the latest color processing technologies, the HD65 delivers subtle and incredible image quality and contrast. With a variety of connectivity options, including HDMI 1.3, the Optoma HD65 reproduces the realism that high-definition offers.

With amazing picture quality and a high brightness level of 2400 lumens, the Optoma HD71 redefines vivid and vibrant. The HD71 expands the versatility of the home theater projector, with its multitude of connectivity options. The HD71 is ideal crossover projector, perfect for both home and business use. With the latest in multi-color processing capabilities, the HD71 delivers rich and deep textures with astonishing ease in non-light controlled environments.

HD65 Features
Native 720p resolution with DLP? chipset by Texas Instruments
1600 lumens with a 4000:1 contrast ratio (in ImageAI mode)
Latest light and color processing technologies for enhanced picture quality and contrast
Sleek form factor and lightweight at 4 pounds
Extensive connectivity options including HDMI 1.3, component, VGA, composite, s-video, +12v trigger and USB

HD71 Features
Native 720p resolution with DLP chipset by Texas Instruments
2400 lumens of brightness with a 4000:1 contrast ratio (in ImageAI mode)
Extensive inputs including HDMI 1.3, DVI, component, composite, s-video and VGA
The latest in multi-color processing technologies for enhance picture quality and contrast
Built-in 2-watt speaker

The Optoma HD65 home theater projector will have an estimated street price of $999 and will be available in November 2007; the Optoma HD71 home theater projector will have an estimated street price of $1,299 and will be available in January 2008. Both projectors will be sold through authorized Optoma dealers and retailers.

JVC ANNOUNCES PREMIUM HOME THEATER PROJECTORS WITH 30,000:1 NATIVE CONTRAST RATIO DLA-RS2U ? INDUSTRY?S HIGHEST

3-chip, 1080p D-ILA projectors deliver true, deep black levels and sparkling detail.

DENVER, September 5, 2007 ? JVC today expanded its 1080p home theater projector line with the introduction of two new high definition projectors that achieve an unprecedented native contrast ratio of 30,000:1, an industry first. By avoiding artificial means of inflating contrast specifications, such as a dynamic iris, the D-ILA projectors simultaneously deliver true blacks and sparkling luminance detail, providing a notably enriched cinematic experience.

The new projectors are the DLA-HD100, to be marketed by JVC?s consumer group, JVC Company of America, and the DLA-RS2 from JVC?s professional group, JVC Professional Products Company.

The new projectors complement the recently launched breakthrough JVC DLA-HD1 and DLA-RS1U 1080p D-ILA home theater projectors. The DLA-HD100 and DLA-RS2 establish unparalleled price-performance benchmarks, and the four D-ILA projectors combine to broaden the market reach of JVC?s D-ILA front projector offerings.

To attain a native contrast ratio of 30,000:1, the projectors employ original and proprietary JVC technology in the 0.7-inch full HD D-ILA devices and optical engine used in both models. Three D-ILA devices are used, one each for red, green and blue. The projectors also offer HDMI 1.3, improved color rendition by broadening the color space, a motorized Fujinon 2x zoom lens, and customized on-screen gamma control.

The projectors? new 0.7-inch 1920 x 1080 D-ILA devices reduce stray light caused by the dispersion and diffraction of reflected light. JVC decreased orientation irregularities by reducing the gaps between pixels, adopting improved liquid crystals and other innovative technologies, enabling the device itself to achieve a contrast ratio of 40,000 to 1.

The enhanced optical engine dramatically improves the precision of light polarization, helping to prevent light leakage into the projection lens and allowing for true black level reproduction. For optimum image quality, the new projectors incorporate video processors from Gennum Corporation that offer high-precision scaling and Gennum?s VXP? technologies.

