www.cine4home.de (Review Test Sony VPL-VW50 Pearl SXRD Test Sony VPLVW50 Test Review Sony VPLVW 50 Test Sony Pearl Test Sony VPL VW 50 Test Sony Pearl 50 Test SXRD Projektor)

No other projection technology and no other home cinema projectors have garnered as much interest as Sony's SXRD-models have in the last couple of years. What started with a €30.000 projector, the Qualia 004, financially out of reach for many, already became a big success this year with the VPL-VW100 (Ruby / €10.000). Now, Sony unveiled the third generation with its VPL-VW50, and again with a much more attractive price tag.

And with no other projector the expectations have been as high as they are with the Pearl, which is a testament to the quality of its earlier generation brethren, which both remain in production. Many home cinema fans worldwide are looking for news about the projector every day, but Sony has held back on releasing much technical details officially. However, concerning performance these first details strongly remind us of its big brother Ruby: contrast 3000:1 to 15000:1, 900 Lumen, Lens Shift, 1080p etc. etc.

But how good is the new SXRD projectors performance really under real world conditions? Does it really reach the same level at a much more attractive price point, or has it been partly trimmed down? Does SXRD keep its magic when used with a much more common UHP-lamp or is Xenon a must? Has Sony skimped on quality control? Questions about questions which must be answered with such a large purchase.

We are pleased at Cine4Home that we are able to provide detailed answers to most of these questions with this article. Some time ago we were given a pre-production sample of the VPL-VW50, which we have examined in great detail, as always, on our test bench. And with such a device as this one it gives great pleasure to do such a review; we hope our readers will have as much fun reading our findings here.

At this point we would like to remark that all our findings relate to a pre-production model. It is possible that some test results in some parts of our review will change with the retail model. If this is the case, we will publish a review update once the VPL-VW50 has been introduced. This review is to be considered as being preliminary.

A big plus and almost tradition now of Sony is a good design. Also regarding the exterior, the Sony projectors from Qualia 004 to VPL-HS60 garner much interest. They mostly combine optical elegance with functionality. Sony has again succeeded in combining form and function with the VPL-VW50.

The bi-color design, consisting of charcoal colored sides and white top and bottom, is uncommonly noble and at the same time optically extravagant. The build quality is impeccable, nothing wiggles, cracks or screeches, as is the case with many other projector models. Although we are dealing with a "small" Ruby here, the Pearl is anything but a dwarf; with its dimensions of 39.5 x 17.4 x 47.1 cm (15.6 x 6.8 x 18.5 inches) and weight of about 11 kilograms (about 24 pounds) it belongs to the biggest home theater projectors currently on the market. A prospective buyer must certainly possess a certain power of persuasion for his better half to agree on the purchase... ;-)

Much to the dismay of our marketing manager Uli Lange, the lit Sony logo on the top side of the VW100 has been made superfluous and has been replaced by a silver logo. Home theater fans with short memory will not be able to see who the manufacturer of their projector is. If Sony has "saved" on these kinds of features only, the projector has nothing to worry about.

Regarding build quality and design, Sony has made the right choices again. Surely, tastes are different and can not be argued about, but we are fairly confident the majority will like the looks of the new 1080p projector.

1.2 Technology (Know How Link here)

As did the Qualia 004 and the Ruby, the Pearl also reaches its high native resolution of over two million pixels (1920 x 1080) by utilizing the SXRD projection technology. Three reflective LC-displays (one for each primary color) are operational with this technology. Besides an almost invisible pixel structure, this technology exhibits fast reaction times, high light efficiency and above all a very high contrast ratio (up to 6000:1 without any tricks).

The schematic below shows a cross-section of a Qualia SXRD-panel: behind a thin layer of glass, about two million pixels are located (1), with only 0.35 µm of space between each of them (2). In the cells, which are only 1.5 to 2.0 µm wide (3) are the vertically aligned liquid crystals (4), where the actual polarization of the light takes place. The longevity of the panels is often discussed. Decisive with SXRD is the inorganic alignment layer (5), which is not likely to deteriorate with age. Finally, the mirroring electrodes are located in the silicon backplane.
Besides high contrast and short reaction times, the practically non-existent pixel structure is exemplary in every way, which is enhanced even further by the full-HD resolution.

The optical structure of the VW100 was retained, but the light source was changed. While the Ruby utilized a cinema like 400 Watt Xenon bulb with a light spectrum not unlike the sun, the VW50 uses a more common 200 Watt UHP Philips bulb.

A known disadvantage of this lamp technology, which is used in nearly every home cinema projector (Ruby and Qualia excluded), is the light spectrum which is not like the D65 video standard and shows a lack of red. In what way this influences the color and contrast characteristics of the VW50 we will examine in the picture test. But the advantages of this light technology are also well known. Less power consumption, higher stability over time and lesser replacement cost. Especially from an economical point of view the choice of lamp is therefore perfectly understandable for a theater projector which should not only appeal to enthusiasts.

Cooling is also easier with an UHP lamp. Since Sony has succeeded in cooling the elaborate Xenon technology to the almost inaudible level of 22dB, the renewed 22dB technical specification for the Pearl appears believable. Again Sony has succeeded in designing a well thought out cooling system:

The air is sucked in through many vents at the projector front, where a filter is also placed for dust protection.

The filter is easily reachable and even when ceiling mounted, it is not necessary to take down the projector for cleaning. On the other end of the projector the light source can be found, which is also surrounded by vents.

The lamp shaft is located behind the mounting holes, which means that generally the projector does not have to be taken down to change the bulb. It also shows the beginning of the optical path:

It is fascinating how many vents are located all around the projector housing and how inconspicuously they have been integrated into the design. For example the air vents under the top lid:

But one should be cautious when installing the projector; enough cooling air should be available all around. The heated air is exhausted at the front of the projector, adjacent to the optics.

