Mitsubishi XD520U

By Alex Kidman
Price as reviewed $1688.50 - $2704.17

At AU$2199, the XD520U DLP projector sits at the top end of Mitsubishi Electric's new "Leo" range of DLP business projectors. The XD520U performs a little bit better than its specifications might suggest, but you do pay a noise penalty in return.

Design and features
To look at the XD520U, you could be mistaken for thinking it was a slightly under-designed home theatre projector, rather than a business projector. While most business projectors opt for no-nonsense plain styling — presumably because the bean counters won't approve a projector that looks in any way interesting — the XD520U is decked out in white plastic, giving it something of an iPod feeling. Mitsubishi Electric denotes the XD520U as a portable projector, but with dimensions of 332x102x250mm and a carrying weight of 2.9kg, you wouldn't want to have to lug it around too much.

Keeping portability in mind, the XD520U comes with a carrying bag large enough to accommodate the projector, its remote control and connection cables. As projector bags go it's not the thickest we've ever seen, and we can imagine it degrading over time, but as an included extra, it's not too bad.

The remote for the XD520U is a basic affair that cements this projector's status as a boardroom tool. A basic VGA and composite cable is provided, along with a thick multi-lingual safety manual; the product manual is supplied as PDF on CD-ROM.

The AU$2199 XD520U DLP Projector sits at the top end of Mitsubishi Electric's new "Leo" range of DLP business projectors. If your budget is tight, the range also includes the AU$1899 XD510U and AU$1599 XD500U, although you'll take a hit in lamp brightness and lamp life respectively.

For those who hate noisy projectors, it's worth noting that the cheaper XD500U dimmer bulb gives it an average claimed noise rating of 26dBA, compared to the XD520U's 29dBA. On the specifications front, the XD520U claims 3000 ANSI lumens brightness, a contrast ratio of 2000:1 and a lamp capable of running at up to 280W. Resolution tops out at 1024x768. As you'd expect for a lower-cost projector, both focus and zoom are manual affairs.

Inputs are functional, with 2 D-Sub connectors, 1 composite and 1 S-Video connector, along with 1 RCA Audio and one 3.5mm stereo input. There's also a single D-Sub output port, and another 3.5mm output audio jack.

The XD520U utilises a six-colour wheel for -- so Mitsubishi claims -- enhanced colour accuracy. For those interested, the two additional colours are yellow and cyan. The bulb on the XD520U is rated for 3000 hours operation in economy mode, or a more sedate 2000 hours in standard mode.

Setting up the XD520U was particularly easy, with a single pop-out front leg for basic angle adjustment. Focus and zoom are handled from the physical front wheels, which feel moderately sturdy.

Verdict
We tested the XD520U with a variety of material and across all of its input sources &mdahs; although with a unit with this few inputs, that's not a difficult task. Calibrating and testing with DisplayMate Multimedia Edition showed good onscreen geometry but a very slight tendency to wash colours out at the lighter end of the spectrum. That's less likely to be a concern for a projector showing static slides, but if you do require the use of embedded video, you might find it a little more noticeable.

Speaking of things you'll find noticeable, the 29dBA output of the fans on the projector are certainly not the most circumspect of critters. Loud, in other words, and for some of our test material that included sound, often nearly as loud as the XD520U's inbuilt and undeniably tinny speakers.

The XD520U's unremarkably remote worked well. Replacement bulbs cost $549 each, which works out at 27.45c/hour in standard mode, or 18.3c/hour if you can get by in economy mode.

The XD520U isn't a stunning system, and it's priced accordingly; while it's possible to get cheaper business projectors with essentially the same raw specifications, many of those do suffer more than the XD520U when it comes to absolute colour precision. At the same time, many other units aren't quite so noisy.

Connections

* Composite
* Yes

* S-Video
* Yes

* DVI
* Yes

* VGA
* Yes

Display

* Screen resolution
* 1024 x 768 pixels

* Mininum projection size - Diagonal
* 1016 mm

* Maximum projection size - Diagonal
* 7620 mm

General

* Dimensions (H x W x D)
* 102 x 332 x 250 mm

* Weight
* 2.9 kg

Image

* Aspect ratio
* 4:3

Lamp

* Lamp brightness
* 3000 cd/m2

Projectors

* Projector system
* DLP

Sound

* Noise level
* 29 dB

* Speakers
* Yes

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Sony VPL-FE40

By Christian Harris
Price as reviewed $4,156.99 - $4,332.99

The VPL-FE40 is an ideal projector for showcasing presentations, video and images in medium- to large-sized meeting rooms and auditoriums. The only downside is the cost, both to purchase and run, which will limit the VPL-FE40 to large organisations with big budgets.

Sony's VPL-FE40 is a large projector measuring 53.2cm wide by 14.5cm high by 35.2cm deep and weighing 9.8kg. It's an installation-type unit that's designed to sit confidently in a modern boardroom, projecting a typical range of business applications. That's not to say the VPL-FE40 isn't up to the job of running video, for example; however, its design, features and price are aimed squarely at large organisations.

Featuring a new design and improved LCD panel reliability, the VPL-FE40 can project images of up to 4,000 ANSI lumens, making it usable in a wide range of lighting conditions. It also delivers exceptionally clear images thanks to its native SXGA+ (1,400x1,050) resolution, while its built-in network capability enables images from a PC on the same network to be projected. An HDMI interface provides support for uncompressed high-definition video and 8-channel audio.

The VPL-FE40 uses three 0.79in. inorganic high-temperature polysilicon (HTPS) LCD panels. The LCDs also incorporate Sony's BrightEra technology, which uses an inorganic alignment layer to produce a stronger bonding of molecules. This makes the panels more resistant to damage from ultraviolet rays, increasing their reliability.

A 1F inversion panel drive doubles the panel's drive speed to produce images without line flicker. The projector also uses 12-bit gamma correction circuitry to deliver uniform image colour and brightness across the entire screen-viewing surface. These models are not equipped with a lens, but three optional lenses are available that allow them to meet a range of needs -- from long-throw projection in large auditoriums to short-throw rear projection in museums or training facilities.

As businesses become more dispersed, the VPL-FE40 helps to extend the horizons of presentations by enabling broadcasts to be conducted over IP networks. Up to five projectors can be networked, with the image from a single PC projected on each. This is a useful feature in large venues or when images need to be projected to various locations. Also, thanks to a built-in ID function, multiple projectors can be set up and operated independently from a single Remote Commander unit.

Installation is easy due to a centred lens and power zoom, focus, and shift functions. The projector can be ceiling, floor or rear-screen-mounted, and two units of the same model can be stacked for applications requiring twice the light output.

Maintenance is straightforward, as various functions can be performed over the LAN via a web browser. For example, the system can be set up to send automatic email reports to designated recipients for scheduled maintenance, including projected lamp life and error reports. The lamp is accessible from the side of the unit and the filter from the front, so replacement and cleaning does not require the projector to be disconnected.

A single cable to the HDMI interface allows you to enjoy high-quality video and audio. HDMI also provides automatic format adjustment, enabling devices to display content in the most effective format. An impressive range of other inputs are also supported, including component and composite video, S-Video (Y/C), and two analogue D-Sub signals. There are even five BNC connectors, along with 10/100Base-TX Ethernet, stereo and mono audio inputs, and an RS-232C port for remote control. Strangely there's no DVI input. A regular monitor output (15-pin D-Sub) port lets you simultaneously view the same image on a monitor that's being projected. There's a built-in 1.8W speaker (stereo) too, but you'll want to connect an external sound system for the best results.

Supported video signals include RGB/component (50/60Hz), progressive component (50/60Hz) and DTV (480/60i, 575/50i, 480/60p, 575/50p, 720/60p, 720/50p, 1080/60i, 1080/50i, 1080/60p, 1080/50p). Colour systems supported are also comprehensive: NTSC, PAL, SECAM, NTSC4.43, PAL-M, PAL-N, PAL60. The 4:3 native aspect ratio is a little disappointing -- we'd have preferred a 16.9 ratio given the large array of video inputs signals. In terms of screen coverage the VPL-FE40 is capable of producing images of between 40in. and 600in. (measured across the diagonal).

Built for a variety of applications, including education and business, the VPL-FE40 is an ideal projector for showcasing presentations, video and images in medium to large-sized meeting rooms and auditoriums. The 3-LCD engine delivers excellent colour fidelity, while video is accurate and smooth. The versatility of this projector also makes it ideal for a number of digital signage installations, while the excellent networking functionality makes the VPL-FE40 extremely versatile and customisable to virtually any application environment. The variety of mounting options and image sizes are further testament to the VPL-FE40's capabilities.

The only downside is the cost, both to purchase (AU$8995) and run (a replacement lamp costs $895), which will limit the VPL-FE40 to large organisations with big budgets. Also, the generally sleek design is marred somewhat by having all of the cables exit from one side.

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Sony VPL-CX155

By Christian Harris
Price as reviewed $1,954.99 - $2,102.00

Sony's VPL-C series of LCD projectors includes six models, each designed to meet specific presentation requirements in mid-sized conference rooms and classrooms. But although the company has made great strides to integrate flexibility, from connectivity and security to advanced networking, image quality has taken an unfortunate hit.