The DLA-HD100 and DLA-RS2?s high performance 2x zoom lens made by Fujinon Corporation features a large-diameter, all-glass lens assembly with 16 elements in 13 groups. This lens minimizes chromatic aberration and provides a high-resolution picture by ensuring that individual pixels remain perfectly focused on the screen. For placement flexibility, the projectors feature ?80 percent vertical and ?34 percent horizontal lens shift. The projectors can easily be ceiling mounted or placed on a tabletop or shelf.

To tailor the picture to suit individual preferences, the DLA-HD100 and DLA-RS2 offer manual adjustment of gamma via the remote control and an on-screen display. Primary RGB colors can be individually adjusted.

The DLA-HD100 and DLA-RS2 incorporate two HDMI inputs compatible with version 1.3 specifications, allowing users to take full advantage of the higher 225 MHz bandwidth, increased color depth of billions of colors, and enhanced resolution and frame rates.

Both projectors also offer a V-Stretch function for the most efficient projection of extra wide screen anamorphic movies. For example, 2.35:1 ratio images from these film images are normally viewed with letterbox black bands at the top and bottom of the screen. With V-Stretch, the image is expanded vertically so that every part of the D-ILA device is utilized to create the image, increasing brightness and sharpness. A third party anamorphic lens is used to stretch the image to its full extra wide 2.35:1 image ratio, just as seen in motion picture theaters.

The DLA-RS2 debuts at CEDIA accompanied by an array of certified peripherals as part of JVC Professional Product Company?s Reference Series line. Among these peripherals are the RSVP1, an advanced hub permitting single cable connection to the projector of a variety of HD and SD input sources. The RSVP1?s embedded signal processing circuitry accommodates custom settings programmed by the installer. The RSAL1 motorized anamorphic lens enables 2.35 aspect ratio projection using all 1920x1080 D-ILA pixels. Constant screen height is provided when displaying 16:9 images. The DLA-RS2 will be available through JVC Professional Products Company in November for less than $8,000.

The DLA-HD100 will be available through JVC Company of America in November for less than $8,000. It will be part of the company?s new Procision series of premium-level products, along with the current DLA-HD1 and JVC?s new Clear Motion Drive II LCD TVs. JVC Procision products will be marketed through a select group of dealers.

About JVC
JVC Company of America and JVC Professional Products Company are both divisions of JVC Americas Corp., based in Wayne, New Jersey and a wholly-owned subsidiary of Victor Company of Japan Ltd. JVC Professional Products Company is a leading manufacturer and distributor of a complete line of broadcast and professional equipment. JVC Company of America markets a complete line of consumer video and audio equipment. For further product information, visit JVC\'s Web site at http://www.jvc.com.

BenQ W20000


This year will also see the regional launch of BenQs W20000 the second model that fully supports the 1080p/24fps standard, for HD video at 24 frames per second and has a contrast ratio of 20,000:1. The W20000 is the successor of W10000 which was launched earlier in the year

There is no ETA from BenQ Canada yet

BenQ W10000 1080p DLP Home Theater Projector - Overview

If you haven\'t figured it out by now, I really am impressed with the W10000 home theater projector. So far, it\'s the best overall 1080p projector reviewed. Of course there are a couple more contenders that will be reviewed in the upcoming month or two, but, as they say... so far, so good.

While the W10000 doesn\'t have the best color out of the box, it does do a good job. Minor adjustments using a basic calibration disk that almost any non-technical person can probably handle in an hour\'s time, is all that is needed to improve performance. For the real hard core afficianado, the W10000 is ISF calibrated, so, if you are dropping the \"big bucks\" on not just a projector, but screen, room furnishings, etc, you should seriously consider spending the roughly $1000 for a professional calibration to take the W10000 to its ultimate performance level.



Sharpness is excellent, and that\'s going to be a real plus with those of us who like large screens and/or like to sit close. This combines with a pixel structure that is effectively invisible at any normal seating distance (including my very close seating - of 11 feet to a 128\" screen).