The vents are designed in such a way that the heated air does not flow into the projection beam, and causes a very annoying air vibration (a fault in the VPL-HS20 which Sony has learned from at the time). The cooling system is very quiet as is typical for Sony and does not disturb movie operation in any way, while the noise is not as pleasant as it is with the VPL-VW100. We are also happy about the fact that the projector does not become too loud even in "High" mode; this mode is also very usable for home theater operation.

Another thing we are glad about is the fact that the variable \ adaptive iris, which is in the center of the optics, was not discarded. It worked extremely well with the Ruby.

The adaptive iris automatically adjusts itself to picture content, if so desired

Its function is well known: with a dark picture it closes and thus filters annoying scattered light out of the optics, leading to a much improved black level and higher coloration. With bright scenes it opens and thus completely passes the entire light potential onto the screen. By focusing on scattered light instead of simply "cutting" the flow of light, this adaptive iris design is clearly more efficient than other patents. At the same time the engineers succeeded in programming the gamma adaptation to the image in such a way that its operation is hardly noticeable in normal movie operation. In the case of the VW50 the system has been revamped again, which we will further examine in the picture test.

Technically speaking this first impression of the VPL-VW50 is very convincing. It appears as though every essential component (SXRD panels, optics, adaptive iris) has been retained, only the lamp system has been thoroughly altered. This is of course cause for even higher expectations regarding the picture quality, which we will examine in the picture test.

Remark:
For those looking for the normal pictures of the inner workings of the VW50: we can only publish these after the official introduction of the machine, which we hope you will understand.

Compared to the Ruby and Qualia, a few changes can be found with the connections of the VPL-VW50, which are located on the right side of the projector and are elegantly hidden. The entire networking section with its accompanying connector has fallen prey to the dreaded red marker, a loss which makes many an automation impossible.

Luckily, two digital inputs have been retained, however the DVI-input has been replaced with a second HDMI-input. This is a pity, because DVI is clearly the more robust connection, but from a home theater perspective the decision is understandable.

For the rest of the connections nothing has changed: Composite (Cinch), S-Video (Hosiden), YUV (3xCinch) and RGB HD (SubD). In addition, a trigger output and a serial remote connection can also be found as before.

A full HD projector should be compatible to ever more 1080-standards, besides being compatible with the standard signals (480i/p, 576i/p, 720p, 1080i) at 50Hz and 60Hz. Here the Pearl shows something new compared to the Ruby: besides 1080i/p at 50 and 60 Hz it also supports 1080p at 24Hz (24p), which will be helpful especially when displaying a smooth picture from Blu-Ray and/or HD-DVD sources (Ruby: 24psF).

Almost exactly the same compared to the Ruby are the placement characteristics of the Pearl. This is a good thing, as the system is one of the most flexible available: the optics used combine ease of placement with flexibility. its zoom range is praiseworthy high and wide pictures are possible even at short projection distances. This allows for large images in small rooms which is a big plus for an SXRD projector, because the nearly invisible screen door in combination with its high resolution allows for viewing distances shorter than any projection technique currently on the market.

Sharpness, zoom and lens shift can all be controlled from the comfort of your chair by remote control. The completely motorized optics have not changed from the Ruby.

The vertical lens shift offers an equally large range, which allows adjustment to just about every room. More can not be expected.

Even the somewhat awkward horizontal lens shift is available for fine tuning the image on the screen. To adjust the projector in the horizontal plane, four screws must be loosened and the optic system has to be moved manually.

Both the technical design as well as the exemplary placement flexibility are completely convincing here, and we continue our review with the operation section.

The control system is now in its sixth(!) generation. Again, nothing has changed in the basic principle of the control menus but a few parameter changes and a change of colors. However, this is praiseworthy as the Sony Setup is at the forefront and is one of the most functional and clear available.

The remote control of the HS20 / HS50 / HS60 / VPL-VW100 has been used again, without any changes. This is again disappointing as the Sony concept of the remote control is much too old.

The remote control looks appealing, however is somewhat spartanicly and unevenly structured in its key structure. No keys are available for direct source selection for instance, inputs can only be selected by "zapping" the "Input" key. Many keys do not show a function that is needed in every day operation; the control cross is a little small, but then again the "Brightness" and "Contrast" keys are extremely large in comparison. All keys can be electrically lit in dark rooms, however.

The range of the infrared transmitter is very good however, the signals are strong enough to also arrive at the projector reflective off of the screen over large distances. The VPL-VW50 has two infrared receivers; one at the front, one at the back. This ensures reliable operation of the remote control.

In case the remote control is not available for one reason or another, the operation can also be done on the projector itself. Not nearly as noble as with the Ruby, but nevertheless...

The small cross control has traditionally been included again, so that operation at the projector should only be done as an "emergency". Separate directional keys would clearly have been better.

New compared to its predecessors is the color of the menus. Also the structure was changed a little bit here and there, making the control of the projector a little better than usual.

The 2 submenus of the Picture menu have been discarded, which is a very welcome change. Instead, all parameters are listed clearly below each other. With "Picture Mode" different factory presets can be recalled.

In addition, several memory presets ("User") are available to the user, where he\she can store and instantly recall his\her own optimal settings. Under "Gamma Correction" the user can choose between four different factory gamma curves, as well as recall the gamma curve created by using the PC software. We will examine this further in the picture test.

Very important for color reproduction is the "Color Temp" function. The user can select the color temperature by selecting between three factory presets (Low, Mid, High), or optimize the color temperature him\herself.

The "Cinema Black Pro" section was completely overhauled. Because of the UHP lamp technology, two different lamp modes are selectable. In "Low-Mode" the projector is extremely silent.

