Showing posts with label hometheater. Show all posts
Showing posts with label hometheater. Show all posts

6/11/2007

Sony DAV-HDX500 BRAVIA Theater System review

This Sony HTiB does the listening for you.

Sony may not have invented the Home Theater in a Box, but it's certainly gone a long way in perfecting the concept. Where most companies make just a couple of HTiBs, Sony has close to a dozen ranging from a cute "1000-Watt" system with a five-disc changer and bookshelf speakers costing $299 all the way up to a 780-Watt $1,999 package that includes floorstanding front speakers, wireless rear speakers, and a DVD/ CD/SACD player. With so many choices, we wondered, what could we get from Sony for five hundred bucks? They answered the question by sending us the DAV-HDX500 BRAVIA Theater System.


The DAV-HDX500 is an HTiB built around an all-in-one receiver/DVD changer that Sony generously rates as putting out143-Watts per channel (x 5) plus an additional 285-Watts for the subwoofer – but that's at 10% THD. The receiver/DVD changer includes an AM/FM tuner, auto speaker calibration, and an HDMI output with upconversion to 720p or 1080i. There are inputs for an additional A/V source, an audio-only source, and an optional XM satellite radio antenna. Two Digital Media Ports on the back allow you to connect Sony Digital Media Port accessories, such as a Bluetooth Interface ($80) or a Walkman cradle ($50), both of which are currently available. Future accessories will include an iPod Dock ($100) and a Wi-Fi Client ($200). That's a pretty impressive range of features and inputs for a sub-$500 HTiB.

For years, one of Sony's strong points has been the industrial design of the gear it makes, and this HTiB is no exception. Rather than incorporate a standard flat front faceplate that looks both boring and cheap, Sony chose to endow the DAV-HDX500 with a cool-looking, split-level front panel. The main display is visible on the recessed top half while the DVD drawer, transport buttons, and volume control are located on a silver strip that extends outward about half an inch. Although the buttons are small, they're spaced well enough apart from one another, making it very easy to operate the system without the remote control.


Speaking of the remote control, the one included here is unfortunately typical of most Sony system remotes. It's filled with tiny buttons, many of which do double duty and therefore have double labels. Using it may be an engineer's delight, but it's an average Joe's distress. It's long, feels awkward in your hand, and the only TVs it will operate are compatible Sony models. This is not a family-friendly remote control.

The five-disc DVD changer is a front loading type, not a carousel. The video output can be upconverted to 720p or 1080i, and the image quality with DVDs is consistent with those I've seen in the $150 range. The time it takes to change discs is a bit longer than you'd experience with a carousel. It's pretty noisy when changing discs, but you won't be listening to music while the mechanism is operating anyway.

The front left and right speakers are two-way monitor-types. They're skinny, tall, and look high-tech when used with the included pedestal stands (thin silver tubes with large, flat, circular bases). They can also be mounted on the wall where they'll look like most other plasma-matching, on-wall speakers.

The center channel, in contrast, is tiny – so much so that it looks like it doesn't belong with the system. Whereas the main speakers are over 33-inches tall and almost 4.5-inches wide, the itty bitty center speaker is under two inches tall and only 15.25-inches wide. Put two stacks of three DVD cases side-by-side, and you'll have almost exactly the size of the front face of the center channel – although the speaker is only about half as deep (approximately 2.5-inches).The rear speakers are small, too, but not so much so that you'll do a double take when you first see them. All the speakers are silver with black metal grilles. Like the fronts, the center and rears can be wall-mounted using keyhole slots.

The size of the subwoofer is about average for an HTiB in the same price range and has a cabinet that's predominantly black with a silver trim ring around the front and a black metal grille that cosmetically matches the other speakers. There's a large port – with a thin silver ring around it to highlight the fact that it's there – on the front of the sub. The metal grille, by the way, is especially nice to have on the subwoofer since it's going to live down low where toddlers are amazingly adept at finding things to push, pull, prod, and poke. That metal grille will certainly save the bass driver itself from damage, but I think Sony made a mistake by not similarly protecting the port which is big enough to make a great hiding place for Hot Wheels cars, half-eaten crackers, and maybe the family gerbil.


Setting up the system is incredibly easy. Sony uses special color-coded speaker wire connectors on the back of the receiver/DVD player, so you plug those in and connect the wire with the matching color at the end to the appropriate speaker. Since the amplifier for the subwoofer is in the receiver/DVD player, there's no power cord to plug in. That's nice because it means you can place the sub anywhere that looks good, sounds good, and/or you can easily run the speaker wire to. Unfortunately, since the system doesn't include a low-level subwoofer output or the ability to set the system's processor/crossover to "no subwoofer", it will be hard to upgrade the speakers later on if you get the inclination to do so.

After the speakers are in place, you connect the included microphone to the jack on the front of the receiver/DVD changer. In the calibration menus, you can choose from several different system configurations ranging from the standard three-front-and¬-two-back (plus subwoofer) arrangement to one that has all the speakers lined up on the front wall. While that's a thought sure to make any true home theater lover sick, I give Sony credit for including it since for some people that might be the only way they can set up the system. After that it only takes the automatic circuitry a couple of minutes of pops, clicks, and thumps before it's ready to go.

I found the calibration routine to be pretty accurate when it came to setting the delays as well as the volume levels. With the exception of the tiny center channel, I was almost ready to say that the dawn of a new era in the HTiB world was about to begin. That was before I sat down to do some serious listening to the system.

Don't misunderstand. When compared to most of what's on the market in the under-$500 range, the DAV-HDX500 is a solid contender when it comes to performance. It's just that, in my opinion, Sony has made the same mistake that almost all companies do with their HTiBs: they scrimped on the sound quality of the speakers.

The center channel offers a clue. It's just too small to do the job the way it really ought to be done. Because it, and the rest of the speakers, can't handle much in the way of bass response, the subwoofer is crossed over at a frequency that's high enough to make it easily localizable in the room. (One way to minimize this, of course, is to set up the subwoofer on the same wall as close to the main speakers as you can.) The bass is a bit boomy, but it's as good – and maybe a bit better – than what you'll hear with other $500 HTiBs. No, it's not going to knock you out of your chair, but you'd have to spend $500 or more just on the subwoofer for that kind of experience.

The main speakers tend to resonate a bit in the vocal range giving them a slightly hollow sound. It's not so noticeable with movies, but it became more obvious with Big Bad Voodoo Daddy's Live concert DVD. The highs are a bit aggressive, which can put you slightly on edge when you're watching a movie like Monster House that has lots of high-frequency creaks and cracks. On the other hand, the cannon bombardment scene early in Master & Commander and the circle of drums scene in House of the Flying Daggers were both reproduced very well with a nice sense of space.

All things considered, especially the price point, I've got to give the DAV-HDX500 pretty high marks relative to its competitors. It's a fun system to use (except for that blasted remote), and the auto calibration makes getting the best sound possible out of the system as brainless as possible. It looks good, and if you're a Sony TV owner, it'll look especially nice next to your TV. I wish the speakers sounded a bit better, but that's a common knock against HTiBs, anyway. All in all, it's a good value in a one-box system.

Article Continues: At A Glance »

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Sony DAV-HDX500 BRAVIA Theater System review:At A Glance

At A Glance Sony SS-WS74 Powered Subwoofer
Drive Unit: 6.4", bass reflex
Power Rating: 285-Watts
Dimensions (WHD): 8.75" x 15.6" x 13.9"
Weight: 14.4 lbs.
Sony SS-CT72 Center Speaker
Type: single-driver, one-way 1.2" x 2.4" cone driver, magnetically shielded
Impedance: 3-ohms
Dimensions (WHD): 15" x 1.9" x 2.5"
Weight: 1.1 lbs./ea.
Sony SS-TS74 (Front Speaker)
Type: three-driver, two-way with two 2.6-inch mid-bass drivers and one 2-inch tweeter, magnetically shielded
Impedance: 3-ohms
Dimensions (WHD): 4.4" x 32.6" x 3"
Weight: 5.1 lbs./ea.
Sony SS-TS72 (Surround Speaker)
Type: one-driver, one-way with one 2.6-inch driver, magnetically shielded
Impedance: 3-ohms
Dimensions (WHD): 3.75" x 8.75" x 3"
Weight: 1.6 lbs./ea.
Sony DAV-HDX500 AV Receiver/DVD Changer
Power Rating: 143-Watts x 5 into 3 ohms
Processing Modes: DD, Dolby ProLogicII Movie/Music, DTS-ES/Discrete/Matrix/Neo:6, DTS 24/96, Neural Surround, Digital Cinema Sound
Inputs
Video: One component and S-Video, two composite
Audio: One each coaxial and Toslink optical digital audio, two analog stereo
Outputs
Video : One each component, composite, S-Video, and HDMI
Audio: N/A
Playback Formats: DVD-Video, DVD-R/RW, DVD+R/RW, DVD+R DL, CD/CD-R/CD-RW, JPEG, MP3
Upconversion: 720p, 1080i
System Price: $499.99

Manufacturer Information
Sony Corporation
www.sony.com
(877) 865 SONY

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Energy Reference Connoisseur RC-70 Speaker System Review


This is a momentous time for Energy Speaker Systems. Until recently, Energy was one of several brands owned and operated by Audio Products International of Toronto, Canada. (The others included Mirage, Athena, and Spherex.) Now the API brands have been merged into Klipsch of Indianapolis, Indiana, creating a new fusion of Canadian design and American ownership. Energy has also moved their manufacturing to China, where they will have more control over parts, while achieving greater cost-effectiveness. John Tchilinguirian, the longtime lead designer for the brand, has moved on to independent consulting. That makes the Energy RC-70 towers, RC-LCR (serving as center), and RC-R surrounds partly a chapter from a previous tome and partly the first chapter in a new story.