Placement flexibility is a mixed bag. Unfortunately the zoom lens had to be reduced to only a 1.15:1 zoom, from BenQ\'s PE-8720 which sported the same lens but with 1.35:1. On the other hand, this is the first 1080p DLP projector under $10,000 to offer full vertical lens shift.

Warranty, as noted is one of the best, if not the best in the industry, and that\'s more important, since is likely to be most people\'s \"last projector\" for the foreseeable future.

Before I start the usual list of Pros and Cons, here\'s a brief comparison against the BenQ W10000 home theater projector\'s major competitors:

Before I start, of the projectors compared below, only the Optoma and BenQ are DLP projectors. As a result, those are the only two that might lose a very small percentage of potential buyers due to the rainbow effect. Obviously, if you can see the rainbows, you will choose one of the other projectors that don\'t use color wheels.

BenQ W10000 projector vs. Panasonic PT-AE1000U

To me, this isn\'t a direct competition - too many differences. First of all, the Panasonic, being the least expensive 1080p projector on the market, is going to sell for almost $2000 less. It also has the advantage of placement flexibility with its wide range zoom and an unbelieveable amount of lens shift. Lastly, the Pansasonic has slightly better color accuracy out of the box.

After that, however, it\'s all BenQ W10000. Right off the bat, the W10000 is significantly sharper, which will be important to many. The BenQ also, in my opinion, produces a more vibrant image. And for those wanting every last ounce of performance, the BenQ is ISF certified, and has everything needed to be fully calibrated for your room, screen, lighting, etc.

The W10000 also can crank out more lumens in its best mode, enough to move up one or two sizes in screen. I\'ve deemed it just fine for my 128\" Stewart Firehawk, whereas I was barely satisfied with the Panasonic\'s brightness in its Cinema 1 mode, when using only about 106\" diagonal of my screen. So brightness is another BenQ advantage. Note, the two are much closer in maximum brightness (lowest image quality) modes.

Is the the W10000 worth the extra almost $2000? I\'ve got to say YES, if you have the budget, and it works in your room, overall, I would say go for it. Of course, you must decide your priorities.

BenQ W10000 projector vs. Mitsubishi HC5000

Now this is a much more interesting comparison. The Mitsubishi, an LCD powered 1080p projector has the advantage again, in placement flexibility, with its 1.6:1 zoom and more lens shift than the BenQ W10000. It also is comparable to the W10000 in sharpness. Perhaps its biggest advantage, however is price. With a MAP of $4495, it is likely to be about $1200 less than the BenQ (+/- $200).

Although I think the HC5000 is a great projector, and that few would be disappointed, my take is that overall, the BenQ does produce a slightly better picture.

The BenQ has several things in its favor, enough for many to easily rationalize the price difference. First of all, it definitely delivers better overall black levels (although shadow detail is pretty much a tie.) In dark areas on scenes with some very bright areas, the BenQ has a significant advantage in black levels, although in scenes that lack any bright areas the two are close.

Also tied to this is the advantage the BenQ has in achieving very good black levels without a dynamic iris. The Mitsubishi\'s dynamic iris is sometimes detectable during scene changes, or the addition or subtraction of a bright area in one scene. Many may not notice this, or more likely never be concerned about it on the Mitsubishi, but it is another plus for the W10000

Perhaps the biggest difference to some, will be pixel visibility, since the HC5000 is LCD, its pixels are inherently more visible. But, since it\'s 1080p, people sitting at most normal distances won\'t have a problem. The pixel visibility was just barely visible in credits at my seating distance, but projecting a smaller image in the 106\" diagonal range. So, if you like to sit fairly close, the BenQ has this advantage as well.

Like many, I generally find that DLP projectors tend to be more film-like. What causes that is up for debate, as several factors are involved, but I\'ll stick with my preference for DLP projectors.

The BenQ W10000 also has that extra year warranty, and the first year replacement program in its favor.

