InFocus X9

by Hugo Jobling
Price as Reviewed $1,099.00

InFocus already wowed us with the launch of the X10 a short while ago, offering a great 1080p DLP projector at a fantastic price and it look set to do the same thing with the X9. The x9 sacrifices a Full HD resolution, being merely 720p (a.k.a. HD Ready), but by doing so comes in at a fantastic low price, and doesn't skimp much elsewhere, either.

The 1,280 x 720 resolution is provided by a Texas Instruments DLP chip and is backed up by a 6-segment colour wheel. InFocus claims the X9 has a 2,300:1 native contrast ratio and can produce a 1,800 ANSI lumens brightness, which is about in line with the X10 - so image quality should, resolution aside, be pretty similar.

Connectivity isn't a particular strong point of the X9, with a single HDMI port, Component connector, composite input and S-video in, as well as a VGA port. However, with a projector using an HDMI switch box and having a single cable running to the device is almost certainly a preferable option anyway, so the lack on inputs isn't exactly a problem.

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BenQ PB6200

Price as Reviewed $1106 - $1795

At 5.6 pounds, this DLP projector is not an ultralight, but it has the combination of features and price to make up for the extra weight. XGA resolution (1024 x 768) and 1700 lumens brightness provide images clear and bright enough to be seen in a normally lit conference room. A 2000:1 contrast ratio makes the images crisp. Add a lamp life of 2000 hours and you have a portable projector that's a true road warrior for mobile presenters.

* 12" DDR DMD DLP™
* Native Resolution - 1024 x 768
* Compatible up to 1280 x 1024
* Brightness - 1700 ANSI Lumen (maximum)
* Contrast Ratio - 2000:1 (peak)
* HDTV compatible supporting up to 1080i
* 8 Preset modes

Pros: I chose this specifically for showing DVD's and HD TV. I have it set up on my ceiling and I have a 110" screen (2.4m wide) at a throw distance of 4.5 metres. To tell you how good it is, my visitors mouths drop open in amazement the moment they see the screen image. Noone is prepared for what they see. When I evaluated DLP projectors I realised that they probably source their DLP engines and the lenses because most projectors in a price range have identical output specifications. The only thing that seems to be unique to projector manufacturers are the input processors. I like my Benq because it has a simple and intelligent input processor. The picture is bright and sharp when using Component Input. The machine can be used on most voltages and automatically senses PAL 50Hz or NTSC 60 Hz so I can play DVD's purchased from other countries (using my miltizone Toshiba DVD player). I found the differences in picture quality using S-video (soft images) and composite (colour bleeding) reported by other reviewers to be confirmed - except that using Cable TV on Cartoon programs gives excellent results. I see no evidence of the dreaded rainbow effect often attributed to DLP projectors. I used it to watch the Athens Olympics using my Set top box in Standard Definition mode. The Lord of the Rings is specacular, as is Cher, The Coors and U2. It is such compelling viewing that walk in visitors just drop to the chairs when they see the shows of larger than life people on the screen.

Cons: The machine is very fragile so it is not a good idea to have it on a coffee table if kids are around. They have no idea. It is also not a good idea to position it where people could look into the lens - there are strenuous warnings about the dangers of staring at the light source. You can't just turn it on and off to watch the news. You need to structure your viewing to have a block of time set aside. Be prepared for late nights! The fans are slsightly audible during quiet movie sequences. The complexity of formatting the picture when switching inputs is disruptive if I am trying to put on a show for my friends: The 16 by 9 format is automatic for HD TV from my DG-TECH 2000A+ receiver. Most music DVDs are 4 x 3 Most DVD movies are in Letterbox format. My VCR and Cable TV are in 4 x 3 format via composite input only. The only way to set the screen format is via a menu using the remote control. Since the PB-6200 automatically senses the input source and the input signal, it would help if it also could sense the input screen format. It was very fiddly to set up. I found that matching equipment is the biggest challenge - and that applies to all systems it is not just a problem with this machine. But for example, I have a Denon amp which only switches S-Video. So I had to buy a game switch to be able to switch the component outputs. When buying a new DVD player to get component output, I did not realise until later that I could have bought one with progressive scan - which would have improved my picture. While the Benq can play NTSC, my TV cannot, so I have to retain my old DVD player which converts NTSC to PAL for the TV. I chose a 10 metre S-Video, and a composite cable from my Benq supplier. But I spent weeks figuring out which cables to choose to run to the ceiling. I found Jaycar electronics the most helpful and best priced people for cabling. In the end I used a 10m VGA cable, a male to female adaptor, a VGA to RGB BNC plug with RCA converters - which doubles as the component plugs for the Benq. Sound ridiculously complicated? Well - it was a choice to do this, or pay 3 times as much for an integrated system and for a professional to set it up.