Best Dressed
In the hierarchy of Energy's larger speakers, the Reference Connoisseur speakers sit between the bleeding-edge Veritas line and the more value-oriented C-Series. If you are looking for something less bulky, check out the similar but smaller RC-Mini monitor, the home-design-friendly Take Series, the Act sub/sat systems, or the three in-wall/-ceiling lines, the Veritas Custom, Reference Connoisseur Custom, and EAS series.

A couple I know recently decided to banish all vinyl-clad furnishings, including loudspeakers, from their home. Reference Connoisseur products would meet their standards, with real wood-veneer enclosures in warm cherry, darker rosenut, and black-ash finishes. Pull off the magnetically attached grilles, and you'll see a brushed-aluminum finish on the metal baskets that hold the drivers.

The RC-70 is the largest of the three new Reference Connoisseur towers. The RC-70 looks like a simple rectangular solid, but inside it has full-length bracing that's been computer-tweaked to prevent cabinet resonances from polluting the musical river. Its dual-rear-ported enclosure has enough depth to encompass sufficient volume to produce good bass and a front surface just wide enough to accommodate the girth of its 6.5-inch woofers.

With the inclusion of its 5.5-inch midrange driver, the RC-70 is the only three-way model among the three Reference Connoisseur towers. The woofer and midrange cones are both constructed of Kevlar. Energy specified the thickness and weave and also added a proprietary resin coating. In a move borrowed from the Veritas line, the 1-inch aluminum dome tweeter sits in a separate chamber to isolate it from vibrations.

Aside from the tweeter, the driver mix changes in the RC-LCR and RC-R. The RC-LCR is a left/center/right speaker, although, for this review, I used it only in the center position. Its dual 5.5-inch Kevlar-coned woofers are smaller than those in the towers. Flanking the tweeter in the center of the enclosure is a pair of 2-inch, aluminum cone midrange drivers.

There's no getting around the fact that the RC-70 and RC-LCR don't speak with precisely the same voice. Sticklers may prefer to match the front channels with three RC-LCRs to achieve perfect panning effects and the most even front soundstage. A system with five of them might arguably be the ideal surround system for music. (Steve Guttenberg used three in his Energy review in the June 2006 issue.) However, I didn't regret having two RC-70s in my listening room; it was a brush with greatness.

The RC-LCR's woofers and tweeter reappear on the front of the RC-R surround speaker, with two more of the 2-inch midrange drivers on either side of the enclosure. A switch beneath the grille lets you select between bipole mode (with the midranges in phase) and dipole mode (with the mids out of phase). Next to the switch is something quite rare—a dial that adjusts the output of the side midranges from 0 decibels (off) to 1 dB below the level of the front drivers. Silencing the mids turns the speaker into a monopole unit.

So, you have three options. Monopole operation is best for localized surround effects in the rear of the room (usually my preferred mode for surround music). Bipole operation offers what the manual calls a more "large" and "expansive" sound. And, finally, dipole operation is designed for an "even more expansive" and "even larger" sound. The choice is yours. I went with the dipole setting, as I prefer the fullest possible soundfield.

Second from the top in Energy's subwoofer line, the S10.3 has a 10-inch, front-mounted, hybrid-cone driver with two downward-firing ports. The driver substrate is polypropylene, with deposits of ceramic, glass, and mica to add stiffness. A patented Ribbed Elliptical Surround—which has construction similar to the tower's woofers—allows for excursions of up to 1.57 inches peak to peak. In plain English, you've got a cone that's strong and stiff, suspended in front with a piece of rubber that's strong and supple, being pushed and pulled a fair distance.

The sub's volume control is on its front—where it belongs—and its phase control is continuously adjustable between 0 and 180 degrees (many subs provide just a two-position toggle). If you prefer to set the crossover in your receiver, you'll want to take advantage of the crossover-bypass switch to prevent bass from being routed through two filters when one does the job. The finish is vinyl, not a genuine wood veneer.

The Devil and the Scrunts
The sound that emerged from this hodgepodge of speakers surprised me with its full, rich, easygoing nature. The forthright quality I've always associated with Energy was still there, but a voluptuousness that I had not previously heard from the brand joined it. With my usual 80-hertz crossover, the system generously ladled out lower midrange and upper bass, in contrast to many systems that thin out where the speakers meet the sub. The sub's bass response wasn't quite as taut as that of the speakers. It was more rounded and seemed to detach slightly, although it was also tuneful and performed well under stress.

Some movies pose challenges in dialogue delivery. With the DTS soundtrack of The Devil Wears Prada, fashion fiend Meryl Streep establishes a narrow dynamic range—from deadly sotto voce, down to a near whisper, and finally to an actual whisper. The RC-LCR's vocal delivery, like Streep's, was understated. (This was after I'd set the levels with an SPL meter, with the center channel 1 dB higher than the mains.) To compensate, I hiked the master volume. That enabled me to more easily catch dialogue while literally amplifying surround-rich material like parties, street scenes, and the violent thunking of expensive coats hitting a desk. If the RC-LCR was reticent, it was also commendably smooth, with no excessive sibilance or spit, and with nothing nasal or chesty in its character.

In Lady in the Water, the challenge was not vocal intelligibility per se, but the sheer strangeness of made-up words like "narf" and "scrunt." The center speaker delivered the Dolby Digital–ized consonants just precisely enough for my ears to hear them, but I still couldn't quite believe what I was hearing. When I switched on the subtitles, I saw that the equipment was accurate and that my ears had not been deceived. Then I could settle in and enjoy the whimsical story about an apartment house full of freaks, something the manager and staff of my building could easily relate to. The dramatic scenes didn't make the Energy speakers flinch, although the sound of an automated sprinkler suddenly erupting into all channels did make me flinch.

Miami Vice wraps its combination of action movie, film noir, and cheap, televisionlike visual language in a shroud of disappointingly conventional music and effects. The Energy speakers kept up with all of it, although that wasn't much of a challenge. The Dolby Digital soundtrack showed some early promise when synthesized musical pulses echo the rhythm of a just-concluded shooting. After that, things got dull. Still, to my way of thinking, any movie that features more than one song by Audioslave isn't a total waste of time.

The Sopranos, season six, episode one, features a loud blam that punctuates a key scene (and punctures a key character). The combined explosion from the subwoofer and speakers was suitably shocking.

The Universe and the Saint
BT stands for Brian Transeau, and his work, This Binary Universe, comes with two discs: a CD and a DVD with a DTS surround soundtrack. Naturally, I fired up the latter, and it rewarded me with mostly (but not entirely) abstract images that complemented the mostly (but not entirely) synthesized music. The RC-R surrounds made the most of the busy surround mix. "All That Makes Us Human Continues" was akin to wandering through a brightly lit, glass-enclosed rail station—like, say, Berlin's giant new Hauptbahnhof—while experiencing an inner crisis. The melody morphed from comforting to disturbing, then back again, while shards of light flickered on the screen. The ultimate effect was pleasant but not profound—more on the order of a nice sherry than a stiff single malt.

A piercing harmonica (is there any other kind?) kicks off track one of Robyn Hitchcock's This Is the BBC, a collection of studio-made radio performances dating from the mid- to late 1990s. As I walked from speaker to speaker, with the CD playing in Dolby Pro Logic II, I confirmed that the center was a little reticent compared with the left and right speakers, although none of them was either unduly bright or unduly mushy. This made the harmonica less painful, but it also blunted Hitchcock's edgy voice, slightly defocusing the music's emotional center and opening up the clean, dry BBC mixes. I got a better soundstage when I shut down everything but the two RC-70s. It reminded me that these two towers are as well balanced and satisfying as any I've ever heard in two-channel mode.

Recordings with multiple voices and complex acoustics practically beg for surround treatment, and that's what Bach's St. John Passion got from the Channel Classics SACD release with the Netherlands Bach Society. The performance used a one-voice-per-part arrangement, sacrificing the mellifluous character of a chorus for the specificity of individual vocal performances. There emerged an invigorating and moving contrast between the soundfield's soft, dark, enveloping enormity and the brilliant spotlight hitting each of the voices. The two-disc set includes a hardcover 192-page booklet with lyrics in English, Dutch, German, and French and a rich assortment of sacred artwork. It's expensive but worth it.

Great ideas, well executed, abound in this Energy Reference Connoisseur speaker system. The RC-70 towers provide a powerful combination of high performance, high value, high quality of construction, and understated elegance. As two-channel performers, they are monsters. In the RC-LCR, Energy offers an unorthodox driver array that would well serve every channel in a differently configured system. I loved the versatility of the monopole/ bipole/ dipole surrounds, and I developed a healthy respect for the sub. Wish Energy and their new owners luck—this remains one of the most fascinating brands in the speaker business.

* Audio editor Mark Fleischmann is also the author of the annually updated book Practical Home Theater (www.quietriverpress.com).

Highlights
• Conventional on the outside; less so on the inside
• Voluptuous midrange and full, rounded bass
• The sub's driver is strong and stiff and is capable of large excursions


Article Continues: At A Glance & Ratings»


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At A Glance & Ratings: Energy Reference Connoisseur RC-70 Speaker System


Subwoofer: S10.3
Connections: Line-level (mono) and speaker- level (stereo)
Enclosure Type: Vented
Woofer (size in inches, type): 10, polypropylene-hybrid cone
Power Rating (watts): 200 continuous, 800 peak
Crossover Bypass: Yes
Available Finishes: Black Ash vinyl
Dimensions (H x W x D, inches): 17.33 x 14.14 x 18.31 Weight (pounds): 34
Price: $500

These listings are based on the manufacturer's stated specs; the HT Labs box below indicates the gear's performance on our test bench.

