LCoS technology. Projector technologies: LCD (3LCD), DLP, LCoS SXRD is a new imaging technology in projection products from Sony

It is the third most common after DLP and 3LCD (LCD) technologies, but occupies a much smaller market share.

Synonyms for LCoS are the abbreviations D-ILA (eng. Direct Drive Image Light Amplifier) by JVC and SXRD (eng. Silicon X-tal Reflective Display) by Sony. D-ILA is a registered trademark of JVC, which means that this product uses an original design based on an LCoS display, a reticulated polarizing filter and a mercury lamp. D-ILA implies a three-chip LCoS solution. You can also often see the abbreviation HD-ILA. SXRD is Sony's registered trademark for products made using LCoS technology.

Technology principle

The principle of operation of a modern LCoS projector is close to 3LCD, but unlike the latter, it uses reflective rather than translucent LCD matrices. Just like DLP technology, LCoS uses epi-projection instead of the traditional over-the-air projection found in LCDs.

A reflective layer is located on the semiconductor substrate of the LCoS crystal, on top of which there is a liquid crystal matrix and a polarizer. Under the influence of electrical signals, liquid crystals either cover the reflective surface or open, allowing light from an external directional source to reflect off the crystal's mirror substrate.

Like LCD projectors, LCoS projectors today mainly use three-chip circuits based on monochrome LCoS matrices. As in 3LCD technology, three LCoS crystals, a prism, dichroic mirrors, and red, blue, and green color filters are usually used to form a color image.

However, there are single-chip solutions in which a color image is obtained by using three high-power, fast-switching color LEDs that produce red, green, and blue light in sequence, such solutions are produced by Philips. Their power is low.

In the late 1990s, JVC offered single-chip solutions based on LCoS color arrays. In them, the luminous flux was divided into RGB components directly in the matrix itself using an HCF filter (eng. Hologram Color Filter - holographic color filter). This technology is called SD-ILA (English single D-ILA). Philips also developed single-matrix solutions.

But single-chip LCoS projectors are not widely used due to a number of shortcomings: three times the loss of light flux when passing through the filter, which, among other things, imposed restrictions due to matrix overheating, low color rendering quality, and more complex technology for the production of color LCoS chips.

Story

The history of the emergence of technology

In 1972, the LCLV (Liquid Cristal Light Valve - liquid crystal optical modulator) was invented in the Hughes Research Labs of the Howard Hughes Aircraft Corporation, which at that time was the center of the most advanced research in the field of optics and electronics. For the first time, LCLV technology was used to display information on large screens in US Navy command and control centers. Back then, these devices could only display static information.

The development of technology continued and the term LCLV was replaced by English. Image Light Amplifier (ILA) as more suitable.

ILA differs from D-ILA in that the liquid crystals are driven by a photoresist, which is fed with a modulating beam generated by a cathode ray tube.

In the early 1990s, Hughes and JVC decided to join forces to work on ILA technology. September 1, 1992 was the official date for the formation of the joint venture Hughes-JVC Technology Corp. The first commercial projector based on ILA technology was demonstrated by JVC in 1993. Over 3,000 of these projectors were sold during the 1990s.

The use of a cathode ray tube as an image modulator in ILA devices imposed restrictions on the resolution, size, and cost of the device and required complex alignment of optical paths. Therefore, JVC continues its research to create a fundamentally new reflective matrix that would solve these problems while maintaining the advantages of technology. In 1998, the company demonstrated the first projector made using D-ILA technology, in which the image modulating device in the form of a CRT beam - photoresist bundle was replaced with CMOS control elements implemented in the semiconductor structure of the substrate - hence the name of the direct drive ILA technology. » - ILA with direct control. Sometimes D-ILA stands for "digital ILA" (digital ILA), this is not entirely true, but it also correctly reflects the essence of the changes in D-ILA technology from analog device controlled (CRT) ILA.

There was also an intermediate, also already digital, technology between ILA and D-ILA, which was not widely used - FO-ILA - where the control cathode ray tube was replaced by a bundle of fiber-based light guides (Fiber Optic), which transmitted a modulating signal from the surface of a monochrome monitor.

First wave

Second wave

Philips

Sony

The first SXRD projector (based on a proprietary chip) was demonstrated by Sony in June 2003. The following year, Sony announced a projection TV based on SXRD technology. By 2008, the company had phased out all projection TVs, including models based on SXRD technology. But the company did not refuse to release projectors. Today, Sony launches projectors for large installations and digital cinema with resolutions up to 4096×2160 (based on the -SXRD chip) and apertures up to 21,000

LCoS (Liquid Crystals on Silicon) is a hybrid of 3LCD and DLP. Many companies have their own designations for their variants of this projector technology: Sony - SXRD, JVC "s - D-ILA, Epson - "reflective 3LCD" (reflective 3LCD). The concept of "Reflective 3LCD" perfectly illustrates the principle of LCoS: imagine a 3LCD projector in which liquid crystal matrices are located on mirror surfaces, as a result reflecting part of the light, thus forming an image for each of the primary colors: red, green and blue.As in 3LCD, the light of the lamp is divided by dichroic mirrors into three primary colors, after which the image is formed, partially reflected from the LCoS chip due to the LCD matrix located on its surface.A reflective layer is located on the semiconductor substrate of the LCoS-crystal, on top of which there is a liquid crystal matrix and a polarizer.Under the influence of electrical signals, liquid crystals either close the reflective surface or open, allowing light from an external directional source to be reflected off the crystal's specular substrate.