"Advanced Iris" also brings a couple of new features. It is now programmable in reaction time and its opening percentage in static mode can be adjusted in 100 steps, not unlike the Sanyo PLV-Z4.

New is the menu "Advanced Picture". The functions for Real Color Processing and Color Space are located here. Only few functions to justify their own menu. Hopefully more options to play with will be integrated here for hobby optimizers in future models.

The earlier Signal menu is now renamed "Screen", and here the structure was also altered a little in favor of the operation of the projector. As the name implies it contains functions and parameters to adjust the picture on the screen.

This menu changes its functions according to the signal that is fed into the projector: for PC-signals the usual Clock and Phase parameters are at the users disposal, with "classic" video signals the desired image format can be chosen with the function "Wide Mode".

We were relieved when we looked at the Overscan-function: the engineers had a heart for the opponents of cut off image edges with the Pearl as well...

The "Setup" menu offers miscellaneous projector-specific control configurations, which are differently arranged compared to the VPL-VW100.

Of special interest are the selection of the Color System and the setting of Inputs A (Computer, YUV, Video GBR). "Cooling Setting" offers a way to increase the cooling capacity when needed, "Standby Mode" and "Power Saving" are environmentally friendly functions to save power. Further options include language settings and the option to reset the lamp counter.

This menu could very well have been merged with the Setup menu, but now three functions share their own menu:

"Auto Input Search" makes sure that the projector only switches to inputs that are fed with a signal. This is a very useful function, but would have been superfluous when a better remote control with direct source selection was used. "Test-Pattern" automatically blends in a practical test image when adjusting Zoom or Sharpness of the optic system (only green, no longer white as with the Ruby).

The last possibility for adjustments, the Installation-menu, offers more functions which would not have looked out of place in the "Screen" menu.

In addition to keystone correction and projection mode, a new function is surprisingly offered: Blanking. The user is indeed offered the option to mask all four edges of the image independently of each other, to evade annoyances under, over or besides the screen.

It is nice to see Sony making an effort to change their devices into flexible wonders of adjustability. With every new model a few useful functions are added.

The information window remained unchanged. It allows for a quick and easy check which signal is currently fed into the projector and how many hours the lamp has been used already.

Altogether, the "new" old concept of the VPL-VW50 is again very well thought thru and very flexible and intuitive in its operation. The user is quickly accustomed to it, all functions are described and structured understandably, only the remote control could have used a major overhaul after all these generations of use. Some details in the structure and operation have been enhanced and many a practical function has been added. This all allows the projector on the whole to be easy to "come to terms with". At first sight there is nothing at all to be desired, a practical gamma equalizer without elaborate PC software would be an incentive for future models however.

Now we come to the most exciting part of this review, the part which our readers are most eager to read: the picture test. All previous findings point to the expectation of a very good image quality, but what does reality have to say about this?

The LCOS/SXRD technology is unbeaten as before with regard to Screendoor. With a fill factor of over 90% no part of the image is lost. Even from very close viewing distances no pixels can be recognized on the screen. In this discipline there is no need for a projector to be any better, only 8-10 percent of the image surface is used by the fine lines between the pixels.

Very, very small pixels, very close to each other -
only to be recognized from very close to the screen

The high fill rate is one of the reasons SXRD projection retains the analog look of celluloid originals.

As explained before in the Technology section, the Xenon light source of past SXRD models has been replaced with a much more common UHP light source with the VPL-VW50. While Xenon lamps simulate the original spectrum of the sun to an astonishing degree, UHP lamps exhibit a more classic "peak" performance.

Spectral performance of the different light sources:
Yellow: Unnatural peak performance of UHP lamps with a clear lack of Red
Blue: Flat spectrum of solar light
Red: Solar-like spectrum of the Xenon lamp with high Reds

In addition to this the lack of red in the UHP light is clear, compared to sunlight and our video norm it is clearly too blue and too green.

The biggest concern of many home theater fans is whether or not the Pearl can come close to his bigger brother regarding color representation. The VPL-VW100 has set the norm concerning color reproduction. A big aspect of color representation is the color space, which we have examined.

As the diagram above shows, the Sony VPL-VW50 offers a much larger color space (white triangle) compared to the HD video standard (dark triangle). Apparently the engineers have again made a conscious decision to provide a color space above that of the video standard, to allow the projector to display strong colors when desired. Even if this method is against the principles of video-purists, the course of action of the engineers is understandable. Exact color gradients will be harder to calculate, nevertheless especially the video standard with its shrunken color space is the main cause for a false reproduction of the cinema original. In the theater you will find much stronger color tones than the typically washed out Red, Green and Blue. However, the larger color space does not exactly reach the same high standard set by the Ruby.

It is amazing that the projector does not display the basic image too colorful in spite of the large color space, as is the case with many other digital projectors. In future reviews we will take a closer look at the signal electronics with new test procedures; more on this in related future Specials.

Our spectral measurements show the difference between the UHP-lamp and the Xenon lamp.

In a direct comparison to a UHP spectrum the difference is immediately apparent: all wavelengths of a color are almost equally present with a Xenon source. Instead of small peaks, wide bell forms are visible. Many wavelengths (color nuances) are equally represented. In contrary to the UHP spectrum where only certain wavelengths exhibit high peaks.

The arguments of critics are that these spectral differences between Xenon and UHP are not relevant, because the eye is only susceptible to certain wavelengths. Whatever the reason, in our direct comparison the Ruby as before showed a more uniform color representation, the picture appeared more natural in many scenes and more film-like color wise. The Xenon spectrum can not by completely without influence.

However: the differences are not that big, and the VPL-VW50 too fascinates with an unbelievably strong and at the same time natural picture representation. Outdoor recordings and facial colors are natural and in no way oversaturated. Where strong colors are required, they appear on the screen. Altogether we were again completely thrown aback by the color representation of the SXRD technology, no reason for any negative comments here also.

