LCD projector Review: Epson EMP-TW1000
Native FullHD projector of the "inventor" of the D6 LCD-Panels, everything from one manufacturer...
Epson projectors have always convinced so far by a well thought out optical path and with that, an very high attainable flexibility, our published test of the EMP-TW700 proved this again. Therefor ofcourse it is very exciting to see what Epson was able to do with its own panels in the TW1000.
After our detailed Preview Special we now submit the test with elaborate details and measurement results concerning the final machine as it is on the market.
We refer in advance to our test criteria, which are described in detail in our Know How Special: "Projectors / Plasma TV's - Quality aspects".
Optically, the TW1000 strongly resembles its small brothers TW600 and TW700. The form was maintained, only the color was changed from white to an elegant black/anthracite coal.
The optical appearance of the EMP-TW1000 justifies its elevated "class". It is a successfull mix between elegance and extravagance, and an eye-catcher in every living room.
1.1 Technology (Know How link here)
However we do not evaluate optical Design in our reviews, but technical efficiency. This is primarily shaped by the optical and mechanical structure of a projector. Only with a good physical construction the image quality can also fare accordingly well. For this reason we begin every review with a view in the inside of the projector, how well is it constructed?
After removing the cover we are again strongly reminded of the TW1000's small brother TW700, the structure seems about the same. Substantially larger and completely differently designed however are the signal electronics of the TW1000 and with it we see the first special characteristic of the Epson beamer:
Primarily the contrast and with it the plasticity of the projected picture depend on the polarisation filters . In the picture above the slight coloring of the glasses can be seen. The individual LCDs finally provide the actual light modulation. The light is polarized, reflected or passed by the LCD, and afterwards the three basic colors are layered on top of each other by a glass prism again and leave the optics as a common color image.
Meanwhile into its third generation is the integrated Adaptive Iris, which is used in all current HomeCinema LCD projectors in different variants. As with almost all models, the adaptive iris is placed directly at the beginning of the optical path, in front of the projection bulb.
With its two wing doors, the iris can open and close and thus control the light-flow of the lamp. In scenes with little light and much blackness the screen closes, until only a small light gap remains (see picture above).
In bright scenes however, the wings are placed into a horizontal situation, so that the light window becomes maximally large and sufficient light comes into the optical path:
In the picture above the high-quality filter of the projector is visible. Its cyanide color is deceptive: the camera picks up only the reflecting light portions of the filter. Since the filter primarily passes Red, it reflects Green and Blue (=Cyanide), which lends the filter a Turqoise glow.
The filter is not placed firmly in the optical path, but can be in added if necessary by the user by remote control. A small engine then pushes the filter in front of the lamp like a slide.
The alternative is an optical filter, it corrects the light to 6500K and equally decreases the brightness in white and black, so that no loss of contrast has to be suffered. Exactly this principle is the basis for the very well-known "Projector Tuning" , on which we regularly report for quite some time and which ever more specialist dealers offer as a service to their customers.
But in the case of the TW1000 projector tuning, as with its predecessors, has already been integrated in the factory, so re-tooling the projector with an external color filter is not necessary. And motorizing the color filter clearly offers some luxury here compared to the additional tuning option. How the color filter affects the image representation we will continue to examine in the picture test.
Altogether, the optical structure of the projector appears very well thought thru, even if it was copied practically without any changes from the predecessor models. The same applies to the ventilation system:
The necessary projection light in the TW1000 is provided by Epsons own special "E-TORL"-lamp ("Twin Optimized Reflection Lamp") with 170 Watts of power. Praiseworthy are the guarantee conditions: three years or 1700 hours (whichever comes sooner) one does not have to concern about it, which is something offered by hardly any other manufacturer.
After releasing a few screws the lamp module can be changed. The placement of the lamp pit on the equipment lower surface however is a little less fortunate. So the projector must be taken off the ceiling mount from if placed that way.