Reflected from the LCoS panel, the three color components are recombined into a prism and projected onto the screen.
LCoS Benefits:

One of the advantages of LCoS technology is that the control elements are located behind the reflective layer, reducing the distance between the elements of the matrix, thus reducing the image retina compared to DLP and 3LCD.

LCoS technology is designed to incorporate the best of competing LCD and DLP technologies. Overall, it outperforms DLP and LCD in terms of color reproduction, brightness, aspect ratio, and the optical efficiency of LCoS projectors is higher than that of competing technologies.

LCoS Limitations:

At the moment, LCoS technology is used mainly in high-end home theater projectors and cannot compete on price in areas such as education and business. However, with the expansion of the home projector market and the constant decrease in the cost of LCoS, it can be assumed that this disadvantage will gradually come to naught.

LED projectors

UHP (Ultra High Pressure) lamps are the standard light source in projectors. They work at high temperatures (up to 900 ○ C) and their main advantage is brightness: a 150 watt lamp can give a luminous flux of about 9000 Lumens. Brightness allows you to break through the daylight in the room and get a clear image. UHP lamps have the following disadvantages:

Relatively short service life - typically up to 6000 hours

The high cost of the lamp

High (inefficient) power consumption due to heat generation

The need for cooling increases the size of the projector

Deterioration of the image over time, requiring further adjustment over time

Sensitivity to shocks and impacts

LEDs do not have these disadvantages:

Dozens of times longer lamp life, which simplifies the maintenance of the projector.

Low power consumption

As a result, the ability to run on batteries

Instant on/off, no need to wait for the lamp to cool down

Ten times longer service life, lower maintenance costs

Low power consumption

The image does not change over time, no need to reconfigure the projector

Great reliability

But at the same time - a much lower luminous flux (brightness).

The above advantages have made LED lamps the preferred solution for miniature projectors. Using 3-LEDs, you can get a wider color range and better color reproduction than with UHP lamps, which, along with the brightness limitation, makes LED lamps an increasingly popular solution in LCD, DLP, and now LCoS home theater projectors. designed for use in dark rooms.

There are several ways to use LEDs in projectors:

LED as a source of white light, like UHP lamps, requires the separation of the light flux by dichroic filter mirrors into basic colors.

The use of three LEDs eliminates the need for a color wheel and dichroic filters in DLP, 3LCD and LCoS projectors (see figure). Using the color wheel of LEDs in DLP projectors.

An example of using LED instead of a DLP projector's color wheel.

It's time to gradually understand the technology of projectors. Let's start with the matrix, what they are and what is the difference. Consider how a color image is formed. And then let's move on to the properties of the light source

Matrix

This is the basis of image formation in any projector. It remains for us to figure out what it is and what is the difference between single-matrix and three-matrix projector models.
In general terms, a matrix is a device capable of transmitting or blocking a light flux pointwise, due to which a visible image appears on the screen. Even the TV and computer monitor also have a matrix, and only one. What is the difference between a projector matrix and a TV device of the same name? For the projector, matrices are used that can only give a black and white picture. However, if not white, but, for example, green light falls on it, then the image will be black and green. Color matrices are used in televisions and monitors. Why? We will find out the answer by looking at two illustrations: projector pixels on the left, monitor pixels (on the right)

Zooming in on the second image (the TV screen), we see that each pixel consists of three stripes of a different color: red, blue, and green. While the pixels are small, the stripes blend visually with each other, forming the desired shade. But once they are magnified many times, the pixel grid becomes visible and the entire image is lost. That is why the color matrix is not used in the design of the projector, because we need monolithic pixel squares.
One more nuance: the matrix must withstand high temperatures from direct exposure to a light source.
Let's go back to our widescreen image. As it has already become clear, we need a matrix that will display single-color points. Such a matrix is monochrome (or black and white) by definition. Using three different one-color images of one frame, we get the desired result at the output:

That's what three matrices are for. Three - one for each base color. A three-matrix projector combines images inside, while a ready-made picture gets on the screen.
A single-matrix projector combines the same images directly on the screen, changing them at such a speed that the human eye perceives folded monochrome images as one.

Let's take a closer look at the differences between single and three-matrix projectors:

The use of one matrix affects the price of the projector. Therefore, the projector itself will be cheaper unless an expensive, advanced sensor is used.
Compact and "pocket" models use only one matrix
A three-matrix projector simultaneously uses all three colors, a single-matrix projector uses only one. This is immediately reflected in the brightness: with the same power of the light source, the brightness of the three-matrix projector will be lower
Single-matrix projectors often suffer from the "rainbow effect", that is, the separation of color into basic components. The three-matrix model will not allow such an effect, under any circumstances.
To accurately display color, the matrices in a three-matrix projector must fit perfectly. The slightest disagreement immediately affects the quality of the picture in the form of blurry pixel boundaries. Single-matrix models always produce a well-defined pixel

It is not at all necessary that the listed problems are inherent in each individual projector. Here are the difficulties that developers face, solving them for better or worse in each case.
If you look at more expensive projectors, especially home theater models, you will find that most of the problems at the technical level have already been solved, and the picture quality depends more on the ability to properly set up the device.
However, in the budget segment, all the shortcomings described above are a sore subject. This includes projectors for office and education, as well as models for the home (not for home theater). In the class of home projectors, the main competition is between single-matrix DLP and three-matrix LCDs. Three-matrix DLP also exist, but this is a different price category.
Now that we have covered the difference between single-matrix and three-matrix technology, let's move on to the type of matrices, because it is thanks to them that technologies get their names (DLP, LCD, etc.)