Speaker: RC-70
Type: Three-way, tower
Tweeter (size in inches, type): 1, aluminum dome
Midrange (size in inches, type): 5.5, Kevlar cone (1)
Woofer (size in inches, type): 6.5, Kevlar cone (2)
Impedance (ohms): 8 nominal, 4 minimum
Recommended Amp Power (watts): Up to 250 Up to 200 Up to 125
Available Finishes (veneers): Black Ash, Cherry, Rosenut
Dimensions (H x W x D, inches): 39.88 x 7.75 x 15
Weight (pounds): 59.6
Price: $2,000/pair

Speaker: RC-LCR
Type: Three-way, L/C/R
Tweeter (size in inches, type): 1, aluminum dome
Midrange (size in inches, type): 2, aluminum cone (2)
Woofer (size in inches, type): 5.5, Kevlar cone (2)
Impedance (ohms): 8 nominal, 4 minimum
Recommended Amp Power (watts): Up to 200
Available Finishes (veneers): Black Ash, Cherry, Rosenut
Dimensions (H x W x D, inches): 7.5 x 19.2 x 10.25
Weight (pounds): 24.2
Price: $600/each

Speaker: RC-R
Type: Three-way, surround
Tweeter (size in inches, type): 1, aluminum dome
Midrange (size in inches, type): 2, aluminum cone (2)
Woofer (size in inches, type): 5.5, Kevlar cone (2)
Impedance (ohms): 8 nominal, 4 minimum
Recommended Amp Power (watts): Up to 125
Available Finishes (veneers): Black Ash
Dimensions (H x W x D, inches): 9.75 x 12 x 6.13
Weight (pounds): 13.9
Price: $300/each

Ratings: Energy Reference Connoisseur RC-70 Speaker System

Build Quality: 94
• Has well-braced enclosures
• Aluminum cone midranges in center and surround speakers
• Custom Kevlar woofers

Value: 90
• At this level of execution, the price is usually higher
• Draws on design of higher-end Veritas line
• Composite-coned drivers are not off-the-shelf parts

Features: 91
• Patented Ribbed Elliptical Surround technology
• The die-cast baskets are finished in brushed aluminum
• Sub has continuously adjustable phase control

Performance: 91
• Generous soundfield with abundant detail
• Clean mids and treble; nice bass
• Good dispersion

Ergonomics: 90
• Not the slimmest towers, but they produce real bass
• Wood veneer, not vinyl, in three shades on all but the sub
• Magnetically attached speaker grilles

Overall Rating: 91
Energy makes their transition to new ownership with a set of world-beating towers, a daringly designed L/C/R, and an extremely versatile bipole/dipole/monopole surround. The sound is smooth and natural, with good bass. A choice of three wood veneers will make these speakers fit into even the most elegant homes.
General Information
RC-70 Tower Speaker, $2,000/pair; RC-LCR L/C/R Speaker, $600/each; RC-R Surround Speaker, $300/each;
S10.3 Subwoofer, $500
Energy Speaker Systems
(416) 321-1800
www.energy-speakers.com

Article Continues: HT Labs Measures »

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Energy Reference Connoisseur RC-70 Speaker System review:HT Labs Measures


L/R Sensitivity: 89 dB from 500 Hz to 2 kHz

Center Sensitivity: 86.5 dB from 500 Hz to 2 kHz

Surround Sensitivity: 82 dB from 500 Hz to 2 kHz

This graph shows the quasi-anechoic (employing close-miking of all woofers) frequency response of the RC-70 L/R (purple trace), S10.3 subwoofer (blue trace), RC-LCR center channel (green trace), and RC-R surround (red trace). All passive loudspeakers were measured with grilles at a distance of 1 meter with a 2.83-volt input and scaled for display purposes.

The RC-70's listening-window response (a five-point average of axial and +/–15-degree horizontal and vertical responses) measures +1.38/–5.19 decibels from 200 hertz to 10 kilohertz. The –3-dB point is at 68 Hz, and the –6-dB point is at 48 Hz. Impedance reaches a minimum of 4.44 ohms at 144 Hz and a phase angle of –31.74 degrees at 98 Hz.

The RC-LCR's listening-window response measures +1.25/–4.52 dB from 200 Hz to 10 kHz. An average of axial and +/–15-degree horizontal responses measures +1.06/–4.71 dB from 200 Hz to 10 kHz. The –3-dB point is at 57 Hz, and the –6-dB point is at 52 Hz. Impedance reaches a minimum of 4.05 ohms at 61 Hz and a phase angle of –25.52 degrees at 51 Hz.

The RC-R's three-face averaged response in dipole mode measures +1.62/–4.23 dB from 200 Hz to 10 kHz. The –3-dB point is at 73 Hz, and the –6-dB point is at 64 Hz. Impedance reaches a minimum of 4.95 ohms at 203 Hz and a phase angle of –42.64 degrees at 132 Hz.

The S10.3's close-miked response, normalized to the level at 80 Hz, indicates that the lower –3-dB point is at 24 Hz and the –6-dB point is at 23 Hz. The upper –3-dB point is at 111 Hz with the X-Over Mode switch set to By-Passed.—MJP

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6/09/2007

Samsung HL-S5686W 56" DLP Rear-Projection 720p HDTV Review

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The rear projection big-screen TV market is hot. Consumers are discovering that the latest RPTVs can often beat plasma in picture quality and offer bigger screen sizes for much less money if hanging it on the wall isn't a priority.
Modern RPTVs are thin, light, and inexpensive compared to the CRT-based monsters of just a few years back. While you can still buy a CRT-based set, they've now been severely compromised in quality to fit into the low-end $1000-$1500 price range. Newer projection technology, such as LCD, LCoS, and DLP, has typically started at over twice this price and industry leading Sony SXRD and JVC HD-ILA sets continue to sell in the $4000 range and above.

For years this reviewer has taken issue with some of Samsung's design decisions and the resulting picture. But the HLS series incorporates changes that greatly improve picture quality at a price tag that's stunningly low—especially considering some of the remarkable features being offered. Could the HL-S5686W be the new leader in affordable giant-screen TVs? Can a 56", 1280x720 DLP HDTV with a "street price" that's under $2000 look good enough for an Ultimate AV blessing?

Notable Features
You'd be surprised how often a set is passed over by consumers because it won't fit within a given physical space. A notable recent example is the first generation of Sony SXRDs, whose width with their non-detachable speakers probably cost Sony thousands of sales. Samsung has designed the HLS series to fit where others won't. It's unlikely you'll find any other projection TV in a comparable screen size with such a small footprint.

Samsung's DNIe (Digital Natural Image Engine) video enhancement circuitry has been controversial with video experts since day one. It's been improved somewhat in this, its fourth generation, but the big news is that this for the first time in years it is completely defeatable in the user menu. In fact, it's turned off by default in "Movie" mode. While DNIe definitely isn't the evil some would have you believe, the fact that you can turn it off is a major step forward in flexibility.

Samsung's Movie mode also boasts an industry first. The color points for its primary and secondary colors are said to be different from those used for the other viewing modes, which are exaggerated and oversaturated. The latter is typical of most sets these days. Some people actually prefer the more vivid factory color to true color accuracy. With the HL-S series, you have a choice of which color space (accurate vs. exaggerated) to use. It's as simple as changing viewing modes.

(Because of the oversaturated colors of earlier Samsung sets, a few ISF calibrators have, for several years now, been using a special technique hidden within the firmware of Samsung sets to correct the color points. Video guru Joe Kane first took advantage of this technique for setting correct colors when he worked on the design of the Samsung SP-H700AE DLP Projector. But this technique requires special equipment, is not a normal part of an ISF calibration, and it's something that can't even be done at all with any competing set we know of.)

The HL-S single-chip DLP sets incorporate a faster color wheel, with five color segments for additional color accuracy and resistance to dreaded "rainbow" artifacts. In addition, the color wheel features an air bearing for longer life and noise free operation. An additional color wheel segment was part of HP's secret to good color (see TJN's recent review of the HP md5880n ). HP used a new, dark green segment while Samsung has chosen yellow and cyan.

The Samsung's connectivity is outstanding for any HDT, let alone one at this price point. Two HDMI inputs are supplied along with a pair of component inputs that will accept all four scan rates (480i/p, 720p and 1080i). A USB input makes photo viewing easy, and an RGB input is provided for PC monitor use. Unlike plasmas, DLP sets aren't at risk for static image burn-in and are safe for static computer images.

This is a native 720p set, and its inputs will not accept present or future 1080p sources. But HD-DVD and Blu-ray players should still look great on this set at 720p or 1080i.

Because video sources can vary somewhat, it's important on any display to be able to customize video settings (brightness, color, etc) for each source separately. Samsung dropped the ball a bit here. While each source can be assigned a video mode (like Movie), your video settings within that mode apply to any source using it. If two of your sources require different settings, you'll either have to make video adjustments each time you switch sources, or you'll have to assign one of the sources to another mode like Standard, Custom, or Vivid, all of which feature less accurate color fidelity than Movie.

The remote is new for Samsung and includes some of my favorite buttons—"Sleep" for those prone to fading late at night on the couch and "Still" for freezing the picture to write down that phone number for some irresistible TV offer. It's black though, and unlit, and hard to see in a room with dim lighting. I would have also liked a signal strength button to facilitate off-the-air antenna orientation. You have to go deep into the menu to find that feature.

Finally, the HL-S5686W includes both an analog (NTSC) and a digital (ATSC) tuner. But there is no CableCARD slot and only support for analog, not digital cable.

Viewing Impressions
Frankly, I didn't expect to be particularly impressed with this inexpensive DLP set, but the HL-S surprised me from the first turn-on. Vivid mode was, of course, the way the set started up when it arrived, and was "overdone" in every way (as it is with all sets I've checked fresh out of the box). But switching to Movie gave a smooth, natural looking picture that was a pleasure to watch.
At first, it was difficult to find much fault with the HL-S, but after firing up my reference 55" Hitachi plasma (1366x768 resolution) right next to it, several differences became obvious. Direct side-by-side comparisons are invaluable for accurately picking out strengths and weaknesses of displays. It doesn't work well in dealer showroom demos because the program material is controlled (and lighting isn't) and you probably won't have the ability to properly adjust the sets being compared.