The models in the C series -- VPL-CW125, VPL-CX155, VPL-CX150, VPL-CX125, VPL-CX120 and VPL-CX100 -- are all based on 3LCD technology with Sony's Advance Crisp Focus glass lens, which is designed to display sharper and clearer images, with minimal aberration, on a screen's entire surface. Unfortunately the VPL-CX155 reviewed here struggled with text in our tests, while its general performance was below par.

The 3,000-lumen VPL-CW125 delivers a WXGA resolution, ideal for presentations from a wide-screen source such as a WXGA PC or high-definition video with a 16:9 aspect ratio, while the other models in the series feature native XGA resolution (1,024 by 768 pixels) with a range of brightness levels from 2,700 to 3,500 lumens. The VPL-CX155 (29.8 by 37.2 by 9cm; 4.1kg) that we looked at has a brightness of 3,500 ANSI lumens, which is acceptable for demanding business use in a brightly lit room. Having said that, we could only get the best from the projector in a dimly lit room, which is far from ideal considering the unit isn't designed for movie watching.

The projector accepts a practical variety of input signals, including composite video, S-Video (Y/C) and analogue computer signals up to SXGA+. This flexibility allows it to be connected to a variety of sources and peripherals, but we were disappointed at the lack of component video or even a DVI port -- especially as many modern notebooks include the latter as standard. The projector has a monitor output and audio inputs and outputs (so you can link the audio output connector to an external speaker system to enhance the user experience), as well as an RS-232C port for remote use and a 10/100 Ethernet port for connection to a wired network. There's no Bluetooth or Wi-Fi, though.

The VPL-CX155 is well built and its stylish silver casing would enhance any modern office. It's also relatively quiet in operation, and the front-panel alerts you when the lamp needs to be replaced (to reduce maintenance time, filter cleaning is also recommended at the same time as lamp replacement). The lamp, which should be good for around 3,000 hours, is accessible from inside the rear cover, while the filter can be reached from the front of the projector. This means that lamp replacement and filter cleaning can be performed without uninstalling the projector. Network capabilities mean you can deliver presentations over an IP network; a number of functions can also be performed remotely via a web browser, and the projector's current status can be verified and simple controls operated, such as powering the unit on or off.

Another neat feature is that up to five projectors can be connected to a network and the image from a single PC can be projected by each unit -- this could prove useful in large venues and multi-room applications in which images need to be projected from various locations. By manually registering a PC's IP address, images can also be projected across the country or even internationally for distance learning or long-distance communications. Furthermore, the network capabilities allow automatic email reports to be sent to remind you of scheduled maintenance, or alert you to errors and projected lamp life.

The VPL-CX155 has a built-in ID function. This enables it to be controlled independently using a single Remote Commander unit, which is useful for multi-projector installations in a single room, and during installation and operation. Also noteworthy is the fact that the full-size remote (the CX150, CX120 and CX100 come with a card-type controller) has buttons for direct input selection, so you don't have to toggle through the entire range of inputs to select the desired one. You can adjust such settings as digital zoom and audio volume, or activate auto pixel-alignment, picture-muting and picture-freeze functions. Other core features include vertical and horizontal keystone correction, and direct power on/off. For classroom or office settings, security features such as a control panel key lock, password authentication system and a built-in security bar or Kensington lock help to prevent unauthorised use and theft.

Suitable for ceiling or rear installation, or portable use, the VPL-CX155 offers the flexibility to work where and how you want, along with the extra benefits of network capability. It also has some useful user-friendly features, such as the ability to display the image simultaneously on a large screen and on an additional monitor (via a 15-pin D-Sub connection), so you can face the audience and still see the information being shown. Our only criticism is that the projector's 3LCD panels don't live up to the unit's potential. The overall image isn't very bright, while text quality is really quite poor -- we struggled to read Word and Excel documents from as little as three metres away. Videos and photos looked better (the colours were good), but this is little consolation given the VPL-CX155's target market. Overall, we were left wanting more from a business projector with such a high price tag.

Connections

* Composite
* Yes

* S-Video
* Yes

* VGA
* Yes

Display

* Screen resolution
* 1024 x 768 pixels

* Mininum projection size - Diagonal
* 1016 mm

* Maximum projection size - Diagonal
* 7620 mm

General

* Dimensions (H x W x D)
* 298 x 372 x 90 mm

* Weight
* 4.1 kg

Image

* Aspect ratio
* 4:3

Other

* Other Features
* For more information see the Sony Website

Physical features

* Power consumption
* 285 W

Projectors

* Projector system
* LCD

Sound

* Audio output
* 1 W

* Speakers
* Yes

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Panasonic PT-AX200E

By Zennith Geisler
Price as reviewed AU$2749.00

The Panasonic PT-AX200E replaces the PT-AX100E projector. The new model keeps the excellent picture quality and ease of use that impressed us on its predecessor, and drops the price AU$550.

Design
This is not a portable projector. At 395mm by 300mm by 112mm and weighing almost five kilograms, the PT-AX200E, like its predecessor, is one of the larger projectors around. It's big, boxy and its white chassis lacks the stylish sophistication Apple has achieved with its pale-hued electronics.

The lens controls are on the front of the unit, with other controls, including the power and menu buttons laid out across the top. Inputs are accessible from the back of the unit. We do like the removable cap which protects the lens -- a legacy of the PT-AX100E design.

Features
The PT-AX200E has the same basic specifications as the PT-AX100E, only including an additional HDMI port, bringing the total to two, and a "game mode" which claims to improve gradation in saturated areas to show detail in dark areas that would otherwise be unviewable.

Claiming itself as a High Definition projector, we were disappointed to discover the PT-AX200E only offers 720p resolution, not 1080p full high definition as expected. However, the picture quality is impressive and unless you're dead-set on going full-HD, you probably won't notice too much difference.

As with the PT-AX100E, the PT-AX200E boasts high brightness, with a claimed rating of 2000 lumens, making it easy to view with the lights on, and even in sunlight to a lesser degree.

The 2x optical zoom, horizontal keystone function and mechanical lens shift make adjusting the image and focus a simple process -- we only wish the vertical lens shift was a little more flexible. If placed on a low surface such as a coffee table or entertainment unit of similar height, you'll find the projected image fairly low to the ground. In addition, due to a lack of vertical keystoning, unless directed squarely at the screen, the image will be somewhat skewed.

Given this, as well as the unit's bulk, this particular model is probably best suited to a ceiling-mount or a permanent position set-up.

The PT-AX200 comes with a remote that has big buttons that can be illuminated to avoid straining your eyes trying to adjust the settings in a darkened room.

Performance
The PT-AX200E is straightforward and easy to use while offering good control over its settings. The image quality is the same high standard shared by previous models, impressing viewers and all but erasing the dreaded screen door effect common in 3LCD projectors. The effect is barely visible and then, only in very bright areas at a close distance.

The unit also gets quite hot in the space of an hour or two, but we didn't notice this effect the projector functions or image quality.

Although it offers both vertical and horizontal lens shift, as stated earlier, we wish it went a little further, so there could be more flexibility when adjusting the size of the image and position of the projector.

Despite its impressive image quality and ease of us, the PT-AX200E fails to make a notable improvement on the PT-AX100E. If you don't already own a similar model and aren't concerned about portability or futureproofing your projector with full 1080p high definition, the PT-AX200E is a pleasing projector at a decent price.

Connections

* Composite
* 1

* S-Video
* 1

* Component
* 1

* HDMI
* 2

* VGA
* 1

Display

* Screen resolution
* 1280 x 720 pixels

* Mininum projection size - Diagonal
* 1016 mm

* Maximum projection size - Diagonal
* 5080 mm

General

* Dimensions (H x W x D)
* 112 x 395 x 300 mm

* Weight
* 4.9 kg

Image

* Aspect ratio
* 16:9

* Picture presets
* Standard, Dynamic, Movie, Game, User/custom

* Contrast ratio
* 6000 :1

Lamp

* Lamp brightness
* 2000 cd/m2

Physical features

* Power consumption
* 290 W

Projectors

* Projector system
* LCD

* Lens shift
* Vertical, Horizontal

* Projector installation
* Table, Ceiling, Front, Rear

Sound

* Speakers
* No

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Sim2 Domino D10

By Alex Kidman
Price as reviewed £1357.45 (Exc VAT)
£1595.00 (Inc VAT)

Design

Sim2's projectors have always had style that befits their premium price tag. While nobody is likely to spend anywhere near as long staring at the projector as they are its projected images, it's still nice to know that the tens of thousands of dollars you've spent on, say a Sim2 Domino 80 or Sim2 HT3000E went on some spiffy design features.

So what then, of the D10, Sim2's entry into the budget space? Well, before we start, we should point out that Sim2's definition of "budget" might not match up exactly to yours; the D10 will still cost you one dollar shy of four grand. It is budget, however, compared to a top-of-the-range Sim2 projector such as the C3X 1080. To give it some perspective, for the price of one C3X 1080, you could buy no less than eleven D10 projectors.

The D10's casing is matte black and rounded at the corners, and there's no mistaking that this is a simpler, cheaper unit than the usual glossy Sim2 offerings. There is a plus side to this simplicity; it's all rather easy to set up. Within minutes of unpacking our review sample we were watching crystal clear images projecting before us. Like the projector that it controls, the remote control for the D10 is plain and functional.