DLP projectors

When it comes to DLP projectors, we mean single-matrix models, unless it is specified that DLP is three-matrix. The vast majority of projectors on the market are just DLP. The DLP matrix is called a DMD chip, which, when translated from English, means “digital micromirror device” when deciphered. The matrix consists of several million micromirrors, which can be rotated and fixed in one of two provided positions.

The two positions of the mirror are designed to change the path of the reflected light beam. In one case, the reflection hits the screen, in the second, it hits the light absorber. As a result, a white or black dot is projected onto the display.

Shades of gray are obtained due to the frequency of the multiple transition of the beam from the screen to the light absorber and back:

Let's go back to the color image. As we found out, each of the basic colors appear on the screen in turn.

In order for the white color of the lamp to be colored by these base colors, there is a color wheel.

The color wheel is a filter in the form of a disk with a fixed rotation speed. Each model has a different speed, and the higher it is, the less pronounced the rainbow effect. According to the ratio of colored segments, this detail also varies. For example, in the illustration above - a classic color wheel with three base colors (RGBRGB). The RGBCMY wheel contains additional colors (except for red, green and blue - yellow, cyan and magenta).

The somewhat modernized RGBRGB color wheel has a colorless segment. It allows you to increase the black and white brightness of the projector.

And this is the optical unit of the DLP projector and the principle of its operation:

The color wheel with a transparent segment was a great solution to increase the performance of budget projectors. Office and educational models, which are most often used in a bright room, by increasing the black and white brightness, can overcome the backlight of the screen, making the image quite clear. Of course, the color brightness at the same time lags behind black and white. Colors may appear too dark or dull. However, the transparent segment is not an indispensable part of every DLP projector, or technology in general.
It should immediately be said that the mirror matrix cuts off the light in the best way, allowing you to achieve the best contrast values, the most reliable black color. On the other hand, the operation of a DMD chip is accompanied by a constant movement of the mass of micromirrors. Because of this, there is an effect of "color noise" on the screen, a decrease in the smoothness of tint transitions and a reduction in the number of color gradations.
More expensive projectors use three-matrix DLP technology. These can be solid home models, or installation ones. Three matrices completely eliminate such shortcomings as the "rainbow effect" and low color brightness.

3LCD Projectors

3LCD technology is an Epson development that is now used by many projector manufacturers, including giants such as Sony.
The use of three matrices instead of one is encrypted in the name itself. And these matrices are not mirrored, but liquid crystal. Color processing thus takes place inside the projector and a finished color image is projected onto the screen.
Simplified scheme of 3LCD projector operation:

If in DLP models the primary colors are obtained by passing white light through the color filters of the color wheel, then in 3LCD projectors the three primary colors are extracted directly from the light of the lamp, passing it through a prism. Having decomposed the white spectrum into components, the projector directs color flows to matrices connected in one structure with a prism. Here, the three colors are combined again, resulting in the multi-color picture that we see.
The prism does not transmit white light directly to the screen, the white color itself is formed in the same way as the rest: by mixing red, green and blue. Therefore, 3LCD technology eliminates the imbalance between black and white and color brightness. On the one hand, this is a definite plus: we see the exact colors. On the other hand, the brightness of 3LCD projectors is noticeably lower than that of DLP single-matrix projectors.

On the right you can see how the 3LCD projector looks like from the inside, and on the left you can see the scheme for converting light into color.

Unlike a DMD mirror chip, 3LCD works through transmission, and under equal conditions, the 3LCD matrix copes a little worse with cutting off excess light, thus reducing the image contrast. However, 3LCD matrices do not need to move like micromirrors, they can operate in the open and half-closed position, passing the percentage of light output that is required.
Expensive home theater projectors often use a 3LCD modification marked C2Fine. In this case, the contrast is considered sufficient for the elite segment of models operating in ideal cinema conditions.

DLP or 3LCD?

It's time to compare DLP and 3LCD technologies for budget models using lamps as a light source in more detail. Expensive projectors use advanced technologies that often smooth out or completely eliminate imperfections.
Consider DLP and 3LCD under the conditions:
darkened room;
in the light.
Different conditions, by definition, imply different results, since the projector does not require special brightness in the dark. 1000 lumens or even less is enough, but the contrast should be at the level. In a lit room, it's just the opposite: we need brightness to "defeat" backlight, and contrast loses its relevance.

Brightness and color reproduction

As we found out earlier, a DLP projector simultaneously displays one base color on the screen, cutting off the rest, as if throwing them away.

If we use such a projector in a dark room, then everything is in order: very high brightness is not needed. However, the operation of the same device in the office or classroom in the light looks different. Here, the projector must have a good brightness indicator, which means a powerful light source: this entails an increase in the cost of the device, an increase in the noise level and some other inconveniences. To avoid these disadvantages, the manufacturer added a colorless segment to the color wheel, thereby increasing the brightness. However, this move led to an imbalance between black and white and color brightness: any color on the screen looks dark and / or undersaturated.
Three-matrix 3LCD technology eliminates this imbalance, so the manufacturer often mentions high color brightness in the specification. But brightness itself is one of the three characteristics of color, along with saturation and hue.