Is the W10000 worth the $1000 plus difference (assuming it works in your room in terms of placement)? My vote is yes, but if your budget is not able to stretch for the W10000, the Mitsubishi - all else being equal, is a great alternative.

BenQ W10000 projector vs. Optoma HD81

I\'ll say only a few words here, as the HD81 is due in any day, and I will get the chance to run them side by side. Historically (in my humble opinion), the BenQ projectors have produced slightly sharper images than competing Optomas. By comparison, the Optomas tended to have richer colors in dark areas. Whether this remains true between these two is a question I\'ll be able to answer in the HD81 review.

The Optoma HD81 is using Gennum image processing, which I regard highly (Marantz has been using Gennum for several years, in much more expensive projectors), and may have an edge in image processing (noise, artifacts, etc.) not that the BenQ has any overt issues. The Optoma also has a big advantage in handling inputs, with its outboard processor and 3 HDMI inputs, etc. By comparison, the BenQ is pretty basic - one HDMI, and two component video (or one component, one analog computer). The extra inputs may be an advantage for those who do not have a receiver that has multiple HDMI and component video inputs and switching. (That can be solved by switchers that cost, typically $250 or more.) Of note, using an outboard processor like the HD81\'s means everything hooks up to the processor by the rest of your gear, and only a single digital cable runs from the processor to the projector. This can save some time and money with your installation.

The Optoma also claims 200 more lumens, that of course will be measured when it arrives.

The BenQ W10000 on the other hand has a big advantage in placement flexibility. True, there is virtually no difference (and the Optoma has the slight advantage in zoom lens ratio), but the Optoma, first, lacks any lens shift, so it needs to be mounted significantly above the top of your screen, or well below the bottom. With the BenQ, the projector can go anywhere from even with the bottom to even with the top, which also makes it viable for shelf mounting.

The BenQ also has the longer warranty, and looks to be selling for about $1000 less.

I won\'t pick a winner just yet, here, although, placement issues aside, the HD81\'s going to have to be really really good, to be worth the difference.

BenQ W10000 vs. Sony Pearl VW50

I still haven\'t seen the Pearl outside of Sony\'s fully darkened theaters at trade shows. The Sony will have a pricing advantage, probably of $1500 or so, for careful shoppers. The Sony uses 3 LCOS chips (Sony markets them as SXRD), and traditionally LCOS designs have a soft looking image. I do know that other reviewers have commented that the sharpness of the Sony and the Panasonic are very similar.

The BenQ therefore, should have a big advantage in sharpness. In addition the Sony is not considered a bright projector, probably at best, as bright as the Panasonic, so the BenQ can definitely support larger screens or more ambient light.

That\'s about all I can say until I get a Sony in to play with.

BenQ W10000 1080p DLP Home Theater Projector: Pros, Cons, and Typical Performance
W10000 Pros

Extremely sharp image
Brighter than most other 1080p projectors
Very good black levels
Good color out of the box (could be better)
Lens shift for better placement flexibility
Very good remote control
ISF Certified (if you are really serious, get the W10000 professionally calibrated by an ISF calibrator)
Support for 24fps (1080p/24) without adding 3:2 pulldown
Great warranty - best around
Multiple user saveable modes, as well as ISF Day and ISF Night (for calibrators only)
Very good build quality
Premium performance for a very reasonable price
Effectively invisible pixels
Lamp can be changed without unmounting a ceiling mounted projector
12 volt screen trigger (for equipped motorized screens)
Low image noise
Sealed light path
Good shadow detail
Comment - BenQ will also be introducing a motorized anamorphic lens in the very near future, for those that want to go full Cinemascope with their screens and not have letterbox.
W10000 Cons

Lens has very limited zoom range (1.15:1)
Only 1 HDMI input (overall very basic selection of inputs)
Manual could use better explanation and (more) detail about use of certain functions
Leaks light out the front (although extremely low levels, it\'s not detectable if looking for it, even with light walls around the screen, and a black image on the screen)
One of the larger projectors out there (might be a problem for someone)
W10000 Typical Capabilities

User Manual
Audible noise levels (certainly very acceptable, but noiser than LCD competitors)
Requires occasional filter cleaning
Average lamp life




Note, this full frame image above, is also posted on the Panasonic PT-AE1000U review for comparison.