Features
The D10 is a DLP projector with a top resolution of 1024x768, or in layman's terms, 720p. It can handle 1080p content, but will scale it down. The projector uses the Texas Instruments Darkchip2 chipset; not quite as spiffy as the Darkchip3 you'd find in the D80.

Yet, the feature that places it above the competition is a full implementation of Texas Instrument's BrilliantColor technology. Whereas most DLP projectors will use a three-colour wheel (RGB) arrangement, BrilliantColor adds another three segments -- cyan, magenta and yellow. The effect of BrilliantColor should be to accentuate colour differences, leading to more realistic and richer colours.

We'd love to give you a brightness rating for the D10, but nowhere in the documentation -- or on Sim2's Web site -- is it stated. Perhaps they forgot. The contrast ratio is rated at 2000:1, however.

The D10 offers a full range of inputs, including S-Video, composite, component, D-Sub, DVI and HDMI. That makes it obviously suitable for high definition video -- not quite "full HD", but close -- as well as a myriad of other projection chores.

Performance
We've yet to be disappointed by a Sim2 projector, but then, given the average asking price for one of their little black boxes of wonder, we'd be very upset if the performance failed to live up to expectations. Things change once these products enter the semi-budget arena, though -- and we're somewhat tougher critics. So, first up are our criticisms of the D10. In full performance mode, the fan is noticeably noisy, even in a large display area. We were also somewhat surprised at how long the fan-assisted shutdown took.

Other than that, we were impressed at how good a 720p signal looked coming out of the D10 -- especially during the more rigorous Displaymate video tests. The D10 delivered excellent visuals with good and subtle contrast -- especially considering the relatively meagre contrast ratio it offers.

We were impressed with the D10's video performance -- arguably more than one could expect to be from what is only a 720p projector. Still, we can't overlook the asking price, and it leaves us wondering-- can Sim2 actually make a true "budget" projector, or is it beyond them?

Connections

* Composite
* 1

* S-Video
* 1

* Component
* 1

* HDMI
* 1

* DVI
* 1

Display

* Screen resolution
* 1280 x 768 pixels

* Mininum projection size - Diagonal
* 1270 mm

* Maximum projection size - Diagonal
* 6350 mm

General

* Dimensions (H x W x D)
* 1450 x 347 x 316 mm

* Weight
* 4 kg

Image

* Imaging technology
* 0,65� DarkChip2 DMD

* Aspect ratio
* 16:9

* Contrast ratio
* 2000 :1

Other

* Other Features
* Memories/Overscan, Full BrilliantColor technology

Projectors

* Projector system
* DLP

* Projection Lens
* High quality optics with manual zoom and focus adj.

* Colour Wheel
* 6 x

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Sanyo PDG-DSU20B

by M. NURRIZQI PUTRO UTOMO
Price as reviewed $470.00

This Sanyo PDG-DSU20B is a multimedia projector designed to work with a lap top and screen so you can do presentations or whatever where you want your computer screen projected. I also use it connected to a TV and VCR so you can project the image onto a larger screen, for showing to a whole room full of people.

It costs GBP233 (about $470) at the moment from the BT shop - that's the cheapest price I can find at the moment - I used mine at work, so I don't know what the one I used actually cost.

It is a portable projector, so you and your latop can go anywhere, and bore people to death by powerpoint slide, on a global scale.

It weighs a little over 6lbs, which is not bad, but if you can get the bloke in IT to set it up for you and carry it over, then I'd do that if I were you.

It is a fabulous example of the genre.

Firstly it's intelligent. It recognises when you've plugged something into it and you don't have to press a dozen buttons just to get it to talk to your laptop. I have a system with multiple things plugged in quite often and when you switch one of them on, it knows you've done that, it knows which one and it goes straight there! Oh joy! It is arguably more interactive than the bloke in IT, becasue it never scratches its head, sucks its teeth and says, "Oh my goodness what ever did you to do to this then?" in a patronising male tone.

Secondly it is very bright and you can adjust the contrast, and it has a big lens so you still get a reasonable size of picture even if the projection screen is a long way from the actual projector. If you do a lot of mobile projecting you'll know how often you walk into a room which has no black out blinds and one piddling table about half a mile from the screen, with a plug through a window on an extension cable that is precisely two inches too short for the task.. Or maybe that's just me. And the bloke in our IT department.

So all in all - it is quick to set up, and almost idiot proof; projects well and you can adjust all the stuff like the contrast, the keystone etc so you get a good picture without having to lug a 150 page manual in Swedish along with you and spend three hours failing to work out how to switch it off.

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Epson Pro Cinema 1080 UB

by Evan Powell

Price as reviewed $3,999.99

Epson has been making LCD-based home theater projectors for over five years now. The line started with the industry's first 1280x720 resolution model, the TW100, which was released in the summer of 2002. That unit has been followed by a line of newer, better, and cheaper projectors that have appeared periodically ever since.

Epson not only makes projectors, but they also manufacture the LCD panels that go into them. That puts Epson in a unique competitive position in the marketplace, since other vendors like Panasonic, Mitsubishi, and Sanyo all use Epson LCD panels in their products as well.

Epson home theater projectors have traditionally been good and dependable, but never quite leading edge in terms of price/performance. I've always had the feeling that they were holding back a bit in the design and marketing of their own home theater projectors, perhaps so as not to undermine the wider distribution of LCD panels to their corporate clientele. If that was indeed Epson's thinking, that strategy appears to have changed with the recent release of the Pro Cinema 1080 UB, the Home Cinema 1080 UB, and the entry level Powerlite Home Cinema 720. These three units are without question the most formidable competitors ever released by Epson in the home theater projector market, and they are right there on the leading edge of price/performance.

Differences between Pro 1080 and Home 1080

This review focuses on the Pro Cinema 1080 UB and includes notes on the Home Cinema 1080 UB. For all practical purposes, these are the same physical projector internally. But they are packaged, priced, and distributed differently. We have used a sample of the Pro version for this review. The actual differences between the Pro Cinema 1080 UB and the Home Cinema 1080 UB are as follows:

• The Pro version is black, and the Home version is white.
• The Pro is priced at $3,999.99
• The Home is $2,999.99
• The Pro comes with a ceiling mount and spare lamp, whereas the Home does not.
• The Pro has a 3-year warranty, and the Home is 2 years.
• The Pro model features an Imaging Science Foundation (ISF) certification.
• The Pro model is sold by resellers who are trained to install, calibrate, and support the unit. The Home model is sold by resellers who typically do not offer this level of support.

Product Overview and Observations

The Cinema 1080 UB is a relatively small home theater projector with a form factor that is wider than it is deep (almost 16" wide and 12" deep). Fan exhaust is out the front left corner as you face the unit. The design makes it particularly convenient for mounting on a rear shelf.

The projector has manually controlled vertical and horizontal lens shift. Vertical lens shift allows a total movement range of almost three picture heights (2.9 by our measurements). This is more than ample for both rear shelf mounting, and for most ceiling mount situations. It is about as much vertical shift range as we ever seen on home theater projectors.

[NOTE: In the review as initially posted, we erroneously reported a vertical shift of two picture heights, and noted that this range was restrictive in ceiling mount situations. We also noted that the vertical lens shift range was less than the Panasonic AE2000 and JVC-RS1 in the comparisons with those units below. In fact, all of these units offer about the same vertical shift range. This review as been updated with the correct data as of 1/23/08. EP]

A key advantage is that the Cinema 1080 UB is a very bright projector, and that it has a range of brightness options so you can adopt it to your particular room, screen size, and intended use. It is rated at 1600 ANSI lumens, and believe it or not, in its brightest operating mode ("Vivid") we measured exactly 1600 ANSI lumens, with the lens set to its widest angle configuration. I can count on one had the projectors that have measured at or above their rated lumen spec since we started reviewing projectors in 1999.

The Vivid operating mode is fine for a Super Bowl party, but as usual you trade color accuracy for extra brightness. If you want better color, opt for Cinema Day or Cinema Night modes. Cinema Day produces a whopping 800 lumens, and Cinema Night delivers a still very bright 470 lumens. These measurements are, again, with the lens in wide angle position.

The Cinema 1080 UB has a long zoom range, 2.1:1. The good news is that it gives you great flexibility in throw distance for any desired screen size-you can light up a 120" diagonal screen by placing the projector anywhere from 12 to 25 feet from the screen. The bad news is that when you move it to maximum telephoto, you sacrifice about 45% of the projector's maximum light output. For example, Vivid drops from 1600 to 870 lumens just by shifting the lens from wide angle to telephoto. That's not unusual for a 2x zoom lens, but it means that installation of the projector must be done with consideration for the screen size and operating mode that is anticipated. If you are going to be operating in Cinema Night mode, the use of the extreme telephoto end of the zoom will drop light output from 470 to about 260 lumens. That in turn would limit the screen size you'd want to go with, and/or it may argue for the use of a higher gain screen.

Therefore, despite the added complications of ceiling mounting, you may indeed wish to opt for a ceiling mount to get the projector closer to the screen rather than setting it back on a rear wall. If this sounds a bit confusing, professional installers can help sort it all out for you, which is one of the benefits of buying the Pro version from them rather than buying the Home version and doing it yourself.