Contrast

DLP technology provides higher image contrast than 3LCD. This, again, is typical for dark rooms; in a lighted room, contrast does not matter. Recall that we are talking about the budget segment, not about expensive projectors.
Color separation effect, or the famous "rainbow effect". This drawback is typical only for single-matrix DLP and it manifests itself in contrasting scenes. How much the effect will be noticeable or smoothed out depends on how fast the color wheel rotates.

Let's compare some other features.
The so-called "mosquito net" (screen door effect), what is it? For clarity, let's take two arbitrary projectors for the office, let's compare.

In the second illustration, the pixel grid is more visible. This is because around each pixel in a 3LCD projector there is some very small space required for the control element. For DLP mirror matrices, such an element is located behind the pixel and there is no such gap. Adherents of DLP technology justify their position by the fact that the DLP image is more continuous, while the 3LCD projector gives a picture with a fringing of each individual pixel point, which creates the illusion of looking through a mosquito net. We believe that such an opinion is an exaggeration, the pixelation is clearly visible in the first illustration. Both 3LCD and DLP projectors exhibit a pixel grid to a greater or lesser extent. Very often, an unbiased comparison reveals no noticeable difference. Complete elimination of this effect is possible only with solid premium models that use expensive intelligent image smoothing technologies.

Smoothness of color transitions

This characteristic is due to the characteristic of the DMD DLP reflective chip of the projector and its control device. The bottom line is that some models can display more or less smooth color transitions, while others cannot. This is especially evident with sharp color differences. Here, the so-called "pasteurization effect" can appear, that is, visual digital noise along the boundaries of the object.
Pixel misalignment. This is a disadvantage inherent in three-matrix projectors. It can appear in any of the budget 3LCD models and is caused by inaccurate alignment of the three matrices. The result is a slightly blurry, fuzzy outline of each individual pixel. DLP projectors, on the other hand, always display pixels with sharply defined edges. However, this is a dubious advantage, because it is almost completely lost due to the use of cheap lenses.
Dust filters. Or rather, their absence in DLP projectors is declared by manufacturers as an advantage: you do not have to change filters, which reduces projector maintenance costs. It is enough just to vacuum the ventilation holes from time to time. This is a dubious argument, since the accumulated dust leads to overheating of the device and an increase in its power consumption. However, the DLP optical unit is hermetically sealed and dust cannot affect the picture quality in any way. On the other hand, the lamp is not protected from dust, therefore, the brightness may become lower. Some popular DLP projectors are still equipped with filters.

Dimensions.

You will not find compact 3LCD projectors. Miniature implies the use of a single matrix, so all mini-projectors are based on DLP technology.

LCoS technology

Let's turn to more expensive projectors. Here we can see another technology called LCoS. Actually, LCoS is a hybrid of DLP and 3LCD. There are many variations, for example, Epson uses a "mirror" 3LCD, Sony uses SXRD, and so on.
The technology principle can be visualized as "Reflective 3LCD". On top of the matrix mirror layer there is a layer of liquid crystals:

Simplified, an LCoS matrix is an LCD matrix glued to a mirror. The advantage of the innovation is that the light passes through the matrix twice, which means that it is possible to better cut off excess light. This has a positive effect on contrast. The control element is located on the back side of the matrix, like DLP. However, there are no micromirrors in LCoS and, in fact, there are no moving elements at all, and therefore no gap between pixels. As a result, you will not see the notorious “mosquito net” on the screen.
Let's compare the passage of light through 3LCD and LCoS matrices.
3LCD projector: LCoS projector:

In the second case, the path of light is noticeably more complicated.

LCoS vs 3LCD and DLP

The case when the brainchild outdid its parents: LCoS technology was originally conceived in order to preserve and increase the advantages of DLP and 3LCD projectors, getting rid of their shortcomings.
Note that LCoS models have their own minus - this is the price. Hybrid matrices are used in solid home theater projectors. However, when it comes to this price segment, DLP and 3LCD projectors are presented in completely different models. Premium DLP and 3LCD do away with most of the shortcomings of their inexpensive counterparts. So C2fine 3LCD matrices provide “deep blacks” and the highest level of contrast, and gaps are successfully eliminated in the upgraded matrix, therefore, the “mosquito net” disappears. And an expensive DLP projector can have three matrices.
As a result, we are moving to a high price category, where the comparison of image quality goes to another level and every small detail is taken into account.

The VPL-HW30ES has replaced the VPL-HW20 in Sony's new line of cinema projectors. Outwardly, the models are very similar, the declared characteristics also practically coincide, however, the "thirty" has one very important difference - it supports stereoscopic mode in conjunction with shutter glasses.

