color saturation, I assume) which will boost the brightness of Yellow, Cyan and Magenta (and
white) at the expense of color accuracy. Again, "off" would be my pick. Used with anything but
the smallest screen, I would run the lamp on the LS-5 at "standard" or full bright, giving you
ample brightness. Leave the luminance of the secondary's alone. You might like it when first
employed, but it ain't the director's intent. Finally, there is the "RGB adjust" button which will
bring up the classic six white balance adjustments. Don't try this at home - (without a color
analyzer). These are how we achieve that magic 6,500 Kelvin temperature at all luminance
levels.
The third tab, "System", is really about housekeeping tasks like where onscreen the menu
appears, it's opacity, lamp power, blank screen color, logo display or not, etc.
The forth tab, "Control" allows you to assign picture memories to the hard buttons on the remote.
Picture settings, including ISF day/night can be assigned to 3 discrete "user memory" buttons
and any of the 8 inputs can be mated to one of 5 discrete "source" buttons. You can also specify
which actions enable each of 2 triggers.
The fifth tab, "Languages" selects precisely that. You can view the entire menu in any of 12
languages.
Finally, the sixth tab, "Service" is much like an "Info" button. It displays the serial number and
software version of your projector. It also shows the format of the incoming signal and the
selected refresh rate. There are also 2 functions found here that should have been back in the
"Advanced" section in my opinion; a "Blue only" mode, which is used to adjust the color
decoder with analog video and an on/off mode switch that initiates about a dozen (very useful)
internal test patterns.
TEST ENVIRONMENT
CalMAN software from SpectraCal (see my column, this issue) was used exclusively in this
review. It controlled a Sencore 403 video generator and a Konica-Minolta CS-200 chroma meter
(spectrometer). A Minolta LS-100 was used to measure light output for the determination of
absolute (real) contrast ratio. Various BD and DVD discs were used for reference viewing
impressions. The lamp on the LS-5 remained in the "standard" position throughout the testing
and viewing. Images and patterns were displayed on a 108in. wide Da-Lite .85 gain screen. Since
brightness and contrast ratio (C.R.) vary inversely as a function of the zoom setting, it should be
noted that in my test environment the standard lens provided was set to its shortest throw
distance. All signals were input through the HDMI1 connection.
(110 pages)
(1 pages)
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