W10000 Summary

They say the guy who fell of the top of the Empire State Building was heard saying all the way down: \"So far, So good\". I am reminded of that, because so far, the BenQ W10000 is the best (affordable - under $10,000) overall 1080p projector we have reviewed. Over the next 2 - 3 months we will have, several additional reviews, including the Optoma HD81 which will post by December 20th. We hope to also get in the Sony Pearl, and a JVC D-ILA projector that isn\'t even scheduled to ship until Feb. 2007.

The combination of a really sharp image, a bright, vibrant image even in \"best mode\" very good black levels, rich colors, lens shift, very good, (not exceptional)l out of the box color, and the ISF calibration option, make the W10000 a standout product. Only zoom lens range is a limiting factor for some. My impression is that the W10000 \"so far\" is the best affordable 1080p projector out there.

There are less expensive 1080p models out there, but in terms of image quality, the BenQ overall has the advantage. The price is reasonable, and the price/performance has to be considered very good, at least.

As noted I\'m a current owner of the very similar 720p PE-8720 projector and have been extremely pleased with it since I got it. It\'s definitely looking like I\'m going to replace my 8720 with the W10000. The Panasonic isn\'t a contender nor is the Mitsubishi, they\'re just aren\'t bright enough for me, along with some other issues, and from all I hear the same is true of the Sony.

I will however put off my decision, at least until I get the Optoma HD81 in in a couple of days.

I\'m just like many people; placement is a problem in my room, my 8720 is shelf mounted in the back, and due to the more limited zoom range of the W10000, I\'m going to have to extend my shelf another 16 inches, but since my wife will let me... The point is, despite the extra hassle, I consider the W10000 good enough for me.

Note - unless I can talk SIM2 into GIVING me a nice 3 chip 1080p ($49,995). Fat chance.

Like most of you, I\'ll just have to wait a few more years until those 3 chippers come down to prices for normal folks.

If your budget can take you over $5000, put the W10000 at the top of your shopping list. It\'s at the very top of mine!

12/7/06 -Art Feierman
SOURCE:
http://www.projectorreviews.com/benq/w10000/index.php

BenQ W10000 1080p DLP Projector Review

I\'ve had a soft spot for BenQ projectors since I reviewed its PE8700 back in 2004. It was the first DLP projector that I felt truly demonstrated the potential of the technology to dominate the video projector market. While DLP has since faced serious competition from LCD and LCoS in both performance and price, it still does more than hold its own.



Video manufacturers have been severely challenged recently by the drop in prices of all the new technologies. Projectors have not been immune to the pressure. The W10000 is BenQ\'s first single-chip 1080p projector, coming to market at a time when the prices for such projectors have been slashed beyond all expectations. Can it take the heat?

Around the Block
The W10000 ($9,999 MSRP, $5,999 ESP-BenQ\'s \"Estimated Street Price\") isn\'t a small projector, but it\'s similar in size to most of the higher-end DLP competition. Physically it\'s a dead-ringer for the BenQ PE8720 720p projector we reviewed last year. If much of the following sounds like the description of the PE8720, that\'s because in nearly all respects the feature set in the W10000 is the same. It offers the same motorized zoom, focus and vertical lens shift. Kudos, in particular, to the Focus control. It resists overshooting as long as you don\'t hold it down continuously, making it easy to nail just the right focus.

While it isn\'t quite as silent as Sony\'s SXRD projectors, the W10000 is the quietest DLP projector I\'ve yet tested when the lamp is set to its Whisper Mode (200W). But even with the Whisper Mode Off (250W) it\'s still admirably quiet.