Without a doubt the most sensation specification on the Cinema 1080 UB is the 50,000:1 contrast ratio-at this writing, this is the highest contrast ratio claimed for any home theater projector on the market. This is achieved with the action of an auto iris, which changes from scene to scene-in a bright scene the iris opens to boost highlights, and in a dark scene it closes to achieve deeper blacks. The native contrast spec on this unit is 4,000:1, which is the contrast range it can achieve within any given image frame.

The important question is, what does it really look like? The answer is that it looks remarkably good. The combination of the latent contrast and action of the auto iris delivers much more apparent contrast than we would have imagined possible. In Cinema Day mode, overall apparent dynamic range comes within a hair of matching that of the JVC DLA-RS1 when viewed side by side. Of course, the DLA-RS1 is a pricier projector with a much higher native contrast rating, so the fact that the Cinema 1080 UB can compete so well against it was surprising and remarkable.

On the test unit we had, the factory default settings in the various color modes were quite inaccurate, with all of them pushing green to a greater or lesser extent. None of them were acceptable out of the box. However, the system offers extensive controls for calibration, including the ability to adjust hue, saturation, and brightness on RGBCMY in each of the six preprogrammed color modes. These adjustments give you the control needed to balance out the projector. In addition, there is a skin tone control in the menu which should be used with caution. It can be set from 0 to 6, with 3 or 4 being the factory defaults depending upon the color mode you select. But use it judiciously, with the understanding that it has an effect on most colors in the spectrum, not just skin tones. The good news is that, once it is tuned up and properly calibrated, the Cinema 1080 UB is capable of delivering beautiful, natural, well balanced color.

In general, the factory defaults on our test unit for color saturation, contrast, and sharpness were overdriven for our taste. Color was simply too intense, and reducing the saturation control yielded a more naturally balanced color. Highlights had too much of an artificial glow, and pulling the contrast control down a few notches solved this problem. Finally, the picture looked a bit too sharp and too digital at the factory setting for sharpness. Reducing the sharpness control a few pegs yielded a more filmlike image without compromising image acuity. However, this is a personal preference-some people really like the appearance of the absolute sharpest possible image. If that's what you want, the Cinema 1080 UB definitely has the juice to deliver it.

As far as fan noise is concerned, in the less bright operating modes like Cinema Night, there is very little. But setting the unit in Cinema Day not only boosts light output substantially, but it raises the fan noise to a noticeable level. I wouldn't call it loud, but it is more noticeable than competing home theater projectors in their high lumen modes. If one were opting to run in Cinema Day mode on a regular basis, we would suggest positioning the projector as far from the seating area as is practical.

Epson Cinema 1080 UB vs. Panasonic PT-AE2000

This is an interesting comparison. Both projectors are extremely good, and both have distinct advantages over the other.

The Cinema 1080 UB clearly trumps the AE2000 in brightness and dynamic range. On a black screen with white credits, the Cinema 1080 shows both deeper black and whiter white. But in most film/video scenes with a lot of mid-tone values, black level on the two units is for the most part comparable, and on occasion slightly deeper on the AE2000, the differences being due, we would guess, to the different behavior of the auto irises on each unit. Highlights are invariably slightly brighter on the Cinema 1080, but overall picture luminance and snap are similar when viewing scenes with average light levels.

As far as lumen output is concerned, the Cinema 1080 UB is about 25% brighter in comparable calibration modes for dark room viewing. On the other hand, the AE2000 produces a bit more lumen output in its Normal mode (about 900 lumens), than does the Cinema 1080 it is comparable Cinema Day mode (about 800 lumens).

At factory default sharpness settings, the Cinema 1080 UB looks a bit sharper than the AE2000, and it accentuates more detail in facial features. However, as noted previously, the factory sharpness setting is somewhat overdriven on the Cinema 1080. Meanwhile, the AE2000 is factory preset at close to its minimum, so sharpness can be boosted if the user desires.

While the Cinema 1080 UB shows stronger performance in black level, dynamic range, lumen output, and perhaps a slightly sharper image, the AE2000 has advantages of its own. First, it shows less digital noise. This is true in both standard and high definition material, but it is most noticeable in SD. Even with its noise reduction filter off, the AE2000 shows less noise than the Cinema 1080 with its filters on. The result is that the image on the AE2000 has a smoother, more filmlike characteristic.

The AE2000 has no pixelation due to the SmoothScreen filter. The Cinema 1080's pixelation is a bit more apparent. However, at 1080p resolution, we do not consider the pixel structure on any 1080p projector to be an issue of concern at normal viewing distances.

The AE2000 has quieter fan noise in all operating modes. In low lumen modes, the Cinema 1080 fan noise is low and unobtrusive, but the AE2000 is virtually silent. In the brightest modes, the AE2000 is still extremely quiet, whereas the Cinema 1080 puts out some noticeable audible noise.

The AE2000 has greater connectivity, offering three HDMI ports and two component ports, compared to the Cinema 1080 two HDMIs and one component. However, the Cinema 1080 has a 12-volt trigger which the AE2000 does not have.

The AE2000 has a vertical stretch mode to accommodate an anamorphic lens, whereas the Cinema 1080 does not, at least in HDMI.

Finally, the AE2000 has several features that don't exist on the Cinema 1080-its split screen calibration is unique, it has a waveform monitor onboard to assist in calibrations, and it has a learning remote that enables you to control several devices in your theater from the one remote control.

So the bottom line is that the head to head competition between the Cinema 1080 UB and the Panasonic AE2000 is a toss up. There is no clear winner as neither outperforms the other in all ways. The decision to go with one or the other depends on which among the various features and image characteristics offered by each projector are the most important to you.

Epson Cinema 1080 UB vs. JVC DLA-RS1

This side by side shootout was quite fascinating as well. First and foremost, the question was which would show better black levels and dynamic range? The RS1 has a native contrast rating of 15,000:1, whereas the Cinema 1080's native rating is just 4,000:1, but it is assisted by an auto iris that clearly improves its actual performance.

The results of our viewing were that the RS1 has just a slight edge in performance on these characteristics, but the Cinema 1080 UB is surprisingly close. In a number of scenes there was no practical difference. We were very surprised to see the Cinema 1080 show so strongly against the RS1, considering the huge difference in their native contrast ratings.

Of course, the Pro Cinema 1080 UB has a price advantage. Not only is it selling for a thousand dollars less, but the price includes a spare lamp and ceiling mount. And the Home Cinema 1080 UB has an even more radical price advantage, selling for at least two thousand dollars less at the moment. So if you want contrast and black level performance that is almost equal to the RS1, but don't want to spend the money, the Cinema 1080 models will get you there.

We found it much easier to get to an ideal color calibration on the RS1, starting from that unit's factory defaults. The Cinema 1080 required more extensive manipulation, and for most users a professional calibration will be needed to get the most from it. (We say this based on our experience with one early test sample. Epson could alter the factory defaults at any time, so it is possible that customers will have better luck with out of the box color performance than we did.)

The RS1 is a D-ILA based projector, which is JVC's version of LCOS. One of the attractive attributes of LCOS technology is the lack of pixelation. Accordingly, the RS1 has less apparent pixel structure than the Cinema 1080 UB when viewed up close. But as noted previously, we don't find anything to complain about as far as pixel structure on the Cinema 1080 goes-it is not visible at normal viewing distances unless you have the eyes of Superman.

The Cinema 1080 is much smaller and lighter than the RS1, actually about half the size and weight. That makes it easier to shelf mount, less bulky to ceiling mount, and in general less visible in the room when not in use. If you are planning an installation in a multi-purpose room and you don't want your video system to be seen in the room when you are not using it, the Cinema 1080 is the more unobtrusive choice.

Connectivity on these two units is almost the same. Both have two HDMI ports and one component port. However, the Cinema 1080 also includes a VGA connection and a 12-volt trigger as well. The Cinema 1080 is HDMI 1.3 compatible whereas the RS1 is not.

In their brightest operating modes, there is some fan noise on both units, but the RS1 is a bit quieter than the Cinema 1080. In lower lumen modes, fan noise is a non-issue on both of them.

Neither of these models offers a vertical stretch aspect ratio to accommodate an anamorphic lens.

In short, the Epson Cinema 1080 UB competes extremely well against the RS1. Once it is tweaked up, it is capable of delivering a picture that comes very close to matching that of the RS1, and it does so for a lot less money.

Conclusion

The Epson Pro Cinema 1080 UB is a beautiful projector once it is calibrated. And in buying the Pro version you are likely to get some assistance with the calibration. The overall package is fairly priced, and a highly competitive value proposition. If you want to budget about $4,000 for your next home theater projector, it would be difficult to find a better choice than the Pro Cinema 1080 UB. We can give it our Editor's Choice Award with great enthusiasm.

Since we have not yet seen the actual Home Cinema 1080 version, we will reserve further comment on that particular model for a later date. For those who are adept at video display calibration and who prefer to do everything themselves, the Home version may be the better choice from an expense perspective. More on this to come ......

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Mitsubishi HC5500

by Evan Powell

Price as reviewed $2,495

Specifications

ANSI lumens: 1200

Contrast (full on/off): 14,000:1

Light Engine: 1920x1080, native 16:9, 0.74" three-panel inorganic LCD, Micro Lens, with 160W UHP lamp.

Video Compatibility: 1080p/60/50/24, 1080i, 720p, 576p, 576i, 480p, 480i.