For those who would like to adjust or optimize the Color Space to their personal preferences or the video standard, the "Real Color Processing" option is on offer, which allows adjusting of all primary and secondary colors by intensity and color tone. How elaborate and precise these adjustment options are, we were unable to examine due to the short time period we had for testing this projector. In any case, a video-preset with a color space according to the video standard would have been desirable. After all the user should be the one who decides how the projector should perform.

In our first section concerning color we came to the positive conclusion that the color space of the VPL-VW50 is large enough to not exhibit any problems regarding color reserves. Unfortunately it must be adjusted to the video standard, as needed. Important for an accurate color reproduction furthermore is the adherence to the D65 video standard for neutral grey tones.

As with the Ruby, the Pearl also offers three different factory presets for Color Temperature: "Low", "Mid" and "High". Again it is impossible to deduce which setting is which color temperature. This is why we have measured all three modes to see which of the three presets comes closest to the required color temperature of 6500K (D65).

From our measurements we immediately noticed that all presets have an influence on Black Level. Apparently the RGB offset values are partly wrong. This could not be corrected with the Brightness control, only in the service-menu we could adjust this. This is the reason why the following results should be considered preliminary. With the Ruby there have also been some changes before the time of introduction. We will publish our final findings after the introduction of the Pearl.

We begin with the factory preset "Middle", which in the case of the Sony VPL-VW100 frequently led to a very good adjustment to the D65 standard.

In the case of the VPL-VW50 the presets are different apparently. "Middle" seems to be somewhat close to 6500K, but an excess of blue of 20% and a lack of red of 10% makes for an image representation that is too cool in bright scenes, which can certainly be detected by the eye. However, this mode is perfectly useable for non-perfectionists.

Next, we tested the "Low" preset and behold, it proved to be very much closer to the video standard, even if it is not completely perfect.

The lack of red is clearly reduced, as is the excess of blue. This factory preset already provides a very good color reproduction of the cinema original, but it can certainly be improved.

Last is the "High" preset, and as the name implies, it is adjusted to a very cool color temperature with a clear excess of Blue. With this preset, many colors appear visibly pale on the screen, the picture looses its natural quality:

Reserving the preliminary status, the Sony Pearl offers good and usable factory presets, but considering the high price range we expected a bit more precision. In the mean time much cheaper projectors, both DLP and LCD, prove that a nearly perfect factory white level adjustment is possible. And especially those who buy the Sony VPL-VW50 will in all likelihood be very demanding customers. Thankfully the projector offers an elaborate RGB menu, which allows the trained user or the dealer to adjust the color temperature without much fuzz.

The offered parameters for color correction (above) operate extremely precise and robust, as usual. With measuring instruments like for instance Color Facts a very good approximation to the video standard is achievable in mere minutes:

In all brightness levels from dark grey (left) to white (right) the color temperature of 6500K is maintained. With a little more patience the result can be further improved, if need be with the accompanying gamma software. More on that further on in this picture test.

After calibrating the color temperature, the image representation of the VPL-VW50 is impressive in every way. The representation is natural, color nuances appear on the screen as intended by the director. With outdoor recordings, nothing seems artificially colored or exaggerated in spite of the large color space. Where one remembers strong colors in a cinema environment, they appear just as strong in the projected image of the Pearl. So the Pearl also receives high praise in this category, although it does not reach the absolute perfection of the Sony Ruby. The color representation of the latter provides for "something extra" in authenticity and is even more cinema like.

And also regarding Brightness and Contrast the VPL-VW50 has been much talked about since the publication of the first technical data, as the data are identical to the VPL-VW100: 3000:1 with open iris, 6000:1 with closed iris, and with adaptive iris the projector should reach a Contrast ratio of 15000:1. This is with a maximum brightness of 900 Lumen. These values sound rather utopian, but the Sony Ruby has reached each and every one of them, sometimes even bettering them. But the Ruby had the advantage of the Xenon lamp, which retains its accurate color representation even with high brightness levels. With UHP lamps it is often not possible to obtain the total contrast ratio with the correct color temperature because of the native color temperature of the bulb, at least not without an optical light filter (as with the Epson TW600 for instance).

Technical data from the manufacturer is one thing, but we'd rather rely on objective measuring instruments. We have checked the values and were again very happy, but not surprised. The projector does indeed reach all manufacturer supplied data and even the color corrected net values are all at a simply fantastic level.

Mode	Light (Eco) / Lumen	Light (Hi) / Lumen	Contrast

Iris open	470 (390)	700 (580)	2200:1
Iris closed	variable	variable	up to 3400:1 (>4000:1)
Iris adaptive	470 (390)	700 (580)	10600:1 (to 16000:1)

As can be seen from the table above, part of the given brightness and contrast must be sacrificed in favor of color correctness, but the remaining measurements are simply fantastic for a digital projector. Even in Eco-mode, the brightness is enough for image widths of up to 2.7 meters (106.3 inches), and in the equally not overly loud Hi-mode the maximum achievable width of the screen is even higher. With a contrast ratio of 3400:1 without any "iris-tricks" and 10600:1 with, the picture representation will not present any problems regarding image depth.

As the values in brackets show, the results vary with zoom. As is known from the VPL-VW100, zoom has an effect on image brightness: the more zoom, the more brightness reaches the screen. This is also true for the VPL-VW50. But this is only half the truth, because the loss of brightness is combined with an increase in contrast, in almost the same ratio. This means that a contrast of 16000:1 (!) is possible even after color correction and with maximum projection distance, albeit only with a light output of 390 to 580 Lumen. Keeping personal preference and room characteristics in mind, there is more to placement of this projector then simply placing it as close to the screen as possible.

