Sampo PME-42V3 Manual de usuario descargar pdf (Pagina 4)

VideoSystems September2001

VideoSystemsSeptember2001videosystems.com

grayscale and PLUGE patterns from

DisplayMate and the Video Essentials

DVD. DVD images were connected as

YCbCr component from my Sony DVP-

S7000 (old, but still a beauty), while

HDTV test clips originated on D-VHS

from a Panasonic PV-HD1000. I also

took several live feeds over the air

from Samsung’s new SIR-T150 ATSC

set-top DTV tuner.

RGB signals were connected at

VGA, SVGA, XGA, and SXGA resolu-

tion from a Pentium III 800MHz PC

with a Diamond Stealth 550 card.

Additional test signals originated from

an Extron VTG200 test pattern gen-

erator. Late in the review, I procured

a Communications Specialties Deuce

Pro video scaler to drive the panels at

852x480, 1280x768, and 1365x768

pixel resolution.

All of the panels were measured

for brightness with fullscreen (16:9)

and normal (4:3) white fields. Some of

the panel manufacturers provide a

panel AGC circuit to throttle back the

drive on bright signals and guard

against pixel burn-in, while others just

let ‘em rip.

Sampo’s PME-42V3 was the bright-

est panel in 16:9 mode, with a reading

of 67.1 nits, but its AGC circuit quickly

kicked in and dropped the reading to

40.5 nits after a few minutes. Fujitsu’s

PDS-4229 was a close runner-up with

64.8 nits, followed by the Sony PFM-

42B1 at 63.3 nits. The interesting

thing about all of these panels is

that they use Fujitsu-manufactured

plasma glass arrays and apparently

some of the same AGC circuitry.

In the 50in. category, the Panasonic

TH-50PHD3U and Pioneer PDP-503

panels began a neck-and-neck compe-

tition that ran through every perfor-

mance category. On the Pioneer,

brightness was clocked at 79.9 nits,

edging out the Panasonic’s 67.2 nits.

(Selecting “Dynamic” mode on the

Panasonic boosted that number to 70

nits.) Meanwhile, NEC’s 61MP1 was

clocked at 58.7 nits.

I should mention that every one of

these panels can produce a lot more

light output. However, grayscale ac-

curacy will suffer as a result.

Of course, brightness isn’t every-

thing. I measured contrast in both

16:9 and 4:3 modes for each panel, and

the overall winner was the TH-

50PHD3U with an amazing 523:1

ANSI average and 627:1 peak read-

ings. The reason? Panasonic’s indus-

try-low black levels, which averaged

.23 nits (.07 ft.-L).

That’s the kind of contrast perfor-

mance you see in a reference-grade

CRT monitor, and the TH-50PHD3U

beat the second-place PDS-4229

(240:1ANSI, 253:1 peak) by a substan-

tial margin. The Fujitsu and Sampo

panels tied for third in black level

performance, while the Pioneer and

NEC panels were surprisingly high at

.71 and .81 average, respectively.

What about color temperature?

Only the PME-42V3 did not provide

access to RGB drive, leaving me with

three factory color temperature pre-

sets to deal with. (None was truly

satisfactory.) Using the FSR Color

Analyzer and Cliff Plavin’s calibra-

tions, I was able to tune each of the

other five panels to an almost-perfect

D6500 white reference. Kudos to NEC

and Pioneer (installers’ menu only)

for providing access to both RGB drive

and bias controls — you can only tune

the drive and bias for the red and blue

channels on the Panasonic panel.

The next step was to test each panel

for grayscale modulation and false

contouring. Here, the competition

came down to a nip-and-tuck battle

between the Pioneer and Panasonic

panels, with the PDP-503 exhibiting a

slight band/contour at .8 nits, and the

TH-50PHD3U revealing seven such

artifacts that were barely noticeable.

It’s important to note that both panels

— and the PDS-4229 — maintained

even grayscales with no color shifts,

even when false contours were seen.

Not so with the rest of the field.

Sony’s PFM-42B1 had a noticeable red

band on its 256-level grayscale at 2.8

nits, and a yellow-to-white shift at 60

nits. The Sampo panel had numerous

magenta-tinted false contours at the

low end of the grayscale, while the

NEC panel had faint but noticeable

red, green, and blue color bands at

regular intervals starting at .5 nits.

I’ve also seen these color bands on the

NEC PlasmaSync 42MP1 and 50MP1

panels, so it must be a signal-process-

ing artifact.

The final hurdle was my famous

autosync crunch test, wherein I rap-

idly sequence through 25 different

RGB signal and sync formats to see

how fast and accurately each panel

recognizes, sizes, and centers the in-

coming signal. Pioneer’s PDP-503 took

top honors here, correctly sizing and

centering 17 formats with no further

assistance. Six additional formats re-

quired some menu tweaking on my

part, for a total of 23 good signals.