Data Compatibility: Computer resolutions up to UXGA 1600x1200

Connection Panel: Two HDMI v. 1.3, one 15-pin VGA, one 3-RCA component input, one s-video, one composite, one 12V trigger, one 9-pin DSub serial port.

Lens and Throw Distance: 1.2:1 power zoom/focus lens with vertical powered lens shift. Throws a 120" diagonal 16:9 image from 12.5 to 15.25 feet

Lamp Life: 2,000 hours, 5,000 hours in eco-mode

Replacement lamp cost: $459 retail

Warranty: Two years. Lamp warranty One Year or 500 hours, whichever comes first.

HC5500 vs. HC4900

Though the HC5500 will replace the HC4900 as Mitsubishi's least expensive 1080p model, it offers a variety of features found on more expensive home theater projectors. Key improvements in the HC5500 over the HC4900 are the following:

• Higher contrast. The HC4900 was rated at 7500:1, and the HC5500 is rated at 14,000:1. In viewing this two units side by side, the HC5500 has an obvious edge in contrast, and an even more obvious advantage in black levels.

• Higher brightness. The HC4900 was rated at 1000 ANSI lumens maximum, and the HC5500 is rated at 1200.

• Much faster auto iris. On the HC4900, with a shift in scenes from bright to dark it would take the auto iris a second or two to adjust to the maximum black level. On the HC5500, the iris adjustment happens so quickly that it is invisible.

• HDMI inputs. The DVI port on the HC4900 has been converted to a second HDMI input. Thus, there are two HDMI 1.3 inputs on the HC5500, whereas there was just one HDMI 1.2 input on the HC4900.

• Improved video processing. The Pixelworks processor on the HC4900 has been upgraded to the Silicon Optics HQV chip.

• 1080p/24. The 4900 did not have 1080p/24 capability, and the HC5500 does.

• Anamorphic lens compatibility. The HC5500 has a versatile scaling package that allows the user to install an anamorphic lens and leave it permanently in place no matter what aspect ratio the subject matter is in. This saves the cost of a motorized track, which can be substantial, or it eliminates the need to manually move the lens when one switches from 2.35 to non-2.35 material. Either way, it provides a friendlier solution for those interested in super-widescreen 2.35 installations.

• Digital keystone correction. A +/- 15 degrees vertical keystone correction capability has been added to the HC5500 that did not exist on the HC4900.

• Fan noise. The HC5500 is purported to be a bit quieter than the HC4900. It might be--we can't tell because the HC4900 was already stone quiet, so we don't notice any difference. These are two of the quietest home theater projectors on the market.

Limitations

The HC5500 has one noteworthy reduction in functionality as compared to its predecessor: the zoom range on the lens has been reduced from 1.6x to 1.2x, and the vertical lens shift range has been reduced from 2.5 picture heights to 2.0 picture heights. Horizontal lens shift, which had a modest range of 5% of the picture width on the HC4900, has been eliminated on the new model.

The new zoom lens and lens shift ranges introduce some restrictions on how and where you can install the HC5500. As is typical, with the lens in neutral position, the centerline of the lens intersects the center of the projected image. From that point you can use vertical lens shift to raise or lower the picture a maximum of 50% of the picture height. That means you can place the image entirely above or below the centerline of the lens, but without any additional clearance. This is great for mounting the projector on a rear shelf or on a bookcase or stand directly behind the seats. On the other hand, for a ceiling mount you may need to use a drop extension tube to avoid tilting the projector to hit the screen.

The short zoom range means that the projector will almost always be placed immediately behind the seats if it is not ceiling mounted. If, for example, you want to install a 120" 16:9 screen, you will need to place the HC5500 at least 12.5' and no more than about 15.25' from the screen. The HC4900 had the same minimum throw distance of 12.5 feet for this screen size, but it could be set back almost 20 feet if your room dimensions required it.

The HC5500's short zoom range means that the projector will be placed at a distance of between 1.4 and 1.7 times the screen width. Since many people prefer to sit at this viewing range, or perhaps just a bit closer, the projector will most likely end up immediately behind the seats in many installations. Thankfully, the projector is so quiet you'll never know it's there. As always, before you place an order, take care to measure out your room dimensions and screen size to ensure that the projector's geometry will fit your intended installation plan.

Performance Notes

Lumen readings. In its video optimized configuration with lens at its widest angle, gamma mode set to Cinema and color temperature on Warm, we measured our HC5500 test unit at 610 ANSI lumens, compared to 560 on the HC4900. Thus, on our test units we measure an incremental boost in brightness of about 9%.

Low Lamp mode reduces light output in all operating modes by 26%, and improves lamp life from 2000 to 5000 hours. Since the replacement lamp is $459, users who put a lot of hours on their projectors will find the ability to stretch life out to 5000 hours a desirable option.

Since the zoom lens is only 1.2x, the change in lumen output between its wide angle and telephoto setting is inconsequential. Moving from wide angle to telephoto reduces lumen output by about 5%.

ANSI contrast measured 260:1, which is consistent with what we have been measuring for other LCD projectors in the 1080p performance class.

Conclusion

Last December, we gave the HC4900 our Editor's Choice Award for outstanding value in 1080p projection. Now, just seven months later, the HC5500 represents a substantial improvement in image quality over its predecessor. It is not selling below $2,000 like the HC4900 was, but it is still aggressively priced at an estimated street of $2,495. Higher contrast, deeper blacks, upgraded video processing, 1080p/24 compatibility, and a much faster auto iris combine to make the HC5500 a significant step forward in 1080p projection at this price level. We will wait to see how the market develops in 1080p projection before designating this year's Editor's Choice Awards, but the HC5500 must be considered as a strong contender no matter what happens.

Beyond the improved image quality, the flexible scaling to accommodate a permanently deployed anamorphic lens makes the HC5500 a very attractive option for those looking for a cost-effective 2.35 Cinemascope installation. Thus far, this feature has been seen only on 1080p models that are much higher in price. For more information about 2.35 widescreen installation and whether it is right for you, read this article.

Mitsubishi continues to make competitive inroads into the hot 1080p home theater market with its evolving line of 1080p models that are all outstanding value propositions. As with the HC4900 and HC5000 before it, the HC5500 is highly recommended.

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Sanyo PLV-Z2000

Price as reviewed $2,155.00 - $2,550.99

Product summary

The good: Accurate color decoding; independent memory per input; comprehensive connectivity; includes both horizontal and vertical lens shift.

The bad: Primary and secondary color accuracy is way off, particularly red and green.

The bottom line: While Sanyo's PLV-Z2000 1080p projector does have some performance shortcomings, it's nonetheless a very good value.

Specs: Projector type: LCD projector; Resolution: 1920 x 1080; Image brightness: 1200 ANSI lumens

by Kevin Miller

Both front projectors and flat-panel HDTVs are plummeting in price while offering more and more in the way of features and performance. Sanyo's LCD-based PLV-Z2000, is an extremely well-priced, 1080p resolution projector that delivers reasonably good performance for the dollar. It has a solid feature package for setup and fine tuning of the picture, and also offers comprehensive connectivity. Its flaws in picture quality, while notable, are generally shared by most front-projection systems, particularly in the sub-$10,000 price range.

Design
The Sanyo PLV-Z2000's outward appearance belies the fact that little or no effort or money was invested in its physical design to make it attractive in any way. It's basically a squarish box with a relatively small footprint, and our review sample was finished in white. Both the intake and outtake vents for cooling are located on the right side of the chassis when in a floor-mounted configuration, or on the left if ceiling-mounted. The unit does sport a cool electronic trap door that opens automatically when it is turned on and closes when powered down. All told, the projector measures 15.8 by 5.8 by 13.6 inches and weighs 16 pounds.

The remote control is an intelligent design and is relatively intuitive and easy to use. It has direct access keys for all inputs and picture controls. Thankfully, it is also fully backlit with the touch of a button on the upper-left side. Internally, the menu system is quite simple and straightforward to use.

Features
As we mentioned earlier, the Sanyo PLV-Z2000 has a native resolution of 1080p, which translates to 1,920x1,080 pixels available to produce a picture. That's especially important in a projector, because the big screen size makes the benefits of 1080p more apparent.

Like many projectors, the PLV-Z2000 has a few picture-affecting features that are best left turned off, as they keep the projector from delivering its best performance. These include Auto Black Stretch, which automatically changes the black level depending on the content of the picture; Contrast Enhancement, which simply lowers the black; Transient Improvement, which appears to do nothing at all; and Dynamic Gamma, which we take to mean gamma that changes on the fly. Finally, there is a complex Color Management System, but it actually doesn't work well at all. You can improve primary color accuracy, but it ruins color decoding, which is a problem we have seen before. All of these features are located in the Advanced menu on the second page of the Image Adjust menu.

With that said, Sanyo does offer a few features that actually help in setup as well as the fine-tuning of the picture. Topping our favorites list here is the inclusion of both horizontal and vertical lens shift, which greatly eases the difficulty of the physical installation of the projector relative to the screen. The PLV-Z2000 has perhaps too many picture modes. We chose Natural as it was the only one that didn't negatively effect color decoding; the others seemed to introduce red push.