The necessary cooling air is sucked in on the bottom, and a majority of that air is directly led to the lamp. The other part is led towards the optical path, where a second exhaust continues to distribute air. Afterwards, "used" air is exhausted completely from the machine at the front right:
The lamellas of the exhaust air duct are exemplary positioned diagonally (see picture above), so that no heat flares are visible in the picture. The ventilation works pleasantly quiet, and fortunately Epson has opted to add an Eco mode to the TW1000 which can be used in every picture mode, thereby solving one of the larger drawbacks of the TW600/700.
Altogether, the technical structure of its predecessors was transferred to the TW1000 without changes and thus goes into its third generation. Considering the well thought out design this is not a disadvantage. To criticize however are the adaptive iris which still suffers from a too slow motor, and the ventilation system with its thin filter and the awkward filter cleaning.
1.2 Connections / Signal types (Know How link here)
Optically there are also few changes visible on the connection front: 1x HDMI, 2x Component (YPbPr), 1x S-Video, 1x Composite and 1x RGB H/V are present. The addition of the second component input in the Japanese D4-variant is a little unpractical in this country, but supplied with the projector is a Scart adapter so that this input is almost perfectly suited for connecting it to conventional satellite receivers.
However, there is one substantial innovation: the HDMI is one of the newest variant "1.3", which also permits "Deep Color" with more color depth. The TW1000 is one of the first projectors world-wide with this type of input, and sets it apart from other projectors. Despite this new fact however a second digital input would have been desirable, as meanwhile can already be found as standard on entry level devices like the Sanyo PLV-Z5 for example. For control signals, another trigger Out connection as well as an RS232 interface are integrated.
Regarding signals types, the projector understands and processes everything a modern projector must, and that even includes the movie standard of the future: 1080/24p.
1.3 Placement (Know How link here)
The projector remains absolutely exemplary regarding placement flexibility, which was copied almost completely from the smaller models. This begins with the large 2-fold Zoom range of the projector, which enables an equal display width over a wide range of distances.
As can be seen from the table above, the TW1000 makes a display width of 2.2 meters possible, a common size in home cinema, from a projection distance of 3 meters. This means that appropriate cinema dimension screen sizes can be realized even in smaller living rooms. In addition, if one needs particularly large distances, the TW1000 could be used without restrictions. The same display width can also be projected from a distance of 6.3 meters.
With the large Zoom range comes an equally large mechanical Lens shift. The picture can be shifted up to 96% vertically and 47% horizontally.
Besides, the Lens shift wheels are not very precise, the picture shifts a little in both directions if one of the wheels is adjusted. A little patience is therefore required in order to perfectly align the projector to the screen. Here all other Full-HD LCD projectors, like for instance the Mitsubishi HC5000 or the Panasonic PT-AE1000, offer more luxuary for the same price.
Apart from this small deficiency however the Epson EMP-TW1000 offers outstanding placement characteristics, which are perfectly adaptable to local room considerations. With the TW1000 it should be no problem to find a the "suitable place" in almost all room conditions . LCD projectors remain the most flexible concerning placement.
There are further changes with the operation, which does not apply to the remote control however. Here the "bone" model also goes into its third generation, this time however in a black color.
In three themed sections, keys of a category are placed, between them the navigation cross. The input selection buttons are particularly worth of praise, because they allow the user to switch directly to the desired source. The remote control is very ergonomic, all keys can be reached comfortably with the thumb and the infra red transmitter reflects off of the screen even over larger distances. In addition, electrical back lighting can be activated in dark rooms with the push of a button.
The on screen menus of the new Epson projector were visibly revised. While preceding models showed a difficult to understand structure without logic, the parameters of the TW1000 are clearly divided into four main categories "Image", "Signal", "Settings", "Memory" and "Info.".
The "Image" menu contains, like the name says, the picture parameters like Tint, Color Saturation, Brightness and Contrast. The first of all these settings is the "Color Mode", but the name is a little misleading: instead of colors this option concerns the selection of different factory presets for different targeted applications and room conditions.