Sony’s PFM-42B1 — although it

also produced 23 total good signals —

was only able to set up 11 on its own,

requiring my intervention to clean up

12 more. NEC’s 61MP1 came in next

with 22 usable signals, getting 13 of

them right on its own and nine more

with my help. Both the PDS-4229 and

TH-50PHD3U performed well with 21

usable signals, although the Pana-

Model Center Center ANSI Peak

Center white Artifacts

brightness, cd/m

brightness, ft/L contrast contrast

screen color and false

temperature contour results

Fujitsu PDS-4229 64.8 18.9 240:1 253:1 6510 Very Good

Sampo PME-42V3 67.1 19.6 233.8 325:1 7290 Poor

Sony PFM-42B1 63.3 18.5 224:1 239:1 6490 Good

Panasonic 67.2 19.6 523:1 627:1 6490 Excellent

TH-50PHD3U

Pioneer 79.9 23.3 168:1 176:1 6490 Excellent

PDP-503CMX

NEC PS-61MP1 58.7 17.2 140:1 174:1 6490 Good

sonic panel correctly figured out 18 on

its own, as opposed to the Fujitsu score

of 13. The PME-42V3 finished last

with 13 total good signals.

Video quality tests

This final part of the review is when

I get to put away all the test instru-

ments and just sit back and watch TV.

Well, not really “sit back” — I have to

run back and forth from panel to panel

to make subjective evaluations, which

is a pain in the neck when I’ve loaded

up an interesting program. For ex-

ample, I played the entire Lawrence of

Arabia DVD three times during this

Scan

Fujitsu Sampo Sony Panasonic Pioneer NEC

PDS-4229 PME-42V3 PFM-42B1 TH-50PHD3U PDP-503CMX PS-61MP1

VGA-1 31.5KHz / 70Hz OK NO ADJ OK OK OK

VGA-2 31.5KHz / 70Hz OK OK OK OK OK OK

VGA-3 31.5KHz / 60Hz ADJ OK OK OK OK OK

VESA1/SVGA 35.2KHz / 56Hz OK OK OK OK OK OK

VESA-2/VGA 37.9KHz / 72Hz OK OK OK OK OK OK

VESA-3/XGA 48.4KHz / 60Hz OK OK OK OK OK ADJ

VESA-4/XGA 56.4KHz / 70Hz OK ADJ OK OK ADJ ADJ

VESA-5/SVGA 37.9KHz / 60Hz OK OK ADJ OK OK OK

VESA-6/SVGA 48.1KHz / 72Hz OK OK OK OK OK OK

XGA-5 57KHz / 70Hz OK ADJ ADJ OK ADJ ADJ

XGA-6 61.1KHz / 76Hz OK NO ADJ OK ADJ ADJ

Macintosh 13" VGA 35KHz / 67Hz OK NO ADJ OK OK OK

Macintosh 16" SVGA 49.7KHz ADJ NO ADJ OK OK OK

Macintosh 19" XGA 60.2KHz / 75Hz OK ADJ ADJ OK ADJ NO

Macintosh 21" SXGA 68.7KHz / 75Hz OK ADJ OK OK OK OK

Super Mac XGA 48KHz / 60Hz ADJ ADJ OK ADJ ADJ NO - WS

Radius XGA 48KHz / 60Hz ADJ ADJ OK ADJ ADJ NO - WS

SGI SXGA 63.9KHz / 60Hz ADJ NO OK OK OK ADJ

SGI Indigo XGA 48KHz/ 60Hz NO (GRN) NO ADJ NO (GRN) NO (GRN) ADJ

IBM RS SXGA 63.4KHz / 68Hz ADJ NO ADJ NO (GRN) NO (GRN) ADJ

Sun 1152 x 900 61.8KHz / 66Hz NO NO ADJ OK OK OK

Sun 1152 x 900 71.7KHz / 76Hz ADJ NO ADJ OK OK OK

Sun 1280 x 1024 81.0KHz / 76Hz NO NO NO ADJ OK OK

Sun 1600 x 1280 89.3KHz / 67Hz NO NO NO NO OK ADJ

IBM RS 1360 x 1024 70.8KHz / 67Hz ADJ NO ADJ NO OK ADJ

SCORES 13 OKs, 8 ADJs, 7 OKs, 6 ADJs, 11 OKs, 12 ADJs, 18 OKs, 3 ADJs, 17 OKs, 6 ADJs, 13 OKs, 9 ADJs,

(Fine text pattern used to spot clock

4 NOs 12 NOs 2 NOs 4 NOs 2 NOs 3 NOs

and sync phasing errors.)

21 usable 13 usable 23 usable 21 usable 23 usable 22 usable

RGB sync tests

Brightness & contrast performance

OK means signal needed no further adj. ADJ means signal usable after adj. NO means signal unusable after adj.

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