Passport characteristics, scope of delivery and price

Passport characteristics
Projection technology	SXRD
Matrix	0.61″ (15.4 mm), 3 panels, 16:9
Matrix resolution	1920×1080
Lens	zoom 1.6x, F2.52-3.02, f=18.7-29.7mm
Lamp	200W UHP
Lamp life	No data
Light flow	1300 ANSI lm
Contrast	70,000:1 (full on/full off, dynamic)
Projected image size, diagonal, 16:9 (in brackets - the distance to the screen at the extreme zoom values)	minimum 1.02 m (1.20 - 1.84 m)
	maximum 7.62 m (9.31 - 14.1 m)
Interfaces	Video input, component Y/Cb/Cr (Y/Pb/Pr), 3×RCA Video input, VGA, mini D-sub 15 pin (compatible with computer RGB and video GBR and Y/Cb/Cr(Y/Pb/Pr) signals) Video input, HDMI (v. 1.4, RGB and Y/Cb/Cr(Y/Pb/Pr) signals, support CEC, x.v.Color, Deep Colour), 2 pcs. Remote control, RS-232C, mini D-sub 9 pin (f) External IR receiver input, 3.5mm mini jack 3D sync external emitter output, RJ45, 12V, 45mA
Component analog video Y/Cb/Cr (Y/Pb/Pr): 480i, 480p, 576i, 576p, 720p, 1080i
	analog RGB signals: VGA-WXGA: 640x350-1280x768 (MonInfo report)
	digital signals (HDMI): 480i, 480p, 576i, 576p, 720p, 1080i, [email protected]/50/60Hz, 640x480-1920x1080 (MonInfo report)
Noise level	22 dB (in dimmed mode)
Peculiarities	Support for stereoscopic frame sequencing Adjustable diaphragm Lens shift ±25% horizontal and ±65% vertical Convert 2D to 3D Motion Enhancer tween feature Panel driver 240 Hz Digital vertical keystone correction
Dimensions (W×H×D)	407.4×179.2×463.9 mm
Weight	10 kg
Power consumption	300W maximum, 8W or 0.5W standby
Supply voltage	100-240 V, 50/60 Hz
Contents of delivery	Projector with lens cover Power cable IR remote control and two AA batteries for it User manual, A5 brochures Warranty card for Russia Power supply with USB output (100-240V, 50/60Hz at 5V, 1500mA)
Additional accessories	Shutter glasses (TDG-PJ1) Sync Emitter (TMR-PJ1)
Link to the manufacturer's website
Medium current price (number of offers) in Moscow retail (ruble equivalent - in a tooltip)	$2193()

Appearance

The design of the projector is very neat and strict. The case is black (but there is also a modification in a white case - VPL-HW30ES/W). Body material - plastic. The surface of most of the body is matte, and only the top panel is mirror-smooth, apparently with a coating that is relatively resistant to scratches. On the top panel, closer to the lens, there are two status indicators and lens shift wheels. The lens is recessed into the body, but still slightly protrudes beyond the dimensions. Control buttons, including a miniature joystick, are placed on the right side surface.

Below, in a shallow niche - interface connectors. There is only one IR receiver - in front.

The projector is equipped with two front feet that can be screwed out (by 10 mm) from the chassis to correct slight skew and/or slightly raise the front of the projector when placed on a horizontal surface. There are 3 threaded metal bushings embedded in the bottom of the projector for mounting to a ceiling bracket. The lamp cover and air filter cover are on the bottom, but they do not go beyond the triangle of mounting holes, so there may be ceiling brackets that are designed to allow you to change the lamp and remove the filter for cleaning / replacement without dismantling the projector from the bracket. Air for cooling the insides is taken in through numerous grilles (but not the bottom itself) and blown out through two symmetrical grilles in the front of the case (mainly through the right).

Remote controller

The design is made in the corporate style, including ribbing on the bottom surface. The body of the remote control is made of black plastic with a matte finish. On the sides there are plastic inserts with a silver coating. The remote is comfortable in the hand. There are few buttons, the most necessary, including a group with a four-position navigation button in the center and three rocker buttons for quickly changing the most important image settings, are easy to touch. There is a uniform and fairly bright blue LED backlighting of all buttons, except for three in the first row, which are phosphorescent.

Switching

The planned tendency to get rid of composite and S-Video interfaces in Full HD devices is supported - they are not in this projector. The projector is equipped with two HDMI, VGA and component inputs. The mini D-sub 15 pin connector is universal - it is compatible with both computer VGA signals and component color difference and GBR video signals. The type of video signal on this connector is determined automatically, but you can force it. Switching between sources is carried out by searching through all using the button INPUT on the projector cabinet or remote control. However, if the auto search function is enabled, the projector automatically skips inactive inputs. The minijack socket is for connecting an external IR receiver. Declared limited support for HDMI control - the projector can automatically turn on when you turn on (start to play) the connected via HDMI equipment, on the contrary, turn off the connected equipment when you turn it off. However, the connected projector was not detected and did not react to commands in any way. The RJ45 connector is for connecting an external shutter spectacle sync emitter. The idea is that the user can use available network cables of the desired length and standard connectors to connect the optional TMR-PJ1 radiator. The RS-232C interface, apparently, is intended for remote control and, possibly, firmware updates.

Menu and localization

The menu uses a readable even font. Navigation is convenient and economical. When adjusting parameters that affect the image, a minimum of information is displayed on the screen - only a list of modes or sliders - which makes it easy to adjust the picture.

The bottom line displays a hint on the functions of the buttons. There is a Russian version of the menu, the translation is adequate, except that there are too many abbreviations.

The projector comes with a printed detailed user manual in Russian. Translation quality is high.