The disadvantage that the lamp brightness and thus the ventilation volume are firmly connected to the display mode, was repaired: now the projector can be placed into Eco mode in every projection mode with the aid of the "Brightness Control" option. This time, redundant nestings and confusing submenus were avoided. The "Advanced Menu" remained, with which furhter picture adjustments are possible:
As can be seen in the screen shot above, one can essentially select the desired brightness rise from a list. A rise of 2.2, commonly used for DVD Mastering, is preset. This function already permits an exemplary adjustment on room conditions. In addition it is possible for the user to change the brightness distribution with the help of the practical Equalizer however. With nine different sliders the light output can be fine-tuned to the signal level. Technically experienced users will quickly appreciate this option.
For all primary and secondary colors, the color and the saturation can be changed in detail here. For the first time this color space correction can be combined also with an exact white alignment on D65 by means of the "RGB" function.
With the predecessors TW600 and TW700 one still had to decide what one would like to correct when working with the menus. Clear improvements were also achieved here.
As the name implies, the signal menu offers numerous functions for the adjustment of the input signal.
We still classify the "Epson Super White" function under the category "Marketing Gag". It is to avoid blooming (Clipping) of bright picture details and permit more coloration. In practice this function simply and clearly lowers the maximum white level. Since such corrections are better made with the contrast and gamma functions however, one needs to consider this feature no further.
The adjustment options of the TW1000 are various, as is typical with Epson, like hardly any other video projector. With so many functions a memory function is important, so that one does not always have to make all adjustments again. Epson also took every precaution here again:
This time, a new record is set with the TW1000 as ten(!!) memory banks for setup storage which is even more than the TW700 (which has only nine memory banks). With so many storage locations every projector application can have its own profile.
New here is the Deep Color information, which indicates the color depth of the signal that is fed into the HDM1.3 input.
Remaining is the "Reset" menu. Here the lamp counter can be set to zero and the projector altogether can be reset to its delivery status.
So far, the Epson EMP-TW1000 offers an appropriate quality in structure and operation into the Full-HD world for its favorable entry price. What remains is a look at the image quality, which we will examine in the next part:
In our Preview Special the EMP-TW1000 already made a good impression, if figure also outstanding made. We supplement the Preview in this part with results concerning the finished standard set.
3.1 Screendoor (Know How link here)
The LCD technology profits particularly from a high native resolution, the pleasant side effect here: there are so many pixels are on the screen that they are no longer visible to the human eye from appropriate viewing distances:
Also from small viewing distances the screen door is by far no longer as visible as with 720p LCD projectors, and this although the filling rate did not change.
The topic Color Space grows in complexity, as we already pointed out in our test of the Panasonic PT-AE1000. Reason for it is the increasing flexibility of modern projectors. While in former times a digital projector often only had a preset Color Space which was more or less near the video standard, high-end variants often offered an increased Color Space, which in addition could be changed by Color Management. The TW1000 also offers such Color Management:
3.2.1 Native Color Space without Cinema-filter
Like already described under technology the Epson EMP-TW1000 corrects the color representation for movie representation by using an internal Cinema filter. As a starting point therefore we ae only interested in the native chromatic spectrum of the e-Torl-lamp. Therefor we switch the projector into the Dynamic or Living Room mode, which pushes the Cinema filter out of the optical path.
The result is disappointing. The diagram above shows that the projector is only able to produce a bright image with a very limited Color Space. Although the TW1000 reaches a brightness of 1200 lumen, the green is much too pale and is almost yellow. An accurate image representation is therefor not possible, and also with Color Management the green portion of the Color Space can not be improved. The spectrographic analysis of green shows exactlty what the problem is:
Especially the "green" wave band between 500 and 550Nm, which are obtained by e.g. a xenon lamp well, are missing in the spectrum. This alone would still be justifiable because this is not rare with UHP lamps, but the high yellow-orange spectral portions have no business being in the green basic color. They could have been separated by better color fragmentation in the optical path (dichroitic mirrors). Probably they did not filter it in order to obtain the maximum light output of over 1000 lumens. This is a popular trick in order to increase the maximum brightness by using the yellow light portions. As is shown here however, marketing can negatively affect the image representation. A large native Color Spae with 800 lumens would have been better. Therefore, the TW1000 scores some negative points in this domain. High brightness and strong greens are not possible, only a pale "apple green".