First and foremost, and especially when compared to the best 1080p sets out there, the Samsung's HD picture is on the soft side and sometimes even slightly blurry when motion is involved. This is the case even with DNIe on, even though this feature does enhance detail. The softness is usually not a big deal. You might even think at first that the source itself lacks fine detail in trees, grass, and foliage moving in the distance. But the plasma was significantly sharper in fine background resolution in a direct comparison, particularly on camera pans.

This wasn't always obvious with much of my HD viewing and it wasn't a real issue for DVDs, which have much lower resolution. Still, if we're looking for weaknesses, this was the biggest one I could find. Over-the-air baseball in HD, shot from behind the pitcher, provided a consistent example. The detail of the grass at a distance was always slightly lacking, though Samsung's built-in digital tuner did look sharper than my reference tuner with an HDMI connection. The Samsung did have considerably better color accuracy than the plasma, which was nearly always noticeable.

The real surprise was in the smoothness of this Samsung's picture. Past Samsung models I've calibrated in the field have been plagued with artifacts, video noise, and dark scene posterization (blocking, or blotchiness in dark areas of the image). The HL-S was surprisingly artifact-free. And while in freedom from video noise the HL-S is not yet in the league with the latest (and much-more-expensive) 1080p JVC HD-ILA sets, the only time that video noise was beyond the capabilities of the set's only moderately effective Digital NR (noise reduction) to adequately control was in certain low light scenes. Drop Dead Fred was an especially troublesome DVD for the Samsung from a video noise standpoint.

DNIe, as mentioned above, has been considerably improved over the years. Samsung lists a variety of things this processing suite does. I mostly noticed a slight and welcome sharpening (but without the earlier versions' excessive edge enhancement) and a slight increase in gamma way down near black that served to enhance contrast (but without the severe black crush of earlier years).

Unfortunately, DNIe also intentionally allows the brightness (black level) to float a bit, rising on dark scenes and dropping on bright ones. This caused an annoying amount of contrast enhancement that was difficult to tolerate except on really substandard broadcasts in a brightly lit room. Adjusting the Brightness control to achieve an ideal black level always resulted in overly dark blacks and excessive contrast in bright scenes. DVDs generally will not look good at all with DNIe activated.

But fortunately you can't select DNIe in the Movie mode that's best for such program material anyway. Contrast that with earlier years when it couldn't be defeated in any mode. Samsung has been listening and responding to the complaints of videophiles. Maybe next year they will make DNIe's floating contrast enhancement a separately selectable option in the user menu.

Black level was fairly low and dark scene detail (Movie mode) was considerably better than my reference plasma and probably a match for even the Pioneer Elite plasma recently reviewed by TJN. Except for perhaps the Pioneer Elite, even plasmas with the best blacks can't usually match the Samsung's dark scene detail. Even the Panasonics, which sport the darkest blacks I've seen in all of plasma land, have a slight problem with posterization (ugly video "blocking") just above black, which can sometimes ruin the look of a dark movie. Overall, the Samsung's dark scene performance is still no match for the premium priced Sony SXRDs or the best CRT rear-projection sets of the recent past. But it was better than most plasmas and LCDs I've seen, and acceptable for movies in a dark room.

While the level of black is important, it sometimes doesn't tell the whole story. Earlier I mentioned that Movie mode had different color from the others. Unlike the CRT sets of old, modern displays can be designed with primary colors (red, green and blue—a mix of those three colors make the final picture) that are considerably different from industry standards. The current trend is to have oversaturated primaries in order to give a more vivid, colorful picture, even if the colors aren't accurate. We see the (unfortunate) result of this all the time in those dreadful lime green athletic fields and foliage that don't even resemble reality.

If you want an excellent example of this, check out any number of scenes in Jurassic Park III. Some foliage looks normal but there are certain shades of green in the forest that look positively phosphorescent on many sets. While the immediate result of an inaccurate green primary color is the annoying green, the effect of it extends (more subtly) to secondary colors as well, even including flesh tones. By providing a completely different factory setup for Movie mode, Samsung has let that mode capture the natural colors of the original source better than most of the competition. Now we're not talking night and day differences in color here, but you can certainly see it in the greens. Movie mode gives a natural color to foliage in Jurassic Park III (and grass playing fields as well), while the other modes bring in some of that awful lime tint. My only recommendation for Samsung here would be to allow users to choose color space for any mode instead of having it chosen for you.

The best HD picture I experienced was when using Samsung's on-board, off-the-air tuner, and even SD broadcasts often looked impressive. The tuner was very good both in its ability to pull in digital stations and in picture resolution, looking even sharper than my reference outboard tuner with an HDMI connection. The set allows different viewing modes for digital and analog stations allowing you to have completely different video adjustments for off-the-air analog reception. Channel surfing speed was slightly faster than average, though still not like older analog tuners.

Conclusion
In the world of bargain priced big-screen HDTVs, the Samsung HL-S5086W is a standout with exceptional performance in many aspects of its picture and no truly fatal flaws. It's bright, vivid, and colorful as you'd expect, but it can also be a highly accurate display device with the touch of a button for more critical viewing. While its picture can look a bit soft, especially with motion, the things that you notice most (color, contrast, artifacts) are done so well that the overall picture is really quite nice and belies the incredibly low price. Blacks aren't "inky black" but in spite of that, the set still does darker scenes pretty well. Add to that its space saving design and complete set of video inputs and you have the new bargain price leader that even a serious videophile could probably live with. I never thought I'd be praising a low-priced Samsung HDTV like this, but I've learned never to underestimate this company. They make dramatic improvements each year and are now a force to be reckoned with in HDTV.

HIGHS:
Good overall picture with excellent color
Flexible, lots of inputs, yet low cost
Excellent built-in digital tuner
Fits into smaller spaces than other 56" sets

LOWS:
Slightly soft picture, especially when motion is involved
Black level only average
Can't use one video mode for all inputs with different video settings for each

Article Continues: Manufacturer's Specs

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Pioneer Elite PRO-940HD Plasma HDTV & HP MediaSmart SLC3760N LCD HDTV Review


Who says you can't stream HDTV?

As more consumers embrace high-speed home networking and video downloads, one question is gaining prominence: Can't we view this content on something a little more substantial than our computer monitors? Yes, you can, thanks to the digital media receiver, which is a device that lets you stream video, photo, and music files from your computer to your television.
The digital media receiver comes in many forms. Companies like D-Link, Hauppauge, and Acoustic Research sell standalone boxes that connect directly to your TV. Other manufacturers incorporate the functionality into an A/V source component, like the TiVo Series 2 DVR, the GoVideo networked DVD player, and the Xbox 360 gaming console. No matter its shape, the media receiver talks to your PC over a wired or wireless home network, allowing access to some combination of media files.

These devices accomplish the desired goal, but, like adding a full HTPC, they force you to add yet another box and remote control to your entertainment system—or at least mandate the use of specific source components in order to enjoy the technology. A couple of display manufacturers have realized that they can eliminate the middleman and build the function right into the TV. Admittedly, this solution is only viable for someone who's in the market for a new TV, but it's a compelling option nonetheless. I tried out two "media-friendly" HDTVs: Hewlett-Packard's MediaSmart SLC3760N 37-inch LCD ($1,700) and Pioneer's Elite PRO-940HD 42-inch plasma ($3,300).

Learning to Share
In terms of their media-sharing functions, these two TVs are more similar than different. Both are designed to work with PCs and media servers that support DLNA, UPnP, or Windows Media Connect. For this review, I mated the TVs with Niveus Media's new Rainier Media Center PC, so I focused on how to link the devices using Windows Media Connect, a PC software platform that works in conjunction with Windows Media Player to organize and stream files to remote devices. If you have Windows Media Player 10 or 11, chances are you already have Windows Media Connect on your PC. I did. However, if you don't, HP is kind enough to include a software disc with the TV, while Pioneer expects you to find and download it from the Microsoft Website.

Setting up each set's media function involves two steps. First, you must add the TV to your home network. Pioneer's media receiver is completely integrated into the plasma's chassis; its only visible features are an Ethernet port for connecting to your home network and a USB port, which lets you access media files directly from a USB drive if you don't have a home network. In contrast, HP has essentially affixed a media-player box to the TV's backside, which adds about 2 inches of depth and requires three extra cables to link the two: HDMI for A/V signals, a control cable, and a power cable. While the Pioneer only connects to your network via Ethernet, HP lets you choose between wired and wireless (802.11a/b/g) setup. If you want to go wireless, you also need to screw on two antennas that look like gloriously nostalgic rabbit ears peaking up from behind the TV. It took several attempts before I successfully added the HP to my wireless network, even when I turned off the security, but this could have just been an issue with my network.
The second step is to enable file sharing on your PC. Once you have added the TV to your network, its name should appear on the Windows Media Connect Device page. Simply click on it, allow sharing, and set the folders you want to share. My Pictures, My Videos, and My Music are the default options, but you can add other folders—like, say, your iTunes music folder. Obviously, protected music and video files downloaded from the iTunes Store aren't compatible with this Windows-based system, but, hey, we're used to that by now. Microsoft DRM files should play. Since I used a Media Center PC, I also added its Recorded TV folder in order to stream standard- and high-definition content to the TVs.

Yes, I did say "high definition." Probably the coolest application of this technology is the ability to stream high-definition content for viewing on your new HDTV. Over a wired connection, both TVs cleanly rendered recorded over-the-air HDTV programs and a couple of WMV HD trailers. If you want to view a lot of HD video, I don't recommend you go wireless with the HP; HD playback was very choppy over my 802.11g network, but SD video played back fine. For some reason, the HP wouldn't play any of the music files that came preloaded on my Niveus Media but worked fine with music I loaded myself, while the Pioneer played every file without issue.