Selectable color temperatures are, of course, available and include Default, Low 1, Low 2, High 1, High 2, and User, the last of which appears if you use the three grayscale controls to adjust the color of gray. There are four settings for the amplitude of the lamp, while the Iris, which attenuates the lamp output, has a Normal and a Fast setting in addition to offering a fixed mode with a range from -63 to 0. We left ours at -30, which is the default setting for Natural.

Connection options on the PLV-Z2000 are fairly generous for a front projector. Two HDMI inputs are the most important, and they both support the HDMI 1.3 specification. There are also two component-video inputs, an S-Video and a composite-video input for legacy sources such as VCRs. I was disappointed to find no RS-232 control port or 12-volt trigger for electric drop-down screens.

Performance
While not perfect by any means, the Sanyo PLV-Z2000 does have some things to recommend it in the performance department. First off, color decoding is accurate for both SD and HD formats. Video processing is reasonably good with 2:3 pull-down for motion artifact elimination with film-based DVDs, and it also deinterlaces 1080i HD properly, preserving all the resolution in the signal. The projector also passes all of the resolution in a 1080p source at the HDMI inputs, but like many an HD display today, loses some of that resolution at the component inputs. That isn't such a tragedy though, because 1080p sources are rarely allowed to travel via component video because of copy-protection issues.

At first, we thought that the projector was clipping both white and black, but it turns out the factory default in the Settings menu for the HDMI Setting, which is Normal, is the wrong reference. Rather than 16-235 it is 0-255. Sanyo has it backwards here. A projector intended for Video should have the factory preset to Expanded, which is correct at 16-235. This is a common mistake in the industry that costs consumers contrast ratio and detail in black-and-white as a result.

After we found the correct setting, the black level and contrast ratio performance of the PLV-Z2000 looked much better. Blacks were definitely compelling, and on a par with those of other projectors in its class. The lens is of reasonably high quality considering the price, with very few chromatic aberrations. Images from top quality sources such as HD DVD and Blu-ray looked quite sharp.

Seabiscuit on HD DVD looked pretty impressive, with decent skin tone rendition and saturation. We watched chapters 10 through 13, which shows you a variety of different things like blacks on the overnight train ride, natural wood colors in the owner's house, and then outdoor colors in Chapter 13 at the race track. The inaccurate red stuck out when viewing the jockey's uniform, which is supposed to be slightly orange, but appears to be candy-apple red on the Sanyo.

Chapter 4 of The Italian Job on Blu-ray looked very good as well. The dark shots under water and in the building revealed plenty of shadow detail, and the contrasting outdoor boat chase scene showed off the projector's excellent contrast ratio. On our Time Warner Cable feed, we watched some of Happy Feet, an animated feature with lots of bright material. The picture was again impressive, especially for a sub-$3,000 projector.

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Aiptek V10

Price as reviewed $649

Look, if I want to watch videos or look at pictures on the go, I’ll take a PMP with me. Or a digital camera. Or a mini-notebook. But, it would have been great if I had something like this when I was in college, using old-skool transparent film on a low-tech overhead projector. It would have been better if it had the same size of image projection claimed by Aiptek’s PocketCinema V10 mini projector.

The Aiptek PocketCinema V10 mini projector can read MP4 and JPEG files, and features a 3-in-1 input jack and 1GB of storage with support for SD/MMC/MS Pro cards. But those specs are not what make this device notable. According to DigiTimes, the V10 can project 50-inch images. FIFTY! Unfortunately, the resolution and other specs are conveniently not mentioned, so we’re left wondering if we should be impressed or skeptical.

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Mint V10

Price as reviewed $649.00

Australia based Mint Wireless has unveiled the new V10 pocket projector, which is manufactured by Aiptek, and claimed to be the world’s tiniest projector in the consumer market.

The V10 can display and project videos and images which are input via a 3-in-1 AV jack, or video and images stored on its 1GB memory, or on MS pro, MMC and SD cards.

It is believed that the projection tech within the V10 is from 3M and supports JPEG, AVI, ASF and MPEG-4 formats. Unfortunately though there is no wireless module built into the V10.

The Mint Wireless V10 pocket projector, when available should carry a price tag of roughly $649.00.

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Optoma HD81-LV

By Kevin Miller
Price as reviewed $6,524

The competition among higher-end front projectors has hit fever pitch recently, partly because DLP has finally caught up to LCD and LCoS in delivering 1080p native resolution. Enter Optoma's flagship 1080p resolution DLP projector, the HD81-LV. This is one of the many projectors that actually deliver every line of resolution in a 1080p source. On the downside, we've found that its best picture quality can only be achieved in smaller screen sizes, and furthermore it was quite difficult to set up correctly. If properly calibrated, however, the Optoma HD81-LV is capable of good overall performance, and its relatively low street price compared with other 1080p units makes up for some of its faults.

Design

The design of the HD81-LV itself is rather basic. It does have a small footprint, which means it will hide away on most ceilings without bringing any attention to itself. Our review sample was finished in a gun-metal with sparkles on the top of the chassis, while the rest of the unit was a solid dark gray. Following in the vein of the ultra-high end, the HD81-LV is packaged with an outboard video processor that acts as a video source selector as well. It has an all-black finish, with the exception of a small amount of silver trim out by the sides of the unit. The HD81-LV projector measures 411 x 311 x 116mm and weighs 4.5kg, while the outboard processor measures 433 x 285 x 50mm and weighs 4.2kg.

Optoma's remote control is relatively small with seemingly a zillion keys, all of which were undersized and less comfortable than we preferred. Once you hit any key, the remote becomes fully backlit, which does help with setup in a dark environment, and we appreciated the direct access keys for most of the important functions. The projector sports a vertically arrayed GUI or menu system, which is fairly easy and intuitive to navigate.

Features

As a 1080p native resolution projector, the Optoma HD81-LV can deliver every last detail from 1080i and 1080p sources. Higher native resolution is especially important in a projector because the large screen size can really show off the extra detail. Like all somewhat affordable 1080p DLP units, the HD81-LV has a single DLP chip and uses the bulb-and-color-wheel arrangement, as opposed to the megabuck three-chip DLP models and LCoS and LCD projectors.

Optoma throws in a plethora of picture-affecting features on the HD81-LV, most of which are dubious or downright harmful to picture quality. Features to avoid using or turning on include: Brilliant Color, Color Vividness, B/W extension, and Auto Gamma. One noticeably absent setup feature is vertical lens shift, an unfortunate omission for installers because it makes placement on the ceiling relative to the screen a bit easier. Vertical lens shift is found on every other DLP and LCD-based projector at or near the price point of the HD81-LV.

Useful features include three preset selectable color temperatures in addition to a fourth, User setting, that's adjustable. Picture modes include: User 1, 2, 3, and ISF Day and Night modes. There is no mention of how to create and/or access the ISF Day and Night modes in the manual. We assume, if it is like other displays, that it must be implemented by an installer via the serial control port. Ten gamma setting choices give the user way too many ways to get this wrong. We found -5 to be the best, most CRT-like gamma curve. In the System Menu, under Projector, there's an Iris setting. This gives you the choice of Auto (which we don't recommend as it changes white and black depending on the content of the picture), Off, and On, with 16 setting choices.

The HD81-LV also offers an anamorphic lens solution for ultra-wide 2.35:1 aspect screen applications. It is available as either a fixed lens solution or a motorized movable lens assembly that attaches to the projector chassis.

Connectivity on the HD81-LV is quite generous, although more elaborate than most projectors because of the external processor box. On the rear are three HDMI inputs, two component-videos, two industrial-grade RGBHV components, two S-video, two composites and a serial control port. There is a control port that connects to the beamer for communication. Unusual for a front projection system are the front panel inputs on the processor: An S-video, composite, and analog PC input are all housed beneath a flip-down door on the front.

Optoma includes a serial cable and an HDMI cable, both 2m long, to run between the box and the projector, but you'll have to supply your own cables if you want more separation between the two. The HD81-LV can also incorporate A/V receivers (with or without HDMI connectivity), so you can have the box switch video and the receiver handle audio processing properly.

Performance

The Optoma HD81-LV's picture quality had its good and bad points, but it's not among the top tier of full-HD models we've tested. Color fidelity, if the picture is adjusted correctly, can be quite good overall. Unfortunately, when the projector is asked to fill a large screen, its grayscale goes into the toilet, causing discoloration in bright scenes and blacks to brighten significantly. Therefore, we recommend that it be paired with small screens not exceeding 92 inches diagonal, depending on the screen material. The HD81-LV's lack of vertical lens shift is a negative, but diligence in the installation can make up for that.

The initial picture quality of the Optoma HD81-LV left a lot to be desired, but that's to be expected. During setup, we discovered the unfortunate truth that the HD81-LV was not capable of producing bright pictures if you want them to be accurate. Even with the Iris off and contrast toned down, grayscale tracking and gamma suffered badly, and blacks were way too bright. With the Iris all the way up to 16, blacks looked much better, but light output was unacceptably low. We settled on a compromise with the Iris set in the middle of the range at 8. This yielded a relatively linear grayscale without much color shift, and a barely acceptable 9 footlamberts of light output on a 2m wide Stewart Grayhawk RS screen.

After a thorough ISF-style calibration, we found blacks and grayscale tracking acceptable, but certainly not exceptional, compared with other 1080p projectors. On the other hand, primary colors, although by no means perfect, were more accurate than those of most of the competition. Color decoding was accurate for both SD and HD material, as long as Color Space was set to Auto.