3.2.2 Color Space with Cinema-filter
Since the yellow spectral portions in the optical path were not filtered out, there is no other option than additional optical filtering in order to adapt the Color Space to the video standard and to thus make accurate color representation possible. The engineers made the so-called "Cinema-filter" possible, which automatically pushes itself into the optical path with the selection of a theatre picture mode. And as expected, the green now appears substantially stronger on the screen.
The above spectrographic analysis clearly clarifies that the disturbing yellow spectral portions are filtered from green by the auxiliary filter. This way the deficiency of the pale green is repaired. But the additional color filtering always has an unwanted side effect: loss of light! In the case of the TW1000 a very strong filter was used, which "swallows" no less than 75% of the light. This becomes clear if the spectral levels are compared in the same graph:
In the diagrams above it is quite clearly visible how the "peaks" are only a quarter of their former size. The yellow spectral portions are filtered out, but the brightness visibly suffers.
Above diagram shows the Color Space of the EMP-TW1000 (white triangle) in comparison to the HDTV standard (dark triangle). One can see the fact that the Color Space is larger than the video standard requires. Here the vicious circle between large Color Space of the original cinema, and the Color Space of our picture media begins again. The Color Space is laid out evenly so that no colour is overemphasized disproportionately, but altogether the color representation becomes more multicolored than is intended by the film producers. On the other hand the Color Space makes stronger colors possible this way, as they are possible also in movie theater. Here the user must set his desired emphasis.
Also with the Color Temperature we set high standards in the price range of the TW1000. So far, Epson projectors have always been exemplary regarding the factory setting of the color temperature, and this time is no exception:
Above diagram shows the factory preset without additional adjustments, and it is a very good approximation to the standard. Only a small blue surplus can be seen, which lets the image representation appear slightly too cool. But the competition has become harder, other Full-HD projectors like the Mitsubishi HC5000, the Panasonic-PT-AE1000 or the JVC HD1 already offer even more exact tuning from the factory.
By the good adjustment possibilities one can perfect the result further. In almost all brightness ranges an alignment is possible on the correct color temperature
The LCD typical blue surplus close to black is the only thing that could not be changed with our review machine, but fortunately our eyes are very insensitive to chromatic distortions in these dark ranges.
3.4 Luminance tracking / Uniformity (Know How link here)
Since the TW600, Epson integrated a clear and understandable as well as efficient gamma management with its home cinema projectors. This was maintained also with the TW1000, with the same good results:
A correct color representation already constitutes a large part of the picture. At least just as important factors however are Contrast Range and its use in the gamma distribution. The gamma affects the brightness distribution in the picture and with correct settings ensures that all details in the picture appear exactly as bright as they should be, as was intended with the recording. As for the colors, a certain standard applies to the brightness distribution. Depending upon room and screen size, gamma rises from 2,2 to 2.5 are usable. The Epson engineers considered this range exemplary and offer different rises from 2,0 to 2.4 in the gamma menu. Factory setting is 2,2, which corresponds to the common DVD Mastering standard.
These various options are absolutely exemplary and enable the user a quick and uncomplicated adjustment to his own needs, however only if the recallable presets actually correspond to the promised values. This we checked and were pleasantly surprised. For example the 2.2 Preset corresponds very exactly to a 2.2 Gamma curve without disturbing fluctuations (measured in Theatre Black mode).
This preset thus makes a good picture depth possible, in which no elements are over- or under-stressed. The coloration within dark ranges is exemplary, nothing disappears into black. The same applies to the bright ranges. And also the other selectable values correspond exactly to the actual results on the screen.
The 2.3 preset also appropriately fulfilled the "promised result", the projector shows an even gamma rise of 2,28 here.