I preferred the layout and appearance of Pioneer's media menu, but I found the HP system more intuitive to navigate and use, due primarily to the remote. The media function seems more like an afterthought for Pioneer. Their remote lacks a dedicated button to access the media menu and hides transport controls under a flip-down panel at the bottom; plus, the track-up/-down buttons don't work within this menu. HP treats the media function as the marquee feature, grouping all of the needed access and control buttons in a logical way. They also up the ante by adding a Services menu through which you can access certain online media portals—like CinemaNow, Snapfish, and Live365.com—directly.

Lest We Forget. . .
The media functions are certainly intriguing, but they mean little if the TVs fall short in the video department. Luckily, that isn't the case. Both displays receive solid marks in the major performance categories, although there are some drawbacks inherent in their respective technologies. The HP's 1,366-by-768 resolution gives it an edge in the detail department; it's capable of rendering razor-sharp images, but it also suffers from some motion blurring, which lessens the impact of that detail in fast-moving scenes. The Pioneer's 1,024-by-768 resolution creates a slightly softer image. But I never felt I was missing anything with DVD or HD sources, and details remained intact during faster-moving scenes.

Like many plasmas, the Pioneer's green color point is way off, which gives the image a bluish-green tint. The HP's color points are quite good; its green is also off the mark, but less so than the Pioneer's. As for color temperature, both TVs exhibit a large spike at the lowest IRE levels, causing dark scenes to take on a blue tint, but this evens out with brighter images. Skintones looked natural, with no red push. You can calibrate the Pioneer to measure very close to 6,500 Kelvin across the range; we could not calibrate the HP, but I doubt we would have been able to fix the spike and subsequent dip at the darker IRE points.

Both TVs offer film modes that enable them to pick up the 3:2 sequence in 480i sources pretty quickly, resulting in only minor shimmer in my demo scene from Gladiator. The Pioneer has an adjustable scan rate; you can set it for 72 hertz, instead of 60 Hz, for slightly more natural motion. It also picks up 3:2 with 1080i sources, while the HP does not. Both deinterlace 1080i/30 correctly.

By numbers alone, the HP has a much higher contrast than the Pioneer, but this doesn't tell the whole story. Our measurements use a full-field white for light output, which can put plasmas at a disadvantage. When we measured the Pioneer with a white window, its contrast ratio was closer to 1,400:1. With real-world content, I never felt the Pioneer lacked image depth or dimension, although its light output is somewhat low, even compared with a few plasmas we've reviewed. Combine this with the glass' tendency to reflect light, and the PRO-940HD isn't the best choice for a bright room environment.

The HP, meanwhile, is capable of over 150 foot-lamberts, which is more than enough light output to watch it in a sunlit room. Thankfully, it also has an adjustable backlight so you can turn down the lamps' output when necessary. While the HP is capable of a better black level than the plasma at its minimum backlight setting, black detail was not very good in my test scenes from Ladder 49 and The Bourne Supremacy. Plus, the viewing angle is a concern; move just 45 degrees off axis, and the black level rises while image saturation drops off noticeably. These two factors hurt the HP's performance in a dark room with darker film sources. The Pioneer has good black detail and a solid black level that remains consistent at any angle, making it a better fit for a theater environment. You might notice that I've essentially just summed up the differences between plasma and LCD.

If you're trying to decide which of these media TVs to buy, it really comes down to usage, taste, and budget. The $1,700 HP renders a videolike picture, with razor-sharp images that are clean and vibrant but lack depth. Its connections and features are modest at best: one HDMI input, no VGA connection, no program guide, and no automatic aspect-ratio detection. The Pioneer's image is more filmlike, with a richer, more textured, and generally more natural quality that I really enjoyed, especially since I watch TV mostly at night. Part of the Elite line, the $3,300 PRO-940HD has a healthy list of connections and features, including two HDMI and three component video inputs, two RF inputs for the internal tuners, a CableCARD slot, the TV Guide On Screen program guide, and a fair number of picture controls. Compared with last year's PRO-930HD, this model exhibits less phosphor lag and short-term image retention, which is important if you plan to leave the media menu on the screen for long periods of time. Both TVs are priced at the high end respective to their screen sizes.

With all that in mind, I primarily view the Pioneer PRO-940HD as a theater-based media TV, one that sits in the center in your home theater system and receives streaming media from the various PCs around your home. HP's SLC3760N, on the other hand, is a great fit for a secondary room as a device that taps into your main Media Center PC and lets you stream all that great content as seamlessly and invisibly as possible.

Highlights
Pioneer Elite PRO-940HD Plasma HDTV:
• Stream media from your computer
• Media receiver built into chassis

Highlights
HP MediaSmart SLC3760N LCD HDTV:
• Stream media from your computer
• Media function is HP's priority
Article Continues: At A Glance: Pioneer »

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Pioneer Elite PRO-940HD Plasma HDTV & HP MediaSmart SLC3760N LCD HDTV:At A Glance: Pioneer

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Connections
Inputs:
Video: HDMI (2), component video (3), VGA (1), S-video (2), composite video (3), RF (2)
Audio: Stereo analog (6), miniplug (1)
Outputs:
Video: Composite video (1)
Audio: Optical digital (1), stereo analog (1), subwoofer (1)
Additional: Ethernet (1), USB (1), G-Link (1), CableCARD (1), RS-232 (1)

Features
Type: Plasma
Screen Size (diagonal) 42 inches
Native Resolution / Aspect Ratio: 1,024 by 768 / 16:9
Half Life: 60,000 hours
Wall Mount or Stand Included?: Stand
Dimensions (H x W x D, inches): 26.75 x 40.94 x 10.75 (with stand)
26.75 x 40.94 x 4.5 (w/o stand)
Weight (pounds): 69.9 (with stand)
Price: $3,300

Ratings: Pioneer Elite PRO-940HD Plasma HDTV

Build Quality: 93
• Attractive gloss-black bezel and sturdy stand
• Incorporates media box into chassis

Value: 87
• Pioneer has lowered the price $1,000 from last year's model, but you still pay a premium for the Elite name and features

Features: 96
• Ample input options for HD content
• Optical digital and subwoofer outputs for the media feature
• 3:3 pulldown for smoother motion

Performance: 91
• Modest black level and light output
• Good color, detail, and processing
• Played all media files without incident

Ergonomics: 88
• Remote has dedicated source buttons, but not well designed for the media function
• Connections no longer housed in separate box

Overall Rating: 91
The Pioneer Elite PRO-940HD is a great TV for a light-controlled environment, rendering a natural image with solid color and detail. The Home Media Gallery is just one part of an excellent features package.

General Information
Elite PRO-940HD Plasma HDTV, $3,300
Pioneer Electronics
(800) PIONEER
www.pioneerelectronics.com
Article Continues: HT Labs Measures: Pioneer »

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Pioneer Elite PRO-940HD Plasma HDTV & HP MediaSmart SLC3760N LCD HDTV review:HT Labs Measures: Pioneer

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307Pioneer.5.jpg

Full-On/Full-Off Contrast Ratio—476:1; ANSI Contrast Ratio—851:1

Measured Resolution with the Leader LT-446:
480: 480 (per picture height)
720p: 720 (pph)
1080i: Out to the limits of the 1,024-by-768 panel

DC Restoration (poor, average, good, excellent): Excellent

Color Decoder (poor, average, good, excellent): Excellent

Measured Color Points:
Red Color Point: x=0.664, y=0.328
Green Color Point: x=0.249, y=0.676
Blue Color Point: x=0.147, y=0.060

The top chart shows the PRO-940HD's gray scale relative to its color temperature at various levels of intensity, or brightness (20 IRE is dark gray; 100 IRE is bright white). The gray scale as set by the factory, in the Low color-temperature mode and the Movie picture mode, measures very cool with the darkest images and closer to accurate with brighter images. After making adjustments using the Photo Research PR-650, the gray scale measures much closer to D6500, the accurate color temperature, across the entire range.

The bottom chart shows the gray scale (or color temperature) relative to the color points of the display's red, green, and blue color phosphors. These are off those specified by SMPTE. Red is somewhat oversaturated, while blue is very, very slightly oversaturated. Green is very oversaturated and slightly bluish-green.

After calibration, and using a full-field 100-IRE white (18.55 foot-lamberts) and a full-field 0-IRE black (0.039 ft-L), the contrast ratio was 476:1. Using a 16-box checkerboard pattern (ANSI contrast), the contrast ratio was 851:1. With a 100-IRE window, the PRO-940HD produced 53.41 ft-L. (It is normal for a plasma to have lower light output on a full-white field versus a white window.)—GM

Article Continues: At A Glance: HP »

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Pioneer Elite PRO-940HD Plasma HDTV & HP MediaSmart SLC3760N LCD HDTV: At A Glance: HP

Connections
Inputs:
Video: HDMI (1), component video (2), S-video (1), composite video (3), RF (1)
Audio: Stereo analog (4)
Outputs:
Video: None
Audio: Digital optical (1), stereo analog (1)
Additional: MediaSmart A/V and control inputs (2), Ethernet (1), antenna connections for Wi-Fi (2, 802.11a/b/g)
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Features
Type: LCD
Screen Size (diagonal) 37 inches
Native Resolution / Aspect Ratio: 1,366 by 768 / 16:9
Lamp Life: Up to 60,000 hours
Wall Mount or Stand Included?: Stand
Dimensions (H x W x D, inches): 29.3 x 37.3 x 12 (with stand)
29.3 x 37.3 x 6.8 (w/o stand)
Weight (pounds): 59.1 (with stand)
Price: $1,700

HP MediaSmart SLC3760N LCD HDTV

Build Quality: 91
• Attractive gloss-black bezel and sturdy stand
• Media box is attached to the outside

Value: 88
• As we went to press, HP dropped the price from $2,000 to $1,700, which is more competitive but still slightly high for a 37-inch model

Features: 90
• Adjustable backlight and auto light sensor
• Only one HDMI input and no VGA
• The digital audio output is important for MediaSmart

Performance: 89
• Excellent detail and good color
• Viewing angle and motion blurring are a concern

Ergonomics: 92
• Remote lacks backlighting and dedicated source buttons
• The media menu and remote design make for intuitive navigation

Overall Rating: 90
The SLC3760N is a solid performer, offering good color, detail, and contrast, but its LCD nature makes it a better fit for a bright room. The MediaSmart function is a great perk in an otherwise modest features list.