Overall: It is absolutely fantastic value for money and brilliant for people who don't want to pay for workplace features which they don't need (such as laser pointers, multi input processing, speakers, timers etc). I compared the specifications with similar machines from Electroboard, Optoma, Panasonic etc. The Benq 6200 has a 200w bulb which I think makes it brighter. I would need to spend more than twice as much to get a better projector. My family and friends love it! And best of all, I am the only person who knows how to operate it!!!!!!!!!!!!!!!!! We don't use it during the week but from Friday night to Sunday night we run it extensively.

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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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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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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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Mitsubishi Pocket Projector PK20

by Rich Malloy
Price as Reviewed: $899.00

A year ago, Mitsubishi invented this product category with its PK10. Now, in its second foray into this market, the Japanese giant has created a model that is practically identical to the Boxlight Bumblebee in terms of features, performance, and general design. The only real difference we see with the Mitsubishi Pocket Projector PK20 is that it comes with a screw-on tripod mount. This unusual feature may be necessary because like the Bumblebee, the PK20 does not elevate its image and therefore must be propped up to display a presentation in full view.

As with the Bumblebee, the PK20’s small carrying pouch is much too small to accommodate any of the needed cables, let alone the AC adapter. Also, there is no VGA cable for connecting to a laptop. For laptop-less operation, the PK20 relies on an SD Card slot. To use it, you must save your PowerPoint slideshow to an SD Card as a series of JPEG image files. We encountered similar problems with the PK20 as we did with the Bumblebee: The projector had trouble recognizing that an SD Card was present and was unable to show certain video files.

Our test unit did not come with a battery, so we could not measure performance with this accessory. An accessory we were provided with, however, was the same ill-conceived remote control that accompanied the Bumblebee. Again, the labels were impossible to read, the buttons hard to push, and the functionality just this side of useless. And on that rare occasion when you do have to use it, you must carefully aim the remote at the projector’s single infrared receiver on its back panel.

Mitsubishi deserves credit for being honest about this projector’s brightness, or lack thereof. In our performance tests, the PK20 produced only 23 lumens in its standard power mode; this is almost two orders of magnitude lower than many new AC-powered projectors, but surprisingly close to Mitsubishi’s claim of 25 lumens. The PK20 has a high-power mode, which increases the brightness by 20 percent and bumps up the fan noise considerably.

As with the Bumblebee, the PK20’s SD Card slot enables digital photographers to show off their work in darkened rooms. The Mitsubishi Pocket Projector PK20 is an improvement on the company’s early battery-powered models, but we’d rather wait for the next version.

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Toshiba TDP-FF1AU

By Rich Malloy
Current Price: $936.18 - $946.19

Mind you, we are still pretty much in the prehistoric era of battery-powered projector evolution, but our favorite among the current crop is the Toshiba TDP-FF1AU. Although it is markedly dimmer than the other models and hard to focus, we highly value its compact size, its superior remote control, and its USB input port. And who wouldn’t love its attractively low price?

This tiny projector is about the size of the Boxlight and Mitsubishi models, but its battery has a better design. Instead of sitting below the projector, it attaches to the unit’s rear panel, barely increasing the overall footprint. The battery is thus an integral yet detachable part of the device. More important, it is included in the projector’s already low price.

Besides the battery, the TDP-FF1AU comes with a number of other interesting features. It is, for example, the only battery-powered projector to have a lens cap, albeit an easily misplaced one owing to its lack of a tether. Also, it has a USB port rather than an SD Card slot. A VGA cable is included, enabling you to advance slides on your laptop via the remote control. Toshiba even throws in a foldable 23-inch diagonal projection screen.

The key strength of a battery-powered projector is the ability to use it alone, without a laptop. To make this possible, the TDP-FF1AU includes a USB Type A connector, which means you can run a presentation off a USB flash memory drive, or even from certain MP3 players. As with the other pint-size projectors, you must first save your presentation as a series of JPEG files.