Because of these required factory settings the projector is already almost universally applicable. But they even thought of perfectionists, who want to optimize the brightness distribution in detail. In the "Customized" mode, the user can affect the output brightness in nine different ranges .
In movie viewing this pays off with an appealing and exact brightness distribution, which allows for a deep and at the same time believable picture.
Brightness and contrast performance of every projector are much discussed topics, over and over. There is always something wrong: either a projector is too dark, or its black level is too bright, or its contrast is not high enough. Many of these points of criticism are not independent of the personal taste, therefore we publish objectively determined measured values here, which can serve as first reference points to our readers.
Because of the similar technical structure of the projector compared to its predecessors, we obtain very similar results with the contrasts. Also with the TW1000 both an adaptive iris and an internal color filter, which optimize the lamp spectrum to D65, work inside to maximize the contrast of the projector at correct colors.
The results are unchanged in the "Theater2"-Mode: here the TW1000 reaches a contrast of approximately 5000:1 (with correct colors), but it takes over 15 seconds (believe it or not) for the iris to close completely with a dark picture and a perfectly improved the schwarzwert. The adaptive iris becomes almost invisible in its operation because of these slow reaction times, however only scenes which remain dark longer for a longer period of time benefit from this, with fast bright/dark changes there are no improvements. When opening the iris it does act somewhat faster, up to approximately eight seconds to the maximum opening with white.
The projector impresses like no other with this high contrast value at D65. However, the value has little meaning for movie projection because of the slow response times. In practice hardly a dark scene persists for a long enough time for the iris to close completely. In the time between, the black level is not that dark and shows the usual "blackgrey". The more amazing is the fact by the way that the slow increase in black value is not disturbingly noticed by the eye during the movie. The whole procedure runs very subtle, so that the dark scene slowly gains image quality. In order to determine a more realistic contrast range more near practical values, we set a time limit of 6-8 seconds for the iris, and measured the contrast at the time of closing. Now, the TW1000 still reaches a value of approximately 2300:1!
The step engine of the iris produces a quiet knocking by its jerky movements, which is strengthened by the resonance of the housing. In calm scenes one can hear the iris working (depending upon seating distance), so some prospective customers could find this annoying!
Those who wishe more brightness must fall back on the Living Room mode, in which the optical filter is taken out of the optical path. This way the projector gaines brightness (to scarcely 600 lumens with D65), but loses contrast and thus black level however. Dark scenes have the typical "LCD veil" in this mode. Besides this, the color space is so severely limited that an accurate color reproduction is not possible.
The EMP-TW1000 is one of the first Full-HD projectors on the market. Full-HD is characterised by its high native resolution of over 2 megapixels and therefore an enormous sharpness potential. This sharpness potential can only be transferred to the screen if the optical components are of an accordingly high-quality.
The optics of the TW1000 are copied from those of the TW700 and it is remarkably large. It enables an even illumination over the entire projection area, during movie presentation no annoying bright or dark spots could be seen, not even in the edges.
Less than perfect are the results regarding the image definition: small details are surrounded by a small tail, which smears the outlines a little. This becomes particularly clear if the menu of the projector is in the picture.
In the screen shot above, the "halo" which surrounds the writing can clearly be seen. The sharpness impression suffers in the small details. One should not overestimate this detail however, because when fed a Full-HD signal the TW1000 does not belong to the most blurry of its kind under any circumstances.
Only blue is shifted upward half a pixel, which remains practically invisible for the eye however.
3.7 Overscan (Know How link here)
The Epson EMP-TW1000 offers a variable Overscan adjustment in its signal menu, even if it is described cryptically as "Output Scaling".
At 100% the entire picture content is displayed without cut off edges. This is the preferential variant in the home cinema range, since nothing is lost from the picture here.
If the projector is fed its native resolution, then no scaling takes place at "100%". The Overscan can be increased in several steps to 92%.
If necessary, annoying image lines can be faded out beside or over/under the picture.