That relative silence is a good thing, since the W10000, like all the BenQ projectors I\'ve tested, has a very short throw. You\'ll need to position it between 156.3\" and 179.7\" from a 100\" diagonal 16:9 screen?very close to prime seating positions.

The input set includes two sets of component video connections. One of them, on BNCs, also offers horizontal and vertical sync connections for RGB support. But there is only one HDMI input. Two HDMI inputs are becoming increasingly common on competitive projectors.

The projector does not have a dynamic iris, but does offer a motorized, 20-position iris. But its operation is a bit funky. There are actually more than 20 steps, but not all of them change the setting. And there is no numerical indication of the individual steps, so returning to a previous setting is something of a shot in the dark.

Nevertheless, the flexibility offered by the iris is a real plus. The W10000 is a very bright projector, perhaps the brightest single-chipper we\'ve yet reviewed. The adjustable iris offers great flexibility for different screen sizes and, depending on how hard you push it on screen size, possible reserve output for the inevitable dimming of the lamp.

There are five preset picture modes for each input, plus two User memories for storing your own settings. Additionally, there are two ISF modes: ISF Day and ISF Night. The latter two are designed for an ISF calibrator. Once set up, they are password protected, so you\'ll always have two properly calibrated setups to fall back on when the babysitter?or the baby?trashes all of your favorite User settings.



The primary video controls are Contrast, Brightness, Color, Tint, Filter, and Sharpness. You can dial in separate settings for each input.

The Filter control is an oddity. The available settings are \"0\" and \"1\" for all component and HDMI inputs and resolutions except 480i component, which offers four settings. This control appears to be intended to balance sharpness and noise, but it\'s only obvious action is to defeat the Sharpness control (Filter setting of 0) or turn Sharpness On (Filter setting of 1). Combining a Filter setting of 1 and Sharpness settings of -1 or -2, for me, produced the best results on most high quality sources.

The Color Temperature control offers four preset settings: Warm, Normal, Cool, and Lamp Native. In addition, there are two memories, User1 and User2. The Advanced menu provides both gain (high) and offset (low) controls for red, green, and blue?the controls required, along with the correct test tools, to perform the calibrations stored in the User memories.

A Color Enhancement control provides individual intensity adjustment for red, green, blue, and yellow, plus white peaking. The only possible use for these controls is to reduce excessive \"push\" in one of the colors. Unless you have access to an appropriate test pattern (there\'s one on the Avia Guide to Home Theater test DVD) and suitable filters to view them through, you\'re better off leaving these controls alone. For this review I left them all in their default positions.

A 3D Color Management feature, also in the Advanced menu, provides Intensity, Hue, and Saturation controls for the primary (red, green, blue) and secondary (yellow, cyan, and magenta) colors. These may be saved into three different Favorite Color memories, which may then be selected through the Picture menu. While the purpose of these controls appears to be to give the uninformed user one more way to mess up the picture, in theory they also appear to provide a means to move the color points to positions that may be more accurate than the factory settings. And they can move the color points, but are not really flexible enough to position them much more precisely than the factory settings (See \"Tests and Calibration\" for more).

Other controls include a High Altitude setting (which increases the fan speed to compensate for the thinner air at higher elevations), Black Level (0 or 7.5 IRE), Keystone correction (avoid this if you possibly can as all such controls sacrifice resolution), and PIP (picture-in-picture), and POP (picture-outside of-picture). The latter two features are uncommon in front projectors.

Edge Optimizing and Clarity controls are also available to provide artificial enhancement of the image. They are not available for HDMI, and since I did most of my serious viewing via HDMI, I never used them.