Projection control

Focusing and changing the focal length are carried out by two ribbed rings on the lens (the zoom ring has a ledge-lever). Two wheels adjust the position of the lens relative to the matrix (shift up to 65% of the projection height up and down vertically and up to 25% of the width to the right and left horizontally).

The limit of the allowed position of the lens is a rhombus, i.e. when shifting horizontally, the range of shifting vertically decreases and vice versa. There is a manual digital vertical keystone correction function. Protection of the lens from dust is provided by a translucent cover that is put on the lens and is not attached to the body in any way.

Several modes of geometric transformation will allow you to optimally fit the picture to the screen format:

Normal- the image without distortion is enlarged to the boundaries of the projection area, optimal for watching movies in 4:3 format, Full- the picture is enlarged and stretched to the boundaries of the projection area (up to a ratio of 16: 9), ideal for anamorphic films and films in HD quality, Increase- isotropic zoom to screen width, suitable for LetterBox format, Shir. increase- the same as Full, but with slightly more vertical stretch, so that the top and bottom are cut off a bit. In the case of computer signals, the choice is reduced to 3: Full 1— increase to the boundaries of the projection while maintaining the original proportions, Full 2- magnification over the entire projection area, and Increase. In mode Increase the image can be stretched / compressed in the vertical direction and the visible part can be moved up and down. There is a function to crop the edges of the picture Fig. off screen, while for 1080 modes you can turn off zoom to avoid interpolation. Optional function Extinguishing allows you to selectively crop the projection area on four sides. Function Straightening panels it has almost no practical significance, since it allows you to adjust the mixing of colors exclusively by software.

The projection type is selected in the menu (frontal/translucent, normal/ceiling mount). The projector is medium-focus, and at the maximum focal length of the lens, it is rather long-focus, so when projecting frontally, it is better to place it approximately on the line of the first row of viewers or behind it.

Image Adjustment

The standard set of settings is supplemented with a choice of aperture operation modes (two automatic with three speed levels and manual adjustment), adjustments for video noise reduction and elimination of MPEG compression artifacts, a choice of an advanced deinterlacing mode, a choice of a gamma correction profile and fine detail adjustment in the shadows. Function RPC(Real Color Processing) allows selective adjustment of selected colors.

Customization Color. simplicity, affecting the color gamut, can be left at Wide 1, as the colors become creepier, but not parrot-like yet. (Depending on the current mode and connection type, some settings may not be available.) x.v.Color xvYCC color space is supported. Selecting for parameter Reg. Lamps meaning Short, you can reduce the brightness of the lamp, and at the same time the noise from the ventilation system. Setting combinations are stored in seven preset but editable profiles and two custom profiles. Also, picture settings are saved for each connection type. button RESET on the remote control, you can return the current parameter to the preset value.

Additional features

You can enable the automatic switch to low power mode (with lamp off) after 10 minutes of no signal.

Luminance measurement

Luminous flux, contrast and illumination uniformity were measured according to the ANSI method.

To correctly compare this projector with others that have a fixed lens position, measurements were taken with the lens shifted up by about 50% (the bottom of the image was approximately on the lens axis). Measurement results for the Sony VPL-HW30ES projector (unless otherwise indicated, the aperture is maximally open, the profile selected Dynamic and high brightness mode is on):

The maximum luminous flux is slightly higher than the passport value (declared 1300 lm). The uniformity is good. The contrast is high. We also measured contrast by measuring the illumination in the center of the screen for white and black areas, the so-called. contrast full on/full off.

Native contrast is high. It increases slightly as the focal length increases. Even when dynamic iris control is enabled ( Improved Aperture) the contrast is lower than the declared value of 70,000:1, but in this case this discrepancy is not of fundamental importance.

When switching from a black field (after 5 s shutter speed) to a white field in fast mode, the aperture fires in about 0.7 s, and in the slowest mode it does not open completely even in 5 s:

To assess the nature of the increase in brightness on the gray scale, we measured the brightness of 256 shades of gray (from 0, 0, 0 to 255, 255, 255) with gamma correction turned off (only with the settings Contrast And Brightness we adjusted the black and white levels to an extended range). The graph below shows the increase (not an absolute value!) in brightness between adjacent halftones:

The upward trend in the increase in brightness is maintained throughout the range, and each next shade is significantly brighter than the previous one, starting from the shade closest to black:

Approximation of the obtained gamma curve gave the value of the indicator 2,13 , which is slightly below the standard value of 2.2. At the same time, the real gamma curve practically coincided with the exponential function:

In high brightness mode, power consumption was 266 W, dimmed - 209 W, standby - 0,6 Tue

Sound characteristics

Attention! The reported sound pressure levels from the cooling system are based on our method and cannot be directly compared with the projector ratings.

Mode	Noise level, dBA	Subjective assessment
high brightness	31	Very quiet
Reduced brightness	25,5	Very quiet

The projector is quiet, and in dimmed mode it can be considered silent from a practical point of view. The dynamic iris is very quiet, you can actually hear it only if you press your ear against the projector body.

Video path testing

VGA connection

1920 x 1080 resolution is not supported with VGA connection. In the 1280x720 mode, everything is fine, and you can use it to watch movies and play games with a VGA connection. The shades on the gray scale vary from 0 to 255 in increments of 1.