We would also like to publish the results with maximum brightness and without taking the D65 standard into account. They are remarkably close to the technical data provided by the manufacturer.

Mode	Light (Eco) / Lumen	Light (Hi) / Lumen	Contrast

Iris open	640	950	3000:1
Iris closed	variable	variable	up to 5000:1 (6000:1)
Iris adaptive	640	950	17000:1 (> 20000:1)

For viewing sports events under low light conditions the projector is also well suited, as these values indicate; accurate colors are not a necessity here. Our measurements show that the projector is extremely flexible where brightness and contrast are concerned. It is very surprising to see that the technical data from the manufacturer can even be surpassed according to zoom range. A little confusing are the different data related to zoom range. Here one is best served by making a future room planning for the integration of the projector into the user home cinema environment. The projector can be extremely well tuned to the personal preferences of the user when keeping the distance to the screen in mind.

With this, the achieved image depth of the VPL-VW50 is one of a kind as before, even when it is only slightly below that of the VPL-VW100. No other projector we have ever reviewed has ever achieved presenting such a three-dimensional image on the screen as the current SXRD models have.

It is worth noting that even the opponents of the adaptive iris are given a run for their money with the Pearl. To cater to their wishes the engineers have made it possible to freely change the opening percentage of the adaptive iris. In countless (100) steps the iris can be tuned to both the room and the screen size.

This allows for a "real" contrast ratio of up to 4000:1 (6000:1) to be achieved, and this is a value that is not reached by many projectors currently on the market with correct colors. At this time, SXRD projectors are clearly one of the most contrast rich projectors on the market.

Finally, we would like to point our attention to the Adaptive Iris again in this section. The system used in the VPL-VW100 already proved that a well programmed Adaptive Iris can operate almost inconspicuously and that it visibly improves black level in dark scenes without loosing any coloration. With the Ruby review we have already given a technical explanation of this special system, which we would like to repeat here for all our new readers:

The adaptive iris automatically adjusts to the content of the picture. The main advantage lies in the fact that dark scenes can boast an exemplary black level, while bright scenes are displayed believably bright and radiant. But the technical implementation of a variable iris is not easy, for its regulation of the light should be "invisible" to the user. With static images this would be easy, however movie material contains constantly changing image content, which are in part flowing from bright to dark and the other way around. No matter how quick an adaptive iris would work, its influence on the brightness of the picture would not go unnoticed. We will elaborate this problem with a simple test sequence:

A moon is moving away from the camera with normal speed, in a Science Fiction movie this would be a comparable scene to a spaceship moving away from a planet, as you could imagine. What happens with the adaptive iris with such a scene? As we already explained, the adaptive iris controls the amount of light according to image content. As long as the bright planet is completely filling the picture, the iris remains open and allows the full brightness of the projector to project on to the screen. The smaller the planet becomes, the larger the amount of black in the picture, the more the adaptive iris closes. Consequently brightness is diminished and without simultaneous gamma correction the planet will surely become visibly darker.

Such artifacts are not wanted; we're pretty sure the moon has not become darker over a 3 second time frame. The black level of the picture should increase when the amount of black becomes larger, however objects should retain their brightness. The solution for this problem can only be found in a parallel gamma correction. It ensures that the adaptive iris only improves black level and thus contrast, while the objects shown in the picture retain their brightness levels by adjusting the digital brightness while the adaptive iris is closing.

Back to our example: on wide shots with opened adaptive iris the moon has a digital brightness of about 50%. When the moon becomes smaller in the picture, the adaptive iris closes. To prevent the planet from becoming darker, its brightness value in the picture is increased by about 75%. The following ratio applies: 50% brightness with open iris = 75% with closed iris. This allows the iris to close without the picture content becoming darker. The only thing that becomes darker is the black level of deep space, and thus the contrast ratio in the picture is enhanced.

The diagram above shows the operation of the adaptive iris (please note that all values are for theoretical explanation only and do not come from measurements). The average brightness of the moon (1) is elevated while the adaptive iris is closing (2). In other words: with a closed iris, an object with a signal strength of about 74 IRE is treated as though it would have a brightness of 88 IRE. In our sequence, this trick accomplishes that the adaptive iris improves black level and therefore perceived contrast, without the planet becoming darker.

No changes in object brightness thanks to gamma correction, only black level improves

As great as this all sounds, there is a problem: what happens with bright objects, which are close to their maximum brightness anyway, for instance if we in our example exchange our grey moon with a bright star? Here, the contrast range of the projector does not offer enough room to allow for a complete retention of brightness.

The gamma headroom is compressed in the higher ranges and does not offer as much room for adjustment. With a closing adaptive iris, bright elements will become more evenly bright and less distinguishable from one another. Also, white elements can not be adjusted in brightness as they are already at the top of the gamma curve, there is no stopping them from becoming darker when the adaptive iris closes.

The example above simplifies the theoretical problem of the adaptive iris, which with the VPL-VW100 is also visible in the picture (on predominantly dark scenes with simultaneous bright picture details). With the VPL-VW50, the system has been redesigned again; it is now more open with some parameters for adjustment.

Several modes are now at the users disposal and even the speed can now be adjusted according to personal taste. Unfortunately, we did not have enough time to thoroughly examine all modes during this preview test, but in reality this was not even necessary: the "Auto1 \ Recommended" mode was absolutely invisible in its operation during movie viewing and exemplary added to the good impression of the picture. But if that was not enough, the "White-Compression" explained above was improved with this system. Even in mixed scenes with bright picture elements and a high black ratio these seem less compressed, and clipping is not visible. The gamma electronics have apparently become a little bit more intelligent.