General Information
MediaSmart SLC3760N LCD HDTV, $1,700
HP
(800) 752-0900
Article Continues: HT Labs Measures: HP »

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Pioneer Elite PRO-940HD Plasma HDTV & HP MediaSmart SLC3760N LCD HDTV review:HT Labs Measures: HP

HT Labs Measures: HP SLC3760N LCD HDTV
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Full-On/Full-Off Contrast Ratio—1,068:1; ANSI Contrast Ratio—967:1

Measured Resolution with the Leader LT-446:
480: 480 (per picture height)
720p: 720 (pph)
1080i: Out to the limits of the 1,366-by-768 panel

DC Restoration (poor, average, good, excellent): Excellent

Color Decoder (poor, average, good, excellent): Excellent

Measured Color Points:
Red Color Point: x=0.634, y=0.334
Green Color Point: x=0.273, y=0.600
Blue Color Point: x=0.146, y=0.066

The top chart shows the SLC3760N's gray scale relative to its color temperature at various levels of intensity, or brightness (20 IRE is dark gray; 100 IRE is bright white). The gray scale as set by the factory, in the Mid-Low color-temperature mode and the User picture mode, measures very cool with the darkest images and very warm with just slightly brighter images. The rest of the gray scale is somewhat cool.

The bottom chart shows the gray scale (or color temperature) relative to the color points of the display's red, green, and blue color filters. These are somewhat off those specified by SMPTE. Red is very slightly undersaturated and very slightly reddish-orange. Blue is very slightly greenish-blue. Green is rather bluish-green.

Using a full-field 100-IRE white (89.7 foot-lamberts) and a full-field 0-IRE black (0.084 ft-L), the contrast ratio was 1,068:1. Using a 16-box checkerboard pattern (ANSI contrast), the contrast ratio was 967:1. The best contrast ratio was achieved with the backlight in the STD setting. The brightest image was achieved with the backlight in the +16 setting, which produced 151.2 ft-L with a 100-IRE field and 0.143 on a 0-IRE black (1,057:1). The best black level was achieved with the backlight in the –16 setting. In this mode, the SLC3760N had a light output of 29.41 ft-L and a black level of 0.028 ft-L, making for a contrast ratio of 1,050:1.—GM

Article Continues: Those Who Can't. . .Cheat »


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Pioneer Elite PRO-940HD Plasma HDTV & HP MediaSmart SLC3760N LCD HDTV review:Those Who Can't. . .Cheat

Streaming media to your TV from an Apple computer is a trickier task, as most digital media receivers are PC-centric. Apple plans to enter the ring with their own digital media receiver, tentatively named the iTV, sometime in the first quarter of 2007. If you can't wait—or your heart is set on one of these media-friendly TVs—you'll have to get creative.

Elgato Systems offers a software program called EyeConnect ($91.35) that lets you stream content in your iTunes, iPhoto, and Movies folders to any UPnP media receiver. It also lets you stream TV content you've recorded with Elgato's EyeTV tuner. You can download a free 30-day trial of the software at www.elgato.com.

HP also sent me their MV2020 Media Vault ($550), a 500-gigabyte external storage drive that connects directly to your home network via Ethernet. This device can automatically back up the content on your networked computers, but it also has a MediaShare function that lets you stream its content to any UPnP media receiver, which worked very well in conjunction with the HP MediaSmart LCD. Mac owners can't use the advanced PC software to manage the Vault, but they can still use its backup and media-sharing functions through their home network. It's not an ideal media-sharing solution for the Mac, but it works.

Neither of these methods lets you stream iTunes video downloads or AAC music files, protected or not. For that, you must wait for the iTV.

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Panasonic TH-42PX600U review

Model: Panasonic TH-42PX600U

Description: 42" Plasma Television, Widescreen 16:9 Format
Resolution: 1024 x 768 (HDTV)

Includes: Integrated pedestal stand and HD2D Sound Enhanced Speaker System, NTSC and ATSC (HDTV) tuners, 2 HDMI high-definition inputs and one compter 15 pin VGA input, 2 component video, 3 composite video, 3 S-Video connection.
Color: Silver and Black Bezel and casing.

INTRODUCTION

The Panasonic TH-42PX600U is contains the 9th generation panel of the ever-popular Panasonic plasma line replacing the TH-42PX500U in June of 2006. The resolution remains 1024x768 like the previous model, the highest ranking plasma TV in its price point in 2005, but Panasonic has upped the contrast ratio specification to 10,000:1 for this year's model and also increased the brightness spec significantly. Because of increased demand, Panasonic has included a second HDMI connection for this year's consumer plasma line. Panasonic even gives the TH-42PX600U a makeover to a more modern look.

With each passing generation, other top-tier plasma television manufacturers—such as Samsung, Pioneer, and Toshiba—are improving both their picture performance and overall value. Samsung and Toshiba have focused on matching Panasonic's aggressive price-point with their new models. Pioneer, on the other hand, remains focused on its first-rate picture quality and aesthetic appeal and providing a comprehensive feature set at a slightly more expensive price. This upgraded Panasonic PX600U series model compares equally with Pioneer's excellent PDP-4370HD model in features, appearance, inputs and quality while the Panasonic PX60U series lacks some of the "extras" these two offer.


PICTURE: 98/100

Like most televisions on the market today, the Panasonic TH-42PX600U came out of the box with superficially bright default picture settings. Out of the box, the picture is in a default picture mode setting of Vivid (which maximizes Contrast and Sharpness settings) and a color temperature setting of Cool. The first task before examining the picture quality of the plasma TV is to find the picture settings that get us closest to D6500K—the optimum prescribed color temperature used by the film and broadcast industry. Because Panasonic plasmas typically have a cooler default temperature setting than other brands (which often leads to a "blue push" in the white balance), the "Warm" color temperature setting is preferred for increased realism. By switching to the "Standard" picture setting (which has medium Contrast and Sharpness settings) and using a "Warm" color temperature, we quickly move much closer to D6500K. Maintaining a color temperature close to D6500K is important because it is the basis on which the rest of the picture calibrations are made.

Panasonic Plasma TV Review

Color and detail on the Panasonic TH-42PX600U was outstanding

In order to fully optimize the picture quality of our TH-42PX600U, we used a colorimeter, and a specialized software suite to calibrate the television to the Imaging Science Foundation (ISF) standard color temperature of D6500K. With this equipment, we were able to properly calibrate the picture settings on the television, and we were able to measure color temperature, color saturation, white balance, and black levels. Using these measurements as a reference point, we used the Sencore software suite to precisely calibrate the optimal picture settings for the TH-42PX600U.

The following table contains the picture settings for the TH-42PX600U after its ISF calibration. We highly suggest that you use these settings if you purchase or own this television. By configuring the television to the below settings we were able to get the color temperature to D6650K, a substantial improvement over the out-of-the-box measurement of D10000K+. Using the below settings to regulate the color temperature and white balance virtually perfects the picture of the TH-42PX600U:


Panasonic TH-42PX600U Optimal Picture Settings
Picture Mode Standard
Picture +22
Brightness +8
Color -1
Tint -4
Sharpness -14
Color Temperature Warm
Enhanced Black Level Off

Figure 1. Optimal picture settings for the Panasonic TH-42PX600U using ISF calibration.

At these settings, practically speaking, there is no further calibration needed on this model. There is no need to tinker with hiring a calibration specialist and tinkering with dangerous service menus.

Wow, once the picture was calibrated the TH-42PX600U had undoubtedly the truest picture of any television that we have tested to date. Using the HD-DVD edition of Clint Eastwood's Unforgiven on the Toshiba HD-XA1 HD-DVD player, we put the Panasonic's High Definition capability to the test. Using the Toshiba's 1080i High Def output via the HDMI connection, the picture detail in scenes from the HD-DVD were astounding. In one scene, inside a dark cabin, a fly crawls across one of the actor's cowboy hat. On a standard definition TV, it's doubtful you would notice the fly at all, but on the PX600U I could clearly make out the fly's legs as it crawled across the hat. With a high-quality 1080i HDTV source like the HD-DVD, you could literally get so lost in the details of each scene that you lose the plot of the movie: the grain of a weathered fence post, the fine textures of sweeping Wild West landscapes, the coarse stubble on Will Munny's cheeks--it's all there, and the Panasonic never misses a beat.

Panasonic's black levels have been the best in the industry for years, and the TH-42PX600U is no exception. Unforgiven is a challenging movie in that regard, because at any given time you may be sweeping from a scorching Western landscape to the interior of a oil lamp-lit saloon. From one scene to the next, we were impressed by the level of detail we could see in even the darkest scenes. This is an important strength for Panasonic because the dark matter detailing of the plasma television impacts the picture's realism as much as its color reproduction ability.

Panasonic HDTV Plasma Review

Panasonic Plasmas are unmatched in dark scene performance; the PX600U series is no exception

The black levels are really put to the test late in the film, when Munny (Clint Eastwood) returns to the saloon to exact revenge for his friend Ned. In true gritty Western style, the camera shifts to show Munny emerging from shadows at the saloon door. Every detail is portrayed impeccably by the TH-42PX600U: the sheen of sweat on Munny's stubbled face, the fibers of his duster jacket, even the subtle glint of lamplight from the blued gun barrel. This smooth transition between dark shades can be attributed to the 3,072 shades of gradation in the TH-42PX600U—an attribute that sets Panasonic plasmas apart from the 2nd tier plasmas manufacturers. It is also important to note that as the camera pans from face to face in the dark saloon, the bright oil lamps appear very clearly in the dark room without any elements of false contouring, a problem that can occur when plasmas try to display bright objects with dark surroundings.