DVI connection

When connected to the DVI output of a computer video card (using an HDMI to DVI adapter cable), modes up to and including 1920 by 1080 pixels at 60 Hz frame rate are supported. The white field looks evenly lit and has no color streaks. The black field is uniform, there are no glare and color streaks. The geometry is close to ideal - the deflection along the upper edge down when shifted up by 50% is only about 1-2 mm per 1.5 m of width. Clarity is high. Thin colored lines one pixel thick are output without losing color fidelity. Chromatic aberrations of the lens are small - in the center they are minimal, and towards the corners the width of the color border does not exceed 1/3 of a pixel. The dark border between pixels is practically absent. The uniformity of focusing is slightly disturbed in places, but not so much that it affects the image quality. When you shift the lens and change the focal length, the image quality does not change significantly.

HDMI connection

HDMI connection tested when connected to . 480i, 480p, 576i, 576p, 720p, 1080i and [email protected]/50/60 Hz. The picture is clear, the colors are correct, overscan is turned off. There is real support for the 1080p mode at 24 fps (in this mode, the frames have equal duration), in addition, the projector can perform the reverse conversion - from interleaving frames 2-3 at 60 fps, restore the original 24 fps with equal frame duration. Subtle gradations of hue differ in both shadows and highlights. Brightness and color clarity are always very high.

Working with a Component Analog Video Source

The quality of the component interface is high. The clarity of the image corresponds to the capabilities of the interface and the type of signal. Test charts with color gradients and grayscale did not reveal any image artifacts. Weak gradations of shades in the shadows and in the light areas of the image are well distinguished. The color balance is correct.

Video signal processing functions

In the case of interlaced signals and if the parameter Movie mode installed in Auto 1 or Auto 2, the projector tries to completely restore the original frame using adjacent fields. In the case of 576i / 480i and 1080i signals, the projector usually glued frames correctly both in the case of alternating fields 2-2 and 3-2 (breakdowns happened, but rarely), and only in very difficult cases did the characteristic “comb” sometimes slip through. For regular resolution video signals, jagged edges are smoothed, but not for 1080i. The noise reduction functions work non-aggressively, without bringing the process of improving the picture to the appearance of artifacts.

This projector has a tweening function (the previous model did not have it). Note that this function can also be enabled in stereoscopic mode with a 24 fps signal. The function of inserting intermediate frames in the Russian version of the menu is not translated and is called motion flow. When it is turned on, the smoothness of movement and the clarity of objects in motion increase, the picture becomes more pleasing to the eye. When changing the level from Short before High increases the speed of movement in the block for which interpolation is performed. The quality of this function is high and in the vast majority of cases there will be no complaints about its work. However, films like "Avatar" (or rather, some fragments from this film) set a new bar: at the level High with a very fast and complex movement of the background, the calculation of intermediate images periodically stops for a couple of seconds and the picture is displayed in 24 fps mode, in addition, some foreground objects often have their twins from the phases of movement forward and backward in time. In such cases, it is better to choose the mode Short, in which clarity and smoothness are lower, but artifacts are less noticeable.

Apparently, at 60 fps, one intermediate frame is calculated, at 24 fps, two intermediate frames are calculated. To illustrate, here are pictures taken with the arrow moving one division per frame on the screen with the tween function enabled for 60 fps and 24 fps:

60 fps.

24 fps.

The segments between the divisions are the calculated intermediate positions of the arrow.

Determining response time and output delay

The peaks are narrow and not very intense, so no flicker is visible, but they interfere with the calculations. It can be roughly estimated that the response time for the black-white-black transition is 6,5 ms ( 5 ms on + 1,5 ms off). For halftone transitions, the average total response time was approximately 7,5 ms. Such a speed of the matrices is quite enough both for watching movies and for playing dynamic games.

The image output delay relative to the CRT monitor was about 15 ms at VGA-, and 22 ms for HDMI(DVI) connection (projector as primary monitor in systems). This is a small latency value that does not interfere with playing fast-paced games. When the tweening feature is enabled, the delay increases to 51 ms, which may already be noticeable, but in games it is still better to disable frame insertion.

Rating the quality of color reproduction

To assess the quality of color rendering, a spectrophotometer and was used.

Color gamut depends on setting value Color. simple. At Wide 3 maximum coverage, Normal coverage is exactly sRGB:

Below are the spectra for the white field (white line) superimposed on the spectra of the red, green and blue fields (lines of the corresponding colors) at Color. simple. = Wide 3 and at Normal:

Wide 3.

Normal.

It can be seen that the components are well separated, and this allows you to get a wide color gamut, and to bring it to the sRGB standard, it cross-mixes the components. Color reproduction closest to standard in case of profile Movie 1, taking it as a basis, we tried to bring the color reproduction closer to the standard 6500 K in the white and dark gray areas by adjusting the gain of the three primary colors. The graphs below show the color temperature in different parts of the gray scale and the deviation from the blackbody spectrum (parameter ΔE):

The range close to black can be ignored, since the color rendering is not so important in it, and the measurement error of color characteristics is high. It can be seen that manual correction brought the color reproduction on the white field closer to the target, but for correction in the shadows, you must also use offset adjustments. However, even without correction, there are no particular complaints about the quality of color reproduction, since the changes in ΔE and color temperature are monotonous when moving into the dark area, which visually has little effect on the image.