As the VPL-VW100 (Ruby) did, the VPL-VW50 also sets new definitive standards regarding Contrast, Brightness and Flexibility. Especially in this price range the competition will have a tough time keeping up...

A high contrast ratio can only be converted into image depth if the brightness is distributed according to the standard. For the best results with (HD-)DVD playback a gamma curve with a ratio of between 2.2 to 2.5 is considered optimal.

The gamma menu system was not changed compared to the previous models, the VW50 also uses four different gamma presets (Off, Gamma1/2/3)which can be selected from its Picture menu, further gamma adjustment by the user can only be done with the special Image Director software.

The Off-setting of our review machine showed an exemplary gamma curve of 2.23, which very accurately adheres to the current video mastering standard.

This even gamma distribution is suited for almost every room, the image composition is well balanced, nothing seems over- or under emphasized. Extraordinary is the exemplary coloration, no detail is lost to the viewer. The results are identical to those of the VPL-VW100.

By taking a closer look at the gamma measurements we can also examine the new programming of the adaptive iris. If the brightness's of the single grey tones are missing with Window-images (which show a large black ratio) but not with full gray tones, then the adaptive iris is operational to improve black level. In the case of the VPL-VW100 the gamma curve was significantly altered this way. With the VW50 this is a different story, as the gamma curve retains its value even with Windows-measurements. Deviations are only found in the 100th part of the measurement:

As we mentioned earlier, there are three other gamma presets in the Picture menu, but these all show a flatter gamma curve, below 2.2. This makes them suitable for brighter rooms with ambient- or scattered light, not for accurate movie reproduction.

Fans of steep gamma curves (2.4 to 2.5), which provide a subjectively larger image depth in black rooms with dark walls and little or no ambient light, are left out in the cold. Because no factory preset achieves this value, the user has to do the work himself. For this purpose, Sony supplies an outstanding tool called "Image Director". The Image Director software is supplied on a CD as PC-software, and can be effortlessly installed on any computer. This computer should be connected to the projector with a serial cable.

Using the Image Director software, the gamma distribution can be comfortably manipulated in different ranges using the PC mouse. Even a separate adjustment of the individual color channels R, G and B is possible. This allows the software to be used for fine tuning the color representation of the projector. Even today additional PC control software is rare, which is why Sony scores more points here.

Changing the gamma curve to 2,4:
No problem using the supplied software (theoretically)

The diagram above shows that the gamma curve can indeed be changed to 2.4 without any problem, using the Image Director software. The combination of very good factory presets (video standard) and the possibility of additional correction by using PC software is cause for the projector to receive the highest points in this section.

Remark:
The Image Director software was not supplied with our review machine, but it was mentioned in the manual. A test of the software will be done after the Pearl is on the market.

Because the same optics and the same optical structure of the VPL-VW100 were used, not many changes are to be expected here compared to the Ruby.

Regarding sharpness the optics perform very well, it ensures a high image sharpness over the entire picture area even when using Lens Shift. However, it could take a couple of minutes before the desired sharpness is reached because the electric focus is a little imprecise. Once adjusted to your preference it is recommended to activate the LOCK-function of the optics to prevent inadvertent adjustment of the optics.

The deficits regarding illumination were not improved compared to the Ruby, unfortunately. Above all this concerns the illumination of black and dark grey areas. Towards the edges of the screen the image is slightly illuminated, which is particularly noticeable with black.

The screenshot above shows that the edges appear a little grayish, which could be noticeable in dark movie scenes. However, as soon as a little contrast is added to the picture, the edges disappear from the eyes. Nevertheless, such a deficit however small is worth mentioning in this price range.

The VPL-VW100 is already well known for a certain series dispersion regarding convergence. While the tolerance has constantly improved over the last couple of months, a certain amount of distrust regarding convergence should be exercised with this cheaper model. It is far too early of course to make any kind of statement about the series dispersion of panel convergence after reviewing one machine, but at least our review machine showed an exemplary convergence.

As can be seen in the screenshot above, only the color blue is shifted upwards about three quarters of a pixel, the horizontal convergence is perfect. This blue shift is equal in all image areas and is already invisible from very short viewing distances. Whether this is a fortunate individual case, or all Pearls are delivered with such a good convergence remains to be seen, and time will tell. Any way, there is reason for hope...

In this sections the Pearl shows the same results as its big brother Ruby. Sharpness and Convergence are exemplary, only the slightly illuminated edges are present as before and could become visible during move viewing on completely dark scenes in the 16:9 format.

The Ruby was the first Sony home cinema projector which featured an Overscan that could be switched off. Thankfully, this feature remained present with the Pearl, as we remarked earlier. In the "Screen" menu the Overscan can be switched off by the user. 720p- and 1080i\p signals are then displayed completely and without cut off edges.

If Overscan is enabled, 25 PAL pixels are cut off on both the left and right edge of the picture, a very moderate and good value.

An exception to this occurs when a 576p signal is fed: then 10 pixels on the left and right of the image are cut off when Overscan is disabled. When Overscan is enabled more than 40 pixels are cut off. We do not know if this a pre-production flaw and will be corrected before the introduction.

In addition to the switch able Overscan, the VPL-VW50 offers a blanking function for the first time. This allows the user to maintain the full image size even with Overscan turned off. Possible interferences above or below the image are simply covered with black.

Up to now, the Pearl has done extremely well compared to its big brother Ruby, only with regard to colors and contrast it is only slightly behind. Now we come to the signal processing, specifically the de-interlacing. And here the first weaknesses are exhibited by the projector.

Video material
Picture content recorded with video cameras (sports, documentaries, interviews, shows, etc.) consist of 50 snapshots per second, each with half the PAL resolution of 720 x 288 pixels. Even and odd lines are displayed alternately. The projector has to compose a full image with full resolution of 720 x 576 pixels from that half PAL resolution. The lines in the picture that are missing should be independently extrapolated, because simply doubling the lines would lead to edge flaring and stairways in the picture.