After we performed the ISF calibration to optimize the television's picture, we decided to measure the TH-42PX600U's contrast ratio (light output ratio of "whitest white" to the "blackest black") for ourselves. We used a signal generator to display the checkboard test pattern for contrast, and the accompanying colorimeter to measure the light output from each sample. While the black levels on the TH-42PX600U are quite impressive, our measured contrast ratio for the television was 788:1 - one of the highest true contrast ratios we've measured! From our experience, all TV manufacturers, including Panasonic, greatly "enhance" their specifications to entice buyers and "beat" the competition. There are few standards for their measurements.

As is made evident by the Unforgiven HD-DVD, the quality of high-definition content on the 42PX600U is unparalleled. When we auditioned conventional DVDs including Kill Bill, part I in Progressive-Scan 480p, we saw similar sharp, detailed pictures with excellent contrast, but obviously not to the extent of the HD-DVD. It is important to note that the 42PX600U does not display the visual artifacts easily noticeable on lower-tier plasma displays with a conventional input source. Despite the upconversion necessary to display a 480p picture on a 1024 x 768 HDTV screen, we never noticed any edge artifacts or jagged motion on the PX600U.

The ATSC tuner pulls in digital broadcasts. When we watched the Evening News in high-definition, the image was very clear, and the news anchors' faces had accurate flesh tones. When they cut to reporters out in the field, the detail of their surroundings was excellent. Algorithmic scaling to full picture size was excellent. When we changed the channel to view the same program in regular definition, the picture was somewhat fuzzy. The image degradation is probably caused by the lower bandwidth emitted by local stations for their analog channels.


OTHER CONSIDERATIONS: 96/100

The PX600U series is a slight step up in aesthetics from the PX60U series. It's got that Pro appeal that says it costs more with black banding around the screen and a thin silver finish bezel surrounding the black banding. The excellent 31 watt audio system which incorporates 2 subwoofers is hidden in the casing. This is an 11 watt upgrade from the PX60U series. The new look of the TH-42PX600U is definitely very modern, and it has significant "pop." The unit is 42.5 inches wide, and 27.2 inches in height (29.3" with the table stand).

For the TH-42PX600U, Panasonic improves its already user-friendly remote control. The easy-to-find buttons are generally in the same place as the last model, but now they are bigger and easier to find without looking. The remote feels good in your hand, has intuitive controls, and would be a serviceable solution as a universal remote control.

The on-screen menu system on the TH-42PX600U is relatively unchanged from Panasonic's previous generation TH-42PX600U, however it has the new electronic programming guide included in this upgraded model. I found the whole system very intuitive. When the Menu button on the remote control is pressed, the main menu options—Picture, Audio, Timer, Lock, Memory Card, and Setup – appear in an easy-to-read fashion. The Picture menu includes the picture controls required to calibrate the picture. The Audio menu features Bass, Treble, and Balance adjustments. In the Other Adjust sub-menu for Audio, you can choose Surround for a marginal Virtual Surround Sound experience. Also in this sub-menu, the users with Home Theater systems may choose to simply turn off the internal speakers of the television in favor of your own surround sound set up. The invisible speakers system will complement this choice.

When viewing material from a non-HDTV source, aspect ratio becomes a concern with the TH-42PX600U. There are four modes for adjusting regular 4:3 inputs to the widescreen 16:9. The first option is to watch the source in its native 4:3 ratio with the sidebar "letter-boxes." Panasonic allows the customer to change the color of the letter boxing, and it is wise to change these to black if you want to use this aspect ratio setting. With Full mode, the picture is uniformly horizontally stretched across the screen. With Zoom mode, the plasma cuts off the top and bottom of the screen and zooms in so that the sides match with the ends of the screen. Obviously, most people will not choose this setting because they don't want to lose any of the picture. The final choice is the most popular—Just mode - which most likely stands for 'justified". Just mode stretches the picture horizontally but uses a special stretching algorithm to minimize distortion, particularly in the middle of the screen. With this method, distortion on a 4:3 source is virtually undetectable and I have found this the preferred way to watch even 4:3 programming after a little break in period for your eyes to adjust.

Panasonic adds a front composite video input and digital card slot input at the front of the panel for this HDTV plasma. This is particularly useful if you want to display images from a digital camera or a source that you will use only temporarily. The 42PX600U also contains a 15 pin VGA input for convenient computer hook up and use. There is also an SD (secure digital) memory card slot for viewing digital camera and camcorder content.

Another important addition to the TH-42PX600U plasma TV is the second HDMI input. Because of the increase in popularity of new HD and Blue Ray DVD players and digital high-definition cable and satellite boxes which already support the HDMI format. One additional input over the PX60U series is the cable card slot for those who are adamant about losing that cable box. The plasma also includes digital audio output capabilities. Even though one cannot choose input sources directly on the remote, it is easy to navigate to the chosen source.

One more included feature of the TH-42PX600U series over the TH-42PX60U series is a PIP (picture in picture) option. Though rarely used, there are those football game days when sound is not a must but seeing both games is!

The two speaker two subwoofer audio system totals 31 Watts of power and are more than adequate for home viewing. This is an 11-watt upgrade over the PX60U series. With the beefier sound system, you notice discernable channel separation and a better soundstage than you might expect from TV speakers, and enough bass response to procide some punch. Panasonic offers a Virtual Surround option for the TH-42PX600U and its performance is robust for such a in-built system. While many home theater aficionados will want to use their own surround sound speaker system, the included speakers will impress the average consumer.


VALUE: 98/100

The Panasonic TH-42PX600U is an excellent value piece. It contains all of the features of the Pioneer PDP-4370HD but for much less money. It has the pro quality feature set of upgraded sound system, cool looks, cable card input, and computer compatibility and input that the TH-PX60U series lacks and at only a couple hundred dollars more.Panasonic introduced the TH-42PX600U with an MSRP of $2,999 at specialty retailers, but it can be found close to $2400 from some authorized Internet dealers.


OVERALL RATING (WITH PICTURE DOUBLE-WEIGHTED): 97.5/100*

* Ratings from 70 to 100. Ratings in the 60s for any category are reserved for product with a serious defect or design flaw.

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Olevia 747i LCD 1080p Television Review



For a relatively new brand, Olevia has made a fast start. When I attended the launch of its new assembly plant in Ontario California recently, I was impressed by the efficiency of the operation, not to mention the gutsy move to open an assembly plant in the continental U.S. rather than, say, just across the border in Mexico. This says a lot about the confidence that Olevia, and its parent company Syntax-Brillian Corporation, has about its future.
When Michael Fremer reviewed the Syntax-Brillian 6580iFB03 65" LCoS rear projection television back in August, he described a picture "so good I looked forward to seeing it every time I turned on the set." Syntax-Brillian's bread and butter, however, is not in rear projection; but rather in Olevia's flat panel LCD designs.

The 1080p Olevia 747i ($3,999, 47" diagonal) is the top of the company's wide range of LCD displays (there's also a smaller, 42" 7 Series model, the 742i). Can it live up to the standards set by its bigger, more expensive RPTV siblings?

The World is Flat
With a net weight of 128 lbs. without its (included) stand, the Olevia 747i is astonishingly heavy for an LCD flat panel. LCDs tend to be lighter than plasmas of equivalent size (Pioneer's Elite PRO-FHD1 50" 1080p plasma weighs in at a svelte 88 lbs, though it does lack a built-in tuner and speakers), but that isn't the case here. If you plan on hanging the Olevia on the wall, you'd better choose a very strong mounting bracket and a very sturdy wall.

While the bottom-mounted speakers keep the width of the set narrow, they do give it a slightly chunky appearance. Not to worry: the speakers can be removed and mounted on the sides using an optional conversion kit, or even left off entirely. You could even use the onboard digital amps (rated at 26 Wpc, though no response or distortion is specified) to drive external speakers if you choose (the speaker leads are readily accessible). I don't know of any competitor that offers this much flexibility.

When it comes to features more significant than size, weight, or form factor, Olevia didn't pinch pennies with the 747i. The fun starts with their decision to use the Silicon Optix Realta HQV video processor. Based on Teranex technology, the Realta's pixel-based scaling and deinterlacing (including the all-important 1080i-to-1080p conversion) largely eliminates video processing as a limiting factor in picture quality—at least at the current state-of-the-art.

According to Olevia, each set leaves the factory with its 6500K setting correctly calibrated to 6500K, with measurements made across the full brightness range, not just at a single point. I saw the calibration "tent" on my factory visit. A dark environment is used for calibration so that non-contact measuring devices can be used. The Olevia tech with whom I spoke said that they do not use contact devices—those suction cups fitted with sensors that are the staple measuring device of most calibration techs. He argued that the pressure from the cups—which are often held securely in position by hand—subtly distorts the front surface of the screen and affects the readings. I'm sure this will be a controversial claim, but it does indicate Olevia's dedication to detail.
In addition to two antenna inputs and the usual video and S-Video connections, there are three component (Y-Pb-Pr) inputs (one of them on a VGA/computer style connector), and two HDMI connections. There is also an RS-232 jack. The firmware is upgradeable via a USB port. The set does not have a CableCARD slot. (The current CableCARD format has been falling out of favor because it does not offer two-way interoperability for such features as program guides and pay-per-view).

Most of these connections are located at the rear of the set but readily accessible from the side when the set is mounted on its stand. The two RF (antenna) inputs, digital audio outputs (both coaxial and TosLink optical) for use with the set's onboard ATSC tuners, L/R analog audio outs, a subwoofer output, and a headphone output are located further around back, facing down. (Placing the headphone jack around back, facing down, is an odd choice for a feature that needs to be readily available after installation.) As with all flat panel displays, none of these jacks are easily accessible in a wall mount. In that situation all connections should be made before positioning the set on its wall bracket.

While Olevia specifies only a single digital audio output, I found two (TosLink optical and coaxial) and changed the listing in the specs at the end of this review accordingly.