We watched mainly Blu-rays with our Samsung BD-P1200 set to output 1080p. Chapter 2 of Casino Royale is a very bright, fast-moving scene. This scene was rendered cleanly and smoothly thanks to clean video processing, and there was plenty of snap and pop, indicating solid contrast ratio. Chapter 7, the scene at Miami airport, has a combination of bright, colorful, and dark material all in the space of a few minutes. Shadow detail in the darker parts of this scene was relatively good, especially considering the Iris was set to 8 in the middle of the range.

Another awesome transfer on Blu-ray is The Departed and Chapter 2 is a good scene for detail and color saturation. The detail on the uniforms, along with the clock and text on the test paper, looked impressive indeed on the HD81-LV. The HD81-LV is also one of the only projectors in its class to fully resolve a 1080p resolution test pattern with no loss whatsoever. Most of the competition rolls off some of the resolution, which means you don't get all the detail. This is one of the HD81-LV's strong points.

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BenQ W5000

by Katie Scott
Price as Reviewed £ 1499

When the BenQ W5000 arrived all boxed up, you can’t help thinking it must be mighty precious to afford so much packaging. But this £1500 projector is also 9.6kg and 492 x 180 x 420mm so there isn’t much in the box apart from this monster. But it has an awful lot to pack in to produce the image quality that it delivers.

Straight out of the box, and the quality is markably increased over sub-£1000 models. It is also encouraging that this model is very user-friendly, so although it punches in the high-def 1080p HD arena, it isn’t going to take you several frustrating hours with a manual to figure out how to use it. There are options, though, for the more experienced projector user with both a basic and advanced picture menu.

You turn the projector on from top control panel, which has buttons for menu, power and the source controls, and there are also LEDs showing power, temperature and lamp status. The System Setup menu contains the items which you will probably configure once and then not touch again, including the projector position, language, splash screen, sleep timer, menu position and auto source search.

Once on, you can adjust all four feet to make sure your image is centred onto the screen or wall but with a projector this size (and quality), getting a ceiling mount may be the best option especially as the W5000 doesn’t have horizontal lens shift. The W5000 has a throw distance of 2-8m and can project from a 40-300-inch image so you may want to take a tape measure to your room just to check you have the space available.

Note the W5000 lacks the motorised zoom and focus that you see in even pricier models, including its big brother, the W20000, which, incidentally, is no longer being sold because it proved a little too expensive.

The W5000 has its exhaust vents in the front, so shelf mounting is an option, but it is worth adding that we did notice the room heating up as the fan kicked in - a fan that is surprisingly quiet for a projector of this size.

We connected the projector up to a Blu-ray player and opted for Cinema mode – there is a Bright and Brightest mode as well if you don’t have a black-out blind or heavy curtain but, to be honest, we never needed the latter even with the curtains open. On the normal setting, brightness is 1200 lumens.

Input wise – you get two HDMI inputs (HDMI 1.2.1 not HDMI 1.3), a Component video input, Composite and S-Video inputs, as well as five BNC jacks for a second Component video source, an RGB HV source, or a computer input (with the right adapter).

To get the image in the right place the up and down arrows on the top of the projector control the motorised, vertical lens shift. This allows up to +120% and -80% adjustments. The left and right arrows handle keystone correction.

On the all-important image quality, we found the colours were fantastic, the shadows detailed and the picture offered a depth that you simply don’t get in cheaper models, but equally can be lacking at this price. Images displayed no colour wheels, a little noise, and were generally very good.

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Samsung P400

Price as reviewed $800,00

Samsung has taken the curtain off the P400 pocket projector for the US, bringing yet another lightweight and tiny device that targets mobile professionals.

Available in a fingerprint-attracting glossy black finish, you get a resolution of 800 x 600 and a contrast ratio of 1,000 to 1. The bulb has been rated at 150 ANSI lumens, which makes it good enough to throw a decent 30" to 40" image in a well-lit office. Other features include a couple of 1W speakers, RGB, Composite, S-Video, and stereo audio input. No idea on pricing, but each purchase comes with a remote control.

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NEC NP3151W

By Brian Sheinberg
Price as reviewed $3,995.00

As HD video content is increasingly displayed in corporate and education settings, the NP3151W widescreen projector from NEC Display Solutions of America has been designed to deliver home theater-level video quality for professional environments. The Test Center recently had the opportunity to evaluate this multi-featured projector and see what's under its hood.

At 4000 lumens, the NP3151W is certainly one of, if not the brightest, projectors to make its way into the Test Center. Weighing in at 16.1 pounds, its 15.7 x 5.9 x 14.1 inches build is also one of the largest we've seen.

If we had to choose one word to describe this projector, it would have to be connectivity. A glance at the rear of the unit reveals a dizzying array of connectors. For inputs the NP3151W supports Component (3 RCA), S-Video, Composite A/V (3 RCA), DVI, and Analog RGB (15-pin and 5 BNC). There are also three stereo mini audio jacks, a 9 pin serial PC control port, a 15-pin RGB output, and a USB port for a keyboard or mouse. Network connectivity is accomplished by way of an RJ-45 Ethernet port and a USB mounted 802.11 a/b/g Wi-Fi adapter.

Utilizing 17 calibration patterns in DisplayMate's testing suite, the projector aced all but the black level test, with a setting a little lower than optimal. (It should be noted that when black levels can't be adjusted, such as in this case, lower levels are preferred to higher).

Considering the size and brightness of the unit, environmental variables weren't unreasonable. After about an hour of use, the top of the projector measured 96 degrees Fahrenheit, while the output at the fan's vent was 149 degrees. Sound levels while operating were below the 55 dBA threshold of our meter although, curiously, when the device is turned off the exhaust fan speeds up for about 1.5 minutes, generating a sound level of 58 dBA. Power consumption remained constant at 402 watts while on and 17 watts when off.

Most of the NP3151W's adjustments are easily accessed via a browser-based control panel. Using any computer on the same network, the projector can be remotely powered on and off, and the input source can be selected. Other remote features include volume control, picture adjustments, and the status and remaining life the lamp and filter. In addition, there is built-in security by way of a password to protect against unauthorized use; and separate user accounts to limit the access level of available menu options.

Throughout all of our tests, which incorporated multiple input sources (including a Hi-Def session of GTA IV), the NP3151W stood up to the challenge. Video quality is above par with bright, vivid colors, and the two internal 5 watt speakers had enough volume for everyone in the lab to hear.

The included collection of software, called NEC Projector User Supportware 5, is a suite of five Windows applications (for W2K and newer) that helps make presentations simpler. The first, Image Express Utility 2.0, also has a Mac OS X version and allows anything on the PC screen to be sent to the projector via wired or wireless LAN. The other programs are Desktop Control Utility 1.0, which lets anyone use the projector to remotely operate a PC over the network via a USB mouse; PC Control Utility 1.0, with which the same adjustments as the browser-based utility (plus a few more) can be regulated; and a customized version of Ulead Photo Explorer 8.0 SE Basic, with added features specific to the projector.

A fifth program called Viewer PPT Converter 3.0, converts PowerPoint files into a file that, when saved onto a USB Flash Drive, and then inserted into the projector's USB port, can be displayed with the NP3151W's built-in viewer function.

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HP MP3320

by James Stevenson
Price as Reviewed: $1,399.00

Getting the 3.8 pound MP3320 set up was an absolute breeze thanks to the intuitive on-screen menu system. The measured brightness of 2248 lumens was a little under the rated 2400, but that measurement was good enough for second-best in our roundup. The 242:1 contrast ratio was only third best, but the MP3320 handled the rainbow effect better than most other DLP projectors we've seen.

Operation wasn't quite as smooth as we would have liked. Oddly, the left and right buttons on the remote are used to move up and down on the menu's different levels instead of the up and down buttons. We also had some trouble using the mouse feature on the remote; the speed seemed to change at will. On the plus side, we liked the zoom feature and easy-to-use manual focus ring. The cool-down time of 17 seconds was also tops in this roundup.

The MP3320's video performance left us a bit cold. When we ran our DVD tests the colors didn't seem right, and the resulting look was faded compared to the other projectors. The audio from the unit was hard to hear, and there wasn't enough sound for even a small room.

It's not the most affordable projector in this roundup, but the HP MP3320 delivers the best balance of performance and portability.

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Mitsubishi MiniMits XD80U

by Rich Malloy
Price as Reviewed: $1,995.00

Not long ago Mitsubishi turned heads with its amazing one-pound Pocket Projector, but that was more of a novelty than a real business tool. Now the new MiniMits XD80U has arrived, and it’s the smallest, lightest, and least expensive full-fledged projector the company has offered yet.

To be sure, the XD80U is quite compact, not much larger than a best-selling hardcover book. The main design element is what looks like a large lens cap projecting from the front panel. By moving a small lever, the top part of the lens cap rotates out of the way. The result is a fairly sturdy solution that cannot be lost.

The remote control is quite small, about the size of a short stack of credit cards. Yet despite this petite profile, the buttons are well placed and easy to push. The bad news is that the most important buttons for presenters—those for advancing a PowerPoint slide show and for activating a laser pointer—are missing.