One of the larger weak points of the last Epson models was the De-Interlacing. Although we often still have to do with signal sources in the half-image format (e.g. PAL) in this country, devices do not succeeded in converting video or filmmaterial to the progressive representation method of the projector adequately. While this can be overlooked with entry level projectors, good quality is expected with such a high priced device like the TW1000 also regarding De-Interlacing. Epson apparently recognized this and improved their current model:
It does not look so good with material consisting of 24Hz photographs of the cinema. The beginnings of the film mode can be recognized and in images with little movement the film mode remains stable to a large extent, but with movements the mode quickly loses its rhythm and provokes loss of detail and annoying edge flares. Therefore one should always pay attention to a progressive input signal, which should not represent a big problem nowadays owing to modern sources.
Apart from the optical sharpness, also signal processing is important for the image definition and detail representation. High end projectors should display the picture appropriately sharp and without annoying double outlines or artificial over-sharpening.
3.9.1 Signal Processing
Analog / Digital
The detail resolution is used to its maximum nevertheless, so that details really appear in the way they are recorded on a DVD.
3.9.2 Scaling Horizontal
The DVD resolution amounts to with 720x576 pixels, not even a quarter of the native resolution of the projector (1920x1080). Therefore it is converted by the internal scaling electronics:
Even the difficult resolution range around 6MHz hardly points out any interferences in the scaling. In addition the small drop in level in high resolutions ensures that also smallest details appear as bright as large details. Thus the sharpness of the picture is visibly enhanced.
It looks equally good during the color resolution, good scaling and an appropriate conversion without disturbing artifacts are offered here. The color separation is ensured and homogeneous up to highest resolution.
3.9.3 Scaling Vertical
In addition to the linearity fluctuations, there is a visible limitation of the dynamic range of small details, which produces less brightness and thus less sharpness. In the picture above can clearly be seen how the thin lines appear less radiating.
The test patterns show that the scaling of the TW1000 is on good level but does not use the sharpness potential of the Full-HD resolution, at least with PAL material. During movie viewing this expresses itself by a slightly "soft" representation, which some feel as being more natural or "filmlike". In our experience however the picture is soft compared with competing models. The absence of any artificial sharpening nevertheless ensures that the picture does not work too digital. Nevertheless: those who wish an optimum image definition on the screen do better using a high-quality external scaling solution. Fortunately, DVD players with for instance the HQV scaling are no longer priceless and thus a meaningful "ADD on".
3.9.4 Chroma Timing problems (Red Delay) provoke delay effects and reduce sharpness
During the course of our test we encountered a perfectly new artifact, which non of the LCD projectors we tested had before. The control of the three color channels does not seem to be correctly synchronized, red precedes the other colors. In fast image motions red edges are provoked.
IIn the screen shot above the red discolorations in slow motion is visible. The faster the movement, the further the red channel is separated:
This artifact can not only be seen with news tickers, with fast movements of bright picture elements one can also see the red seams in the TV picture. Even with cinema material, which is based on only 24 images per second, the edges can be seen with horizontal movements, although substantially more subtle. Apparently it comes with fast camera movements like for instance football transmissions.
We have examined the problem with other LCD models (HC5000 / PT-AE1000) and it did not emerge there. Therefore the TW1000 signal processing is not a system-dependent problem, but only a bug in the TW1000 signal processing. We hope that Epson quickly improves this with a firmware update, but for now we have to deduct points in the picture evaluation.
Many artifacts that are common with the LCD technology have been under control since the new panel generation. What remains however is the problem of the color homogeneity, which is due also to the 3-Chip technology. Because of tolerances in the chips and in the optical components like the prism, color clouds in the picture can occur which must be digitally corrected in the factory.
In the case of the EMP-TW1000 this factory correction succeeded well. While our review machine showed a slightly reddish coloration on the right half of the screen, this was only subtly perceptible in grey tone test patterns. During normal movie viewing the picture appeared even in color and brightness.
Our tests of the HC5000 and the PT-AE1000 already showed that the inorganic new LCD panel generation from Epson does not show annoying vertical banding anymore. Also with the TW1000 the picture is perfectly free from this annoying artifact.