As we have come to expect from Sony, the progressive image results with incoming interlaced video material are very impressive. Using the Motion Adaptive procedure, still image objects of to sequential half-images are merged portions are extrapolated, the picture content is precise and sharp. This procedure alone will achieve a good and to a large extent detailed picture (as far as the raw material will allow).

Film material
A likewise serious undertaking is the processing of movies, which are recorded analog with only 24 or 25 images per second. With video transmission, every cinema image is separated into two sequential half images. The de-interlacer of the projector now has to decide which two half-images belong together and merge these into the original cinema picture. This requires an elaborate image analysis: the electronics has to compare the image content of two half images and independently, without any additional information, decide whether or not it concerns movie material and in what rhythm the half images are transmitted.

In this section our review machine was not very convincing: the projector does not offer a functioning PAL film mode, so that the result of the picture was that maximum sharpness was never reached, and annoying edge flares continues to cloud the impression. Here we also do not know if this is a bug of the preview sample or if this remains a "feature" in the production models. It is also very surprising, since every projector from the Sony VPL-HS50 on has provided a functioning 2:2 film mode.

Even if the VPL-VW50 with its native resolution of 1920 x 1080 pixels is fully prepared and conceived for the future HD standards, the next couple of months it will be fed only conventional PAL DVD material or television transmissions. This is because the full HD media like Blu-Ray and HD-DVD will not be introduced on a large scale before next year, and the European television channels apparently are not in any hurry either. Thus it remains important to see how the projector converts incoming PAL signals to its own native resolution. This should be done without artificial sharpening or scaling artifacts...

The signal processing must convert the incoming analog and digital picture signals, and if necessary convert the analog signal to digital before the signal processing. Annoying double outlines are to be avoided.

With analog feeds, the signal processing of the VW50 visibly tends to show double outlines (screen shot above), but they can be clearly improved using the Sharpness adjustment, without sacrificing sharpness. The results are intrinsically better when a digital signal is fed:

Here the double outlines are very subtle from the factory, however they can not be adjusted with a HDMI input signal. During movie operation, no annoying outlines are visible.

The horizontal resolution of our PAL standard with its 720 pixels is only about 40% of the native resolution of the Pearl projector. The missing 60% has to be calculated by the internal scaler. With high-quality scaling this is done with intelligent algorithms, which interpolate the missing pixels in intermediate stages, without letting annoying fluctuations in linearity or distortions in geometry arise.

As with the Ruby the scaling electronics of the VPL-VW50 do not show any weaknesses: because of the high native resolution of the projector succeeds in converting the PAL signal free from any fluctuations in linearity. Hardly any 720-projector can keep up here, no matter how good its scaling is. Even in the difficult resolution range around 6MHz almost no distortions or interference is visible, the PAL image does not appear as if it has been scaled.

The color resolution is also free from any artifacts: up to the highest resolution it shows an absolutely exemplary color separation, both on analog and digital signals. The level of the VW100 is reached again.

Even with vertical scaling the projectors shows nearly optimal results. It succeeds in doubling (almost) from 576 to 1080 lines without any disturbances and this is again absolutely identical to the Ruby.

Even single lines are displayed absolutely perfectly. Such a perfection is still unsurpassed.

The signal processing and scaling characteristics described above make for an outstanding image quality in normal movie operation. Even the "little" Sony offers a level of detail sharpness with PAL which we are not accustomed to with normal DVD playback. The great thing about the achieved image sharpness is that it is hardly digitally enhanced by "Edge Enhancement". With elaborate external scalers or HTPC's even better results could be achieved, however. For those the projector offers enough potential with its native Full HD resolution.

A critical theme of three chip projectors is the shading: due to the high number of half permeable mirrors and prisms, color clouds al too often creep into the image, which can only be digitally removed at the factory.

Often the shading is corrected in such a way that it is invisible in movie operations, but does visibly rear its ugly head with full screen grey tones (and thus with PC presentations). We were very surprised with the critical testing of our VPL-VW50 review sample: even with full screen grey tones no shading was visible. The machine is free from shading as up to now only DLP projectors have been.

Again, of course we do not know if this just concerns the individual review sample, but nevertheless it has been proven: a 3 chip projector free of shading is possible.

A projector like the Sony VPL-VW50 is bought predominantly for one reason and one reason only: to display the future HDTV material on the screen without any compromises and in the highest possible image quality.

In the last couple of weeks we have examined the Blu-Ray and HD-DVD topics in detail, and of course we could not pass on the opportunity to feed the Sony Pearl with these images of the future. And the results were again, as seems common to SXRD, breathtaking. We can simply quote the Ruby test again: with optimized color temperature and the fine gamma factory preset an image depth is displayed on the screen which truly sucks one right in to the middle of the events. This is not a miracle, because with contrast ratios of 2200:1 up to 10000:1 (15000:1) the Pearl is one of the most contrast rich projectors ever built. Because of the exemplary black level and the good coloration, dark scenes exhibit an image depth only CRT projectors were capable of up to now. At the same time, the brightness of the projector is such that outdoor recordings are also believably bright. It is impressive to see the LCOS technology, thanks to Sony, shifting from one of the contrast weakest technologies to the strongest (at lowering prices).