The 747i also includes two onboard, over-the-air, Clear QAM ATSC/NTSC tuners. You can display two HD stations simultaneously.

The only manual that came with my sample of the 747i was on a CD-ROM. While this might be useful in some circumstances, I find a printed manual far more useful. (You could, of course, print out all 79 pages of the CD-ROM manual, using your own paper and ink!)

The Usual, and Not So Usual, Suspects
I'll conserve bits here by not going into the usual list of features found in most sets—things like channel setup, Parental Control, aspect ratios, channel guides, PIP/Split Screen, etc. While there are no arcane features such as a slot for viewing the contents of a digital photo card or a printer for printing them, the set offers all the special features and any sane TV viewer might need.

The Olevia also provides an unusual way of presenting and controlling these features. The set's on-screen display starts with a figure of a rotating wheel in the upper left hand corner of the screen. It looks like one of the spinning drums in a slot machine. There are four surfaces on this indicator, for four different submenus: Picture, Audio, Screen, and Setup. The Up and Down buttons on the remote's navigation section rotate the wheel to the submenu you desire, while the Left and Right select the option you want within that submenu. Once there, the Enter button calls up the adjustment control for that option.

This arrangement is clever, but for me too clever by half. It does have the benefit of keeping the screen clear of clutter while you're navigating through the options. But it didn't feel intuitive. And with some of the options I was never quite sure if I had turned them on or off. As far as I could tell, a red border around an item indicated it was on, and a green border indicated off--not at all intuitive to my way of thinking.

For most parameters you may enter different settings for each input, but some settings operate globally or near-globally. For example, the color temperature setup you choose for HDMI will apply to both HDMI inputs.

One serious ergonomic shortcoming is that while your changes to the video settings are accompanied by an on-screen "slider" indicator with a marker above it showing the last saved setting; there are no number designations for the settings. If you dial in a reasonably satisfactory setup but want to experiment further, the lack of such numbers make it difficult to return to your original settings. And as soon as you exit the menu for a particular setting—brightness, for example—the marker moves to the new position.

Apart from the usual picture adjustments, the Picture menu includes a Lighting control that adjusts the image for a dark, medium, or bright room (I used Dark Room for virtually all of my watching). The color temperature control provides both factory and User settings for 6500K and 9300K. The User adjustments provide both high (Gain) and low (Offset) adjustments for red, green, and blue. (The lack of number designations for the settings described in the above paragraph also applies to the user menu's color temperature adjustments, which is certain to drive calibrators up the wall.)

An oddly named "Idea" submenu includes controls called Black Level Extender, White Peak Limiter, and Contrast Enhance. The On/Off status of these three controls, which had relatively subtle effects, were hard to determine from the on-screen indicators. I solved that problem by leaving the Idea menu Off. It didn't help that the function of these controls (and a few others, as well) weren't well described in the manual. The description of the White Peak Limiter, in particular, read like an outtake from Borat: "To limit the signal amplitude varying degree resulted in brightness over saturation."

The remote control's buttons are backlit, though with the common limitation that the labels for the actual functions of many of the controls are on the body of the remote and therefore not illuminated. Some controls are well located and comfortably sized, but others are too small and too close together for error-free operation. On the upside, many of the set's more frequently used functions may be accessed directly from the remote rather than going into the sometimes frustrating, main on-screen menu system. The remote may also be programmed to operate up to seven additional components by inputting the appropriate codes.


Syntax –Brillian devotes a page in the owner's manual to the subject of dead pixels. They allow up to 12 bad pixels, and will exchange a unit when a set is delivered with more than that, but they cannot guarantee that the replacement unit will be 100% free of the problem. At least they are up front about this. No manufacturer can guarantee a perfect complement of pixels, though some choose to ignore the issue altogether. (I have almost never experienced a bad pixel in a review sample, and saw none in this one.)

Performance
I usually prefer to get the negatives out of the way first in a review, and the Olevia does have a few shortcomings. The first was not surprising. The set's deep blacks simply aren't very deep. Uniformly dim scenes have too much medium gray and too little black. The under deck scenes that open Master and Commander: The Far Side of the World lack punch. If you're a fan of Dark City, or film noir, this may not be the set for you.

Fortunately, such scenes are relatively rare in most movies, though there are more of them in modern films than older ones. Blame today's faster film stocks, which encourage cinematographers to shoot in available light. Whenever such scenes turn up, most LCDs, including the Olevia 747i, look like they are overlaid with a gray fog that lightens the scene and obscures shadow detail. But if the scene has enough bright highlights to give the eye a reference, you don't notice this "gray fog" as much. But it's still there; those highlights simply mask it a bit. And shadow detail remains marginal at best. The Olevia is a little worse in this respect than the two most recent high-end LCD displays I have reviewed, the Sony BRAVIA KDL-46XBR2 and the JVC LT-46FN97, but it's in the same ballpark.
While Olevia specifies a 178-degree viewing angle, both horizontal and vertical, it's a tad optimistic. (According to Olevia, that spec comes from the panel manufacturer, LG Phillips.) While the image is still watchable at a fairly wide angle, the image starts to lighten, the contrast drops, and the colors fade when you're only slightly off-axis. From a comfortable viewing distance, three on a couch centered on the set should have no problem enjoying the picture. But the middle will still be the "money seat."

There are some minor uniformity issues. I saw no discolorations on the screen: The black and white HD DVD transfer of Casablanca looked beautiful, with a subtle but appropriate sepia shift and no odd, irregularly tinted blotches. But I did see some dark, vertical, ghostlike bands on some material at mid brightness levels, both on test patterns and on large areas of solid color, like deep blue sky. They weren't easy to spot on most programming, however, and even when I was looking for them I seldom saw them. And on a full black screen there were small, slightly brighter areas in the bottom corners. Again, I never noticed this with program material.

But for the most part this set produced stunning images. It was no surprise that with its Silicon Optix video processing the Olevia passed all of my usual scaling and deinterlacing tests with flying colors, scoring from very good to excellent on all of them. Every cadence test on my HQV Benchmark test disc was smoothly reproduced—again, not surprising since this test was produced by Silicon Optix to show off the capabilities of its processing solutions.

The Olevia's three optional noise reduction settings were also useful, minimizing noise while doing little damage to picture's resolution. Most of the time I recommend leaving this noise reduction feature Off, but it's effective if you ever need it.

If there's one word I could choose to describe the Olevia's picture, it would be silky. It never lacks for detail, but the image is so smooth that the resolution never seems forced. It has a natural degree of pop and vividness. Less, it's true, than you'll see from a good plasma display, but not everyone finds the vividness of plasma to his or her liking. Yes, you can make the image on the Olevia less natural with a poor setup, but it's to the company's credit that it doesn't give you the traditional picture "modes" offered by other manufacturers, modes with names like Vivid, Gamer, Dynamic, etc. What Olevia does give you is an excellent picture out of the box and the controls needed to make it even better.
High-definition from my cable system on the Olevia ranged from satisfactory to superb. Such a range of quality is not unusual with any program source, but if you see a great looking HD program on the Olevia, you'll know it. I have some of this year's Macy's Thanksgiving Day Parade on my HD DVR, and it's beautifully reproduced on the Olevia, with gorgeous color, natural flesh tones, and a sharp but natural image. And the set will do justice to a good HD movie transfer, as well. About a Boy is an odd movie, but it has a surprising number of reference quality images. The 747i got it all, including scenes inside a supermarket with its well-stocked rows and stacks of small, brightly colored, crisply detailed merchandise.

The Olevia earns top marks for HD sports, too. LCDs have a reputation for slow response time, which causes motion smear. I watched more than my fair share of football on this set and was never bothered by motion smear. I'm sure it's there, and if viewed side-by-side-by-side with, say, a CRT, it probably wouldn't be hard to spot. But viewed and judged on its own, whatever motion smear the Olivia might have never bothered me.

Even standard definition DVD looks beautiful on this set. Jurassic Park III has always been a great video transfer, the best looking of the Jurassic Park series. It also has many scenes of bright green foliage that can be tough on digital displays. The Olevia did a great job keeping those greens realistic. It also handled the rest of the transfer with ease, edging very close to the look of a high-definition source in depth, detail, and color.

The recently released DVD of Pirates of the Caribbean: Dead Man's Chest may not be high-definition either, but that doesn't mean it looks soft. Its bright scenes are given a first-rate treatment on this set. Even most of the dark scenes, and there are plenty of them here, fare reasonably well because they are lit in a way that adds highlights to important details. And while a few of the darkest scenes look too gray, you can always follow what's going on.

Mediocre program material, which includes much of today's standard definition, analog cable offerings, looked okay on the Olevia. The set didn't work miracles with such material, but most of it was at least tolerable. Nevertheless, as you get more accustomed to HDTV and even the best DVDs on this set, you'll definitely find yourself less drawn to TV Land reruns of Green Acres and Gilligan's Island.

I recently reviewed the 46" JVC LT-46FN97 LCD flat panel set, and it was still on hand in the early stages of this review. Compared to the Olevia, the color of the two sets was so close (after calibration) that I wouldn't want to have to choose between them. On bright and medium bright scenes the two sets look similar in contrast. The Olevia was a bit more vivid, three-dimensional, and lush, but it was a very close call. On darker scenes, however, the JVC pulled slightly ahead, with marginally darker blacks and better shadow detail.

Conclusions
The Olevia is not without flaw. It suffers from some of the weaknesses typical of most LCD sets: poor black levels and less than optimum off-axis performance. But it does have excellent color, great detail, an image that is both compelling and easy to watch for hours on end. It's a worthy flagship for a brand that I suspect we'll be hearing a lot more about in the future.

Highs
Outstanding color
Fine three-dimensionality with crisp detail
Video processing second to none
Two HD tuners

Lows
Mediocre blacks and shadow detail
Image deteriorates noticeably when viewed much off-axis
On-screen menus can be frustrating
Article Continues: Specifications

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