Also the Epson EMP-TW1000 shows that the LCD technology has finally outgrown the shady existence of the "entry level technology" with numerous problems at the latest with the current Full-HD generation. Like already its LCD brothers, the Mitsubishi HC5000 and Panasonic PT-AE1000, the Epson projector shows that it can compete with far more expensive devices of other technologies and be superior in various aspects.
First here is the unbelievable placement flexibility which other technologies do not reach in such a way. With the uncommonly large zoom range and the horizontal and vertical Lens Shift, the TW1000 belongs to the most versatile of all classes. There is hardly a room in which it can not be integrated with the desired picture size dimension. Especially for users who do not want to build a room for home cinema, but rather the reverse, this is a large plus. The strongest competition regarding placement comes thereby from the same technology camp, the TW1000 can not keep up with the comfort of a Panasonic or a Mitsubishi unfortunately. With the TW1000, Zoom range, Focus and Lens Shift are not motorized and not as precisely adjustable and also not as stable as with the other devices mentioned, yet good quality is offered.
The projector combines the outstanding color representation possible with an also appealing contrast. Particularly in the TheaterBlack2 mode, the TW1000 reaches a picture depth, which to a large extent shows films without disturbing greys on the screen. The projector does not belong to the brightest its kind, but it is clearly superior to for instance an HC5000. The latter is brighter, but in a comparison does have visible weaknesses in the absolute black level however. For the successor of the TW1000 however, more light output is recommended, because for display widths of over 2,5 meters the projector is only conditionally recommended.
The signal processing was improved with the new Epson. The De-Interlacer is now very well suitable for video material and thus makes projector suitable for TV viewing. Also the film mode gives satisfying results, however it can not keep up with a good progressive scan DVD player. Something similar applies to scaling: although it performs very good on average, is does not reach tje efficiency of a good external Scaler. In order to use the maximum sharpness of the TW1000, there is no other option than using a high quality HD source.
Signal processing becomes less elaborate when feeding the projector Full-HD material with a native resolution of 1920x1080 pixels. Appropriate sources are represented by the new standards Blu-ray and HD-DVD. With such State-Of-The-Art feed, each pixel of the projector is individually controlled by the signal source. The picture, which is then free from scaling, is accordingly sharp. The full potential of the TW1000 only shows here and proves that high resolution is worth its money. The wealth of detail and the absence of digital artifacts make the HD picture on the screen an experience that leaves both 720p projectors and the local cinema behind. Regarding sharpness however, the TW1000 is defeated by iother HD projectors, as the optics do not fully succeed in putting the entire sharpness potential on the screen - particularly the red Chroma Delay, which provokes annoying delay effects, is to be classified as error which hopefully will be corrected by firmware updates by the manufacturer.
(All evaluations refer to their respective kind of projection and the current state of technology. A direct comparison between machines is therefore only conditionally possible!)
We recommend to compare this projector in a direct shoot-out with other models at a dealer of your choice.
08. Juni 2007, Ekkehart Schmitt
5. Technical details (manufacturer data)
* 1080p Full HD-resolution, 1920 x 1080 Pixel
* Epson Crystal Clear Fine 3LCD-Technologie for brilliant images, natural color reproduction, deep black and fine details in shadows
* Very high contrast ratio of 12.000:1 because of improved optics
* 1.200 ANSI Lumen brightness
* 2.1 x Optical Zoom
* Many connection options: HDMI v1.3, Video, YUV S-Video, RGB and Scart
* Authentic Home Cinema experience with real 16:9-representation
* Three year guarantee on Epson 170W UHE (E-TORL)-bulb
* Cinema Filter with six different color modes enable easy adjustment to the room: Dynamic, Living Room, Natural, Theatre, Theatre Black 1 and Theatre Black 2
* Easy adjustment of the image because of vertical and horizontal Lens-Shift function
* 10-bit colro processor enables fine color details and smooth transitions
* Quiet operation at 26dB