One perennial knock against DLP projectors is that despite their small size and superior contrast, they do not handle colors well. This model fights this shortcoming by including two color modes: one for business presentations where white might be a dominant color, and a second mode designed to generate more vivid colors for showing DVD movies. In our tests, that second color mode provided a smoother palette for entertainment applications. Unfortunately, the loud fan on the XD80U would cause real problems for any serious cinema fan.

In addition to its intricate lens cap mechanism, the XD80U offers automatic keystone correction. This feature lets the projector immediately sense its vertical elevation angle and automatically apply a digital modification to the image, essentially turning a trapezoidal slide on the wall into a nice rectangular one. Our test unit came with three AC cables: a six-foot three-prong cable for the U.S. and two for Europe. The only other cable was for a VGA connection. When it comes to audio and other video cables, you have to supply your own.

The XD80U performed fairly well when compared with other projectors in its weight class. We measured its brightness at 1372 lumens, almost 10 percent below the advertised value of 1500, but its low-power mode was comparatively bright at 1180 lumens, only 14 percent dimmer than Normal mode. Using our checkerboard contrast test, we saw a contrast ratio of 478:1, one of the lowest in this category. Generally, however, we found the images to be sharp and steady.

The Mitsubishi is fairly fast on its feet. It was ready for action in only 19 seconds. Cooling required 1 minute and 32 seconds, but like a few other new projectors, the XD80U has a quick shut-down feature. Just pull the plug and a small internal battery will continue to cool the projector down. Even in low-power mode, however, that cooling fan was distracting.

Operating costs for the Mitsubishi MiniMits XD80U are a bit expensive. The lamp needs to be replaced after only 1,500 hours, and replacement lamps will set you back $495. This yields a usage cost of 33 cents an hour—one of the highest we’ve seen. Individual support can be obtained by e-mail or by a toll-free telephone number, but only during business hours.

The best features of the Mitsubishi XD80U are its image quality (including the innovative dual color modes) and its long warranty. Unfortunately, these benefits are offset by a noisy fan that can drown out DVDs. The XD80U is a good ultraportable projector, but the Dell 3400MP, which is lighter, brighter, less expensive, and offers more features, is still our top pick in this class.

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Canon REALiS SX80

by Evan Powell
Current Price: $12999

The newly released Canon REALiS SX80 is the latest in the company's long established line of SXGA+ (1400x1050) projectors. These models have always been popular due to a unique combination of factors. Not only are they double the resolution of the standard XGA format, but they deliver high light output, exceptional color accuracy, and a complete lack of visible pixel structure due to the use of LCOS technology.

For those who want high quality display of complex imagery, from text and financial documents to detailed graphics, the Canon SXGA LCOS projectors have been the go-to models for many enthusiastic users. And for photographers, the SX series of projectors have been naturals for displaying photographs in large scale. The new SX80 is the least expensive in Canon's SXGA+ line. It comes in elegant pearl white casework that is a definite improvement in looks over previous models.

Key Specifications

ANSI lumens: 3000

Contrast (full on/off): 900:1

Light Engine: 1400x1050, native 4:3, three-panel LCOS with 230W NSH lamp.

Video Compatibility: 1080p/60, 1080i, 1035i, 720p, 576p, 576i, 480p, 480i.

Connection Panel: One HDMI 1.3 port, one DVI-I, one 15-pin VGA, one VGA monitor output, one 3-RCA component input, one s-video, one composite, one 9-pin DSub serial port.

Lens and Throw Distance: 1.5x powered zoom/focus lens with no vertical or horizontal lens shift. Throws a 120" diagonal 4:3 image from 12 to 17.5 feet.

Lamp Life: 2000 hours, 2500 in eco-mode

Replacement lamp price: $579 retail.

Warranty: Three years.

Excellent color accuracy.

The factory preset sRGB mode was almost perfectly calibrated coming out of the box. All we did to tweak it was add +1 to Blue Gain and Offset on the VGA port. At these settings the gray scale tracked almost perfectly at 6500K all the way to 100 IRE.

Brightness.

Many projectors will lose a great deal of their rated light output when set to optimum color performance. Not so the SX80. In the factory preset sRGB mode, and with the lens at the wide angle setting, the SX80 measured a very substantial 2420 ANSI lumens of brightness. At the opposite end of the lens, at maximum telephoto, the projector still measured 2012 ANSI Lumens. Thus, the zoom lens loses only 17% of its full light potential in moving from maximum wide angle to maximum telephoto. This is noteworthy considering the fact that many zoom lenses in the 1.5x range can lose up to 30% or more.

The SX80 has several other factory preset operating modes. Presentation mode is brighter and colder. With the lens in wide angle position it measured 2793 lumens, or very close to the theoretical maximum. Standard mode measured 2376 lumens, and Movie mode was 1863 lumens.

The SX80 has a low lamp mode that will extend lamp life from 2000 to 2500 hours. Since replacement lamps retail at $579, any additional life you can get from the lamp will be welcome. Running with the lamp on Low will reduce lumen output in any operating mode by 23%.

No visible pixelation. One of the key advantages of LCOS technology is the virtual absence of visible pixel structure. You won't see any screendoor effect on the SX80.

Low fan noise.

The industry has been doing a good job of making projectors quieter than they used to be. Nevertheless, since this model can pump out up to 3000 lumens in a relatively small 11.5 lb package, you'd expect some fan noise along with it. To our surprise, the fan noise even with the lamp on full power was remarkably low and unobtrusive, and in low lamp mode the projector was downright quiet.

Good connectivity.

The SX80 offers a variety of inputs including one each of HDMI, DVI-I, VGA, and the conventional array of analog video inputs. There is also one VGA monitor loop-through and three audio inputs (which unfortunately drive a small, tinny-sounding one watt speaker).

Contrast.

The Canon SX80 is rated at a full on/off contrast of 900:1. For readers used to seeing ratings on home theater projectors of 10,000:1 and up, this may seem rather modest. However, though the SX80 does not have the highest contrast in the marketplace, it is not as bad as the specs would suggest. We measured ANSI contrast on the SX80 at a very respectable 244:1, which is about the same readings we are getting on LCD home theater projectors, and is in fact higher than the 209:1 reading we got on the JVC DLA-RS2.

Once we ignore the specs and look at the pictures, we get a different impression. Overall, graphics and photographic images appear bright and dynamic, with sufficient range from black to white to give them plenty of snap. Black levels are not as deep as they are on most home theater models, but they are deep enough to look fully black as compared to dark gray. In a room with ambient light, the overall brightness of the image is the leading factor in producing the vibrancy of the image. Meanwhile, differences between projectors in their respective black levels become moot since the room light determines how black the blacks are actually perceived. So the SX80 will compete extremely well against higher contrast, but lower light output projectors if you have a large screen and some ambient light present.

Weak onboard audio.

If you plan on using audio in your presentations and you are thinking about using the SX80's onboard system, you might want to think again. The single one-watt speaker is thin and tinny, lacking anything remotely close to a bass frequency. Now, to be fair, no projector in this class has great onboard audio. But there are competing SXGA+ products that do have more substantial onboard audio than this one. If audio is an important part of your presentation mix and you really need room-filling sound, either plan to use a separate audio system or choose a different projector.

Movie mode.

The presence of an operating mode called "Movie" might lead users to imagine that it should be used to view movies. We would counsel against it. Compared to the sRGB mode, the Movie mode drops lumen output by 15%, which in and of itself may be a good thing for dark room viewing. But it also lowers ANSI contrast from 244:1 to 206:1, and most importantly it renders a colder, less accurate gray scale to boot. For photography and movies, stick with sRGB. If you need to reduce the lumen output, back the projector up and use the long end of the lens, put it into low lamp mode, and if necessary, use a neutral density filter.

No lens shift.

The SX80 projects a picture such that the centerline of the lens intersects the screen at the bottom edge of the image (or the top edge of the image when the projector is inverted for ceiling mount). This built-in fixed throw angle may present difficulties in some situations. If the projector is on a conference room table, the bottom of the projected image is also at the level of the table, which in many cases may be too low. For ceiling mounting, you may wish to use a drop extension tube to get the picture down the wall a bit and away from the ceiling.

You can always tilt the projector upward, or downward from the ceiling mount, and square up the resulting trapezoid with keystone correction. However, if you do this, you will not get a native 1400x1050 image. Since one of the advantages of this projector is a very sharp image due to its high native resolution, most users will want to avoid any compromise in image sharpness that would be imparted by the introduction of keystone adjustments.

We should note that keystone adjustments have more of an effect on material like text/financial documents than on graphics and photography. But we always like to avoid keystone adjustments whenever possible. In lieu of physical lens shift, which is the ideal solution for adjusting image height on the wall or screen, we would like to have seen a fixed upward throw angle with more of an offset.

Conclusion

The Canon REALiS SX80 fills a unique niche in the marketplace. It offers high resolution, excellent color balance, zero pixelation, and high lumen output, for street prices under $3,000. Its ability to deliver 2400 real color-balanced ANSI lumens in sRGB mode gives it a significant competitive advantage over home theater models that are higher in contrast, but weaker on lumen output. It is ideal for large scale presentation of graphics and photography, or for the clear display of detailed text and financial documents, especially if there is ambient light in the viewing room. If the limitations imposed by the fixed lens and minimal audio capability are not relevant factors in your intended usage, we can strongly recommend the Canon SX80 with genuine enthusiasm.

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