Five selectable aspect ratios are offered: anamorphic (16:9), 4:3, Letterbox, Wide (an uneven stretch mode that fills the 16:9 screen with a 4:3 image) and Real (1:1 pixel mapping with no scaling). The Letterbox selection operates in the usual way, by blowing up a letterboxed (non 16:9 widescreen) image to fill the screen from left to right. But it may also be used to stretch a 16:9, 2.35:1 image for use with an anamorphic lens on a 2.35:1 screen.



The remote control is one of the best I\'ve used. It\'s backlit, with an easily located Light button, and offers direct access buttons for frequently used controls such as input selection, aspect ratios, and (some) video adjustments. The most important buttons are well spaced and clearly marked in black with their functions (or with icons for brightness and contrast) plainly visible through the backlighting.

Finally, there is no manual film mode control on the projector. The BenQ automatically selects film mode when it finds it appropriate.

Performance
If the BenQ can be singled out for one characteristic, it\'s peak light output. It\'s a light cannon. With 80 hours on the lamp, the projector set up and calibrated for optimum performance and located about 12-feet from the screen, the iris turned down to produce respectable blacks (0.006 foot Lamberts at about 1/3 open), and the lamp on Whisper mode, it produced a peak white level of 22.6fL on my 78-inch wide, 1.3-gain Stewart Studiotek 130 projection screen. With the iris wide open and the Whisper Mode Off, the other conditions the same, it produced about 40fL. In the latter situation the blacks crept up to a much less than satisfactory 0.018fL. But since the brightness of a projected image is directly proportional to the area of the screen, you could project the BenQ on a screen double or even triple the size of mine and still produce more than adequate brightness with a very respectable black level.

The BenQ also performed superbly on all of my standard 480i-to-1080p deinterlacing and scaling tests. The projector will not accept a 480i input over HDMI, so I conducted these tests using a component 480i input. The only test that produced less than sterling results was the 2/2 (video-based material) cadence test. While BenQ makes no specific claims as to the video processing engine they are using, the results closely resemble those I\'ve obtained in the past from displays that use Faroudja\'s DCDi 480i deinterlacing.

That pristine performance did not extend, however, to the projector\'s high-definition, 1080i-to-1080p deinterlacing. The test patterns available on the HQV Benchmark HD DVD and the new Digital Video Essentials HD DVD suggested that the BenQ uses \"bobbing\" for most of its HD deinterlacing. For less technically inclined readers, bobbing is a method of deinterlacing that, to put it as simply as possible, eliminates deinterlacing artifacts but in the process can also significantly reduce resolution.

But the results on typical 1080i program sources called the test pattern results into question. On most real-world HD programming, both video and film-based, the BenQ produced a superb picture, with fine detail, good contrast, and vivid yet natural color. And most of all, it demonstrated the kind of punch I\'ve come to expect from DLP projection, particularly on brighter images that showed no sign of the lightening that\'s often seen with other projection technologies, lightening that reduces saturation and produces a subtly washed-out appearance.

1080i from film-based material clearly looked like full 1080 high-definition. Every detail in the newly released, reference-quality Complete Matrix Trilogy HD DVD box set came through. The same was true of the new release of Apocalypto on Blu-ray. In turns visually stunning and wildly violent (why show just one severed head bounding down the pyramid steps then you can show four!), it gives any projector a powerful workout. The BenQ did a fine job with it, from the detail to the color. In particular, the green jungle foliage in the film looked very natural, without the plastic-looking, phosphorescent green that\'s all too common in modern digital displays.

I have a copy of a Pioneer Blu-ray demo disc that contains some of the most striking video-based HD material I\'ve ever seen. On this disc, in particular, my reference JVC DLA-RS1 (the \"professional\" version of the JVC DLA-HD1) did look a hair sharper, but the BenQ made up for it with better color saturation, \"pop,\" and depth on bright scenes?likely the result of the inherently superior ANSI contrast of DLP.

The W10000 will accept 1080p inputs at both 24fps and 60fps, though BenQ does not specify exactly how the projector treats 24fps. I can say with certainty that it does not simply double it to 4