Sampo PME-42V3 Manual de usuario descargar pdf (Pagina 3)

VideoSystems September2001

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the enter key each time you make an

adjustment. Otherwise, the adjust-

ment is lost when you exit the menu.

Sampo’s menu also uses the text

overlay method. You depress the menu

selection key, scroll to the desired

item, and then use the adjust key as

needed. However, there aren’t enough

items to adjust to suit my taste (such

as RGB drive and bias). The menu will

disappear from the screen if you do

nothing for a short period of time, but

you can’t remove it immediately un-

less you hit another button on the

keypad, such as “Mute.”

Pioneer’s menu is a radical depar-

ture from its “in your face” design in

the past, which used large, coarse

text. The new menu is a tiled, attrac-

tive pulldown one with an almost

full range of user adjustments. To

get into such things as drive and

other esoteric settings, you have to

access the systems integrator menu.

Now Pioneer just needs to reduce

the size of the menu. It covers as

much of the screen as its predeces-

sor, although it does minimize dur-

ing specific adjustments.

Calibration of plasma panels typi-

cally involves access to RGB drive con-

trols, and preferably also RGB bias.

NEC and Panasonic provide both di-

rectly from the menu, with only NEC

providing user access to drive and bias

for all three color channels. Panasonic

only allows setting of the red and blue

high/low points. Both panels have at

least three color temperature modes,

one of which can be user-defined.

Sony’s menu lets you select one of

six color temperature settings — two

are preset and six are user-defined

(plus you can name them). This is also

true of the Pioneer menu, which pro-

vides five color temperature settings,

as well as a “Warm” mode for use

under tungsten lighting on video sets.

Fujitsu also offers three color temp

settings, plus a user mode. This is one

more mode than Sampo provides, as

all of its three CT choices are factory-

defined.

Some of the functions you’ll use

most often are directly accessible from

the remote control keypad. NEC’s ba-

ton remote lets you select widescreen

modes, zoom in on the image, adjust

volume, and activate NEC’s Accu-

Blend scaling/scan conversion cir-

cuitry. NEC also has a clever “Multi”

mode, in which you can combine an

RGB source with a video source as

picture-in-picture, or side-by-side at

different sizes.

Sony listened to the request of sys-

tems integrators and included many

functions on its remote, including di-

rect access to aspect ratios, contrast,

brightness, and horizontal/vertical

position and size. Bravo, Sony! All of

the other remotes provide little more

than volume and aspect ratio buttons,

so you’ll have to dig into menus more

often with the Fujitsu, Pioneer,

Panasonic, and Sampo remotes.

Speaking of aspect ratios and

screen formats, there is a bewildering

number of choices among these pan-

els — and they are not all labeled in

the same way. NEC provides four dif-

ferent aspect ratio settings, along with

a setting for RCA’s DTC-100 DTV set-

top box (there was a signal timing

issue involved). Sony, Sampo, and

Panasonic also give you four (depend-

ing on input), while Fujitsu provides

five settings. Pioneer is content to al-

low three choices for aspect ratios.

You’ll also find varying enhance-

ments among the panels. The Pioneer

has a new PureCinema mode with

three steps for correcting 3:2 pulldown

artifacts, plus three digital noise re-

duction choices. There’s also an

economy fan mode, and the panel has

been certified for Energy Star opera-

tion. This is no small accomplishment

when you consider how much power

plasma panels consume.

NEC’s panel also has a digital noise

reduction circuit, plus a cinema on/off

mode (presumably 3:2 correction

again), 15 levels of gray pillar adjust-

ment for letterboxed material, and

four gamma modes (one is user-defin-

able). Panasonic also provides three

preset gamma settings, which is

matched by Fujitsu. However, that’s

three more gamma adjustments than

you’ll find on either the Sony or Sampo

panel.

Sony’s is the only panel that pro-

vides a YUV/RGB toggle switch on its

remote, which is extremely useful if

you have input the wrong signal source

and want to correct the sync format on

the fly. On all other panels, you’ll

need to go into the menu and tell the

panel what kind of sync it’s receiving.

Fortunately, most of the panels are

smart enough to recognize the sync/

signal combination and lock it up, with

the exception of the Sampo.

On the test bench

While the average viewer might

conclude that all plasma panels look

the same, I can assure you there are

significant differences in performance

from model to model, and from manu-

facturer to manufacturer. Plasma pan-

els carry some heavy baggage of their

own when it comes to displaying com-

puter and video images. They are es-

sentially nonlinear devices laboring

to produce linear grayscales, good con-

trast, deep blacks, and saturated col-

ors.

For my performance tests, I cali-

brated each panel to a 256-level

From left: Panasonic TH-50PHD3U, Pioneer PDP-503CMX, and NEC Technologies PS-61MP1.

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