But if that is not enough, as one of the first projectors on the market the VPL-VW50 uses the full HDTV resolution of 1920 x 1080 pixels. This enables the projector to achieve an astonishing level of detail with both DVD and HDTV. Especially with the latter it quickly becomes clear that doubling the 720p resolution is a definite step ahead. With full HD resolution, the last artificial lack of sharpness disappears from the screen. A very welcome side effect of the SXRD technology is the practical non-existence of the pixel structure. All pixels are so small and so close to each other that they become indistinguishable from very short viewing distances. What remains is a picture sharpness that is built on details, instead of artificial pixel boundaries like in other projection technologies. Many an untrained eye perceives this as "softer", but those who have seen both a sharp 70mm copy in the cinema and good HDTV material on the Pearl will have to agree that the natural sharpness of LCOS projectors is closest to both cinema original and reality with some distance.

In addition to the above, omitting all kinds of digital artifacts (no picture noise in the dark, no False Contour, no rainbow effect) gives the projected picture much more calm quality, which seems more uniform and natural to the eye.

This is all good and well, but what's the catch compared to the Ruby? What are benefits of the more expensive model?
For one, there is the color representation based on the Xenon lamp technology. Even when critics will question the benefits, a look at the picture clearly shows: the VPL-VW100 succeeds in presenting an even more accurate color representation, the picture has that extra quality that completes the perfect cinema simulation. This was not only our impression, but also that of our Shopping-Mall partner Grobi (Patrick Schappert) who is equally "in" to the SXRD technology since the Qualia era. In addition the Ruby succeeds in maintaining the full contrast range with accurate colors due to its Xenon lamp technology, while the Pearl looses about 30% of its contrast due to adjustment of the color temperature. A better de-interlacing in the Ruby hints at better signal processing, and especially the newly discovered DRC mode which further enhances the sharpness of the Ruby image with HD sources. The Pearl does not offer this function. We would like to expressly send our greetings to Alan Gouger and the entire AVS-Forum, who have extensively covered the DRC option.

Evaluation Picture overall : 1,5 (Very good -)
Black level & contrast	1,4 (Very good -)
Sharpness & interpolation	1,3 (Very good -)
Color space / temperature	1,4 / 1,5
De-Interlacing	2,2 (Good -)
Other aspects	1,1 (Very good)

(all evaluations refer to the respective kind of projection and the current state of the art. Therefore, a direct comparison between systems is only possible under certain conditions)

For the third consecutive time we have to give a generally big thumbs up to an SXRD projector, even at the risk of repeating ourselves: rarely have there been occasions where we were more impressed with a projector than we were with the Sony VPL-VW50:

The projector is again very unusual but at the same time appealing in its design, and the build quality is very high. At first sight it is immediately apparent that this is a high end machine, which could easily be classified as being more expensive than it is. At the same time it is one of the most quiet projectors on the market; the 22dB noise level will probably only be bettered by the Mitsubishi HC5000 this year.

The exemplary impression continues with its flexible placement options (identical to the VPL-VW100), which makes it compatible to almost every room because of its large zoom range and both horizontal and vertical Lens Shift. The full automation of the optics finishes the luxury concept of the Pearl. Because of its smaller size the projector is even more suitable for integration in a living room as its "big" (in the true sense of the word) brother.

Also concerning operation the projector convinces, although its remote control is clearly disappointing again; Sony could finally have offered something new here. Because of the again improved menu system with even more functions and the gamma software, the control concept of the Pearl is one of the easiest and at the same time most powerful currently on the market.

With regard to the picture we have said all there is to say in the previous section: short of the Ruby, no other current home theater projector succeeds in achieving such an excellent picture impression as the Pearl does. The absence of artifacts, the strong colors, the high contrast, the analog film like picture, the high sharpness; a projector currently simply does not need to be any better.

As before all this has its price, but it remains astonishing to see how quickly Sony succeeded in making the "luxury" SXRD technology financially available for ever more home theater fans. At the time of this review the MSRP of the Pearl was not yet officially announced. But it stands to reason that the Pearl will offer about 85% of the quality of the Ruby at around 50% to 60% of its price. Who would have thought this possible a few weeks ago?

The Sony VPL-VW50 will bring much good for both fans and opponents, because it will certainly put pressure on the price of all other projectors. A more expensive projector will have to offer more, and this is not an easy feat compared to what the VPL-VW50 has to offer.

Every home theater enthusiast and every one who wants to become one should go and take a look at the Sony Pearl at the nearest SXRD dealer. At this time, Sony Germany is working on enlarging its dealer network and making them more competent especially for this model; considering the high demands on the dealers this is no easy task. The Pearl sets new standards with regard to the price\performance ratio, and with its full HD resolution it is an investment which more than pays back over the course of many years by unrestricted enjoyment of the home theater.
Cine4Home will definitely make sure that a Pearl is present in our test lab for future full HD media reviews.

The Sony Pearl is meant for all those who are searching for a fair ratio between good image quality and acceptable price. And for all those who seek the highest perfection in to the smallest detail, the VPL-VW100 (Ruby), with its additional advantages in picture and performance, remains available.

5. Evaluation (reserved due to preview status of the review sample!)

+ Full HDTV resolution (1920 x 1080)
+ 2x HDMI input with HDCP support
+ Very high contrast
+ Strong colors
+ Many possibilities for adjustment
+ No pixel structure
+ No digital artifacts
+ Very quiet

- Disappointing remote control
- Not functioning PAL film mode
- No perfect D65 white level
- Color space very hard to calibrate to video standard
- Illumination not perfect with all black picture
- Big dimensions, high weight
- Overscan with PAL resolution

Evaluation overall: 1,4 (Very good -)
Equipment	1,4 (Very good -)
Operation	1,6 (Good +)
Technology	1,4 (Very good -)
Picture	1,5 (Very good -)
Price / Performance	1,0 (Very good)

(all evaluations refer to the respective kind of projection and the current state of the art. Therefore, a direct comparison between systems is only possible under certain conditions)

August 29th, 2006, Cine4Home

Translation: Den Walterfang (03-09-2006)

6. Technical details (from manufacturer):