Stereoscopic testing

To create a stereoscopic image, the full frame interleaving method is used. The projector sequentially displays frames for the right and left eyes, and the active glasses block the eyes in sync with the frames, leaving open the one for which the currently displayed frame is intended.

Glasses are not included in the delivery package of this projector, they will have to be purchased separately (however, the VPL-HW30AES modification with glasses and a synchronizer is included). Sony offers the TDG-PJ1 glasses for use with this projector. The glasses have an elegant design, they are comfortable to wear even with corrective glasses, the viewing angle is large enough, the glasses cover the head with flexible temples and are suitable for small and large heads. True, by modern standards, the glasses are a bit heavy - 59 g. The glasses come with a soft two-layer case designed to store the glasses. The glasses are powered by a built-in battery. It takes 30 minutes to fully charge, and the goggles last 30 hours on a single charge. 3 minutes of recharging provides 3 hours of operation (manufacturer's data). For charging, a cable (1.2 m) with micro USB and USB type A connectors is used. The first connector is connected to the connector on the glasses under the plug, the second to the power supply unit or port on the computer. The goggles do not charge while in use. Oddly enough, the projector comes with a small power supply unit with a USB socket, designed to charge the glasses. The glasses are synchronized by the IR signal from the projector. The receiver is located in the center between the panes. The glasses are turned on with a button on the top. Turn off - after a few minutes of no reception of the clock signal.

The sync emitter will also have to be purchased separately. It connects to the projector via a twisted pair cable. The manufacturer indicates that the cable length can be up to 15 m, and the emitter ensures the operation of glasses at distances from 1 to 9 m.

The projector supports three methods of receiving a stereo pair of packed frames, when two full frames (with a resolution of up to 1920 by 1080 pixels each) are transmitted for both eyes, and two combined formats: horizontal ( Near, in the right half of the frame a frame is compressed twice horizontally for one eye, in the left half - for the second), and vertically ( One above the other, similar to the previous one, only frames for the eyes are placed in the lower and upper half of the frame). In mode Auto the transmission method is determined automatically by the characteristics transmitted via HDMI.

Of course, regardless of how the projector receives a stereo pair, the 3D image is always displayed in sequential mode - a frame for one eye, then a frame for the other eye. There is also a mode for automatically converting an ordinary "flat" picture into a stereoscopic one, we did not test this mode. Note that in stereoscopic 1080p at 24 fps, you can enable the insertion of intermediate frames. There is an option in the stereoscopic settings 3D glasses brightness, which controls the duration of the period when the glasses transmit light. When changing from Max before Min(only 5 steps), the transparency period decreases, and the brightness of the visible image decreases accordingly.

We tested the packed frames stereoscopic mode using a computer equipped with a Blu-ray drive, while the AMD Radeon HD 6850 video card was responsible for displaying the image. Player - CyberLink PowerDVD 10 Ultra. Testing has shown that acceptable stereo image quality is achieved already at the second stage in the direction of lowering the brightness, while the image brightness remains at a sufficiently high level for comfortable viewing on a screen with a diagonal of 2-2.5 m, or maybe a little more. With a decrease in the transparency period, the brightness decreases, but a significant increase in the quality of the separation of stereopairs is no longer observed. To test the separation efficiency for the eyes, we ran three test images with a black box on a white background, a white box on a black background, and a light gray box on a dark gray background. In stereo pairs, the rectangles were shifted relative to each other, so when viewed through glasses at 100% separation, one would see only one rectangle. The photographs below were taken through glasses at a signal of 24 fps, while the exposure was selected so that the white field in the photographs was as bright as possible, but not yet overexposed. 3D glasses brightness installed on Max(image brightness and glasses transparency period are maximum):

The separation quality does not change significantly when changing the frame rate of the input signal from 24 to 50 and 60 fps.

Brightness measurements through glasses made it possible to determine how much the brightness decreases in stereoscopic mode.

The data given in the last column needs comments. It should be taken into account that the perceived brightness of the image does not decrease when one eye is closed, and the measurements were carried out only through one glass. As a result, to estimate the maximum possible perceived brightness in stereoscopic mode, you need to multiply the data of the middle column by 2. The result of this action is shown in the last column.

conclusions

In the usual "two-dimensional" mode, the new Sony VPL-HW30ES projector differs little from the previous Sony VPL-HW20 model, except that frame insertion has appeared. Here support for stereoscopic mode is a completely different matter. Yes, you will have to buy additional glasses and a synchronizer, but it's worth it, because in 3D mode the projector shows very well - with a minimum level of crosstalk at a fairly high brightness. In terms of the quality of the stereoscopic mode, this projector overtakes even the top model of the previous Sony line - the VPL-VW90ES projector.

Advantages:

High image quality
Low crosstalk and sufficiently high brightness in stereoscopic mode
Very quiet operation
Vertical and horizontal lens shift
There is a function to insert intermediate frames
Strict case design
Convenient backlit remote control
Russified menu

Flaws:

1920x1080 resolution not supported with VGA connection

A head-to-head introduction to Philips PicoPix series projectors took place at IFA 2010. On the eve of IFA 2011, our test lab was approached by their representative, distinguished by the presence of a built-in multimedia player. Of particular interest is the projection technology used, since we have had LCD and DLP projectors with LED light sources, but we have not yet tested LED projectors with reflective LCD matrices (LCoS).