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Epson PowerLite S4

by Rich Malloy
Current Price: $747.47

Because it practically invented the budget projector category, we’ve always had some fondness for the old Epson PowerLite S1. Unfortunately, it was not until Epson’s third try at this market segment when it debuted the PowerLite S3 (see LAPTOP, September 2005) that the company finally perfected the SVGA budget projector. Now, with the PowerLite S4, Epson has refreshed the S3 by increasing the brightness, adding a few features, and slashing the price to one of the lowest we have seen.

In size, weight, and general appearance, the new silver-clad S4 is practically identical to its older brother. The main external difference is a handy and sturdy sliding lens cover, which not only is impossible to lose, but will also automatically put the projector into standby mode when closed. No doubt owing to this superior lens cover, the S4 weighs slightly more than the older model, tipping the scales at an easily luggable 5.7 pounds.

Like Sony, Epson tends to favor LCD technology over DLP chips. Thus, like other Epson projectors, the S4 exploits the superior color accuracy provided by the 3LCD image engines. However, the images suffer from somewhat diminished contrast and a noticeable grid-like appearance.

As with the older S3, Epson clearly had to cut some corners to keep the price down. For example, this model has no optical zoom lens and comes with only a short six-foot AC cable. Compare this with Dell’s 1200MP, which offers a rich assortment of eight cables (including USB and component video) and a carrying case for about the same price. The S4 is one of the few projectors equipped with an extension cord–friendly two-prong plug.

The remote control presents an interesting counterbalance of features. Its relatively small size fits nicely in the hand yet accommodates almost all the buttons you need, including those required for navigating through a PowerPoint slide show. The bad news is that there is no laser pointer (instead, you can display an arrow on the screen and move it around awkwardly with a four-way tilt button). Those PowerPoint navigation buttons do not work until you purchase a USB cable and connect the projector to your PC.

Such as it is in these larcenous times, many S4 users will appreciate the S4’s new theft-deterring password option. A key component of this feature is a prominent sticker advertising its presence.

In its default mode, the S4 was quite bright. We measured 1461 lumens, which while almost 20 percent below the 1800 claimed is good enough for almost all conference-room applications. In addition to the default Presentation color mode, the projector has five others. These modes let you tweak the color temperature for special applications, such as movies or games. The Dell 1200MP is brighter, at a claimed 2000 lumens, but because of its excellent colors, the S4 is better for photos or movies.

As with all LCD projectors, the S4 turned in a relatively low contrast ratio of 223:1 in our checkerboard test. This result is easily offset by two other factors: the huge image size (49 inches in diagonal at a screen distance of five feet) and the S4’s extremely quick warm-up and cool-down times (12 seconds and 3 seconds, respectively).

In our subjective entertainment tests, the S4 did quite well. The screen-door effect that is common among LCD projectors was visible but just barely so. We noticed more flicker than usual on some half-tone grays, but full-motion video was quite smooth, even for 1080i HDTV signals. One fault, however, was the fan noise, which in standard-power mode might be a bit too loud for home-entertainment applications. Fortunately, the low-power mode drops the noise substantially yet dims brightness by only 23 percent.

The Epson PowerLite S4 comes with a relatively generous two-year warranty, twice as long as that on all other budget projectors. The replacement lamp is also inexpensively priced at $199 and is said to last 2,000 hours.

While the Epson S4 may lack some of the features of the similarly priced Dell 1200MP, we would still choose it for multimedia and leave the Dell to business applications.

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InFocus Work Big IN10

by Rich Malloy

In the world of ultraportable projectors, InFocus was king. For years its amazing 2-pound LP120 model had been setting the benchmark for devices in this category. But this venerable model had been usurped by new generations of projectors with slightly more heft but much greater luminosity. Finally, InFocus has introduced the Work Big IN10, its new standard bearer in the tiny projector market, and perhaps the most ironically named member of the company’s Work Big product line.

Pared Down Design and Features

At a weight of 2.4 pounds, the IN10 is a bit heavier than the LP120, but it’s quite a bit brighter—nearly 1,800 ANSI lumens versus 1,100 on the older model. This is still somewhat lower than the 2,000-lumen mark that is now popular among business projectors, but the IN10 should have no trouble making an impression in most environments.

Of course, ultraportable projectors get that way by shedding all but the most useful features, and the IN10 may represent the epitome of that approach. For example, there is no monitor-out connector for use with a desktop display. Nor are there any other connectors beyond those most needed by the majority of presenters: just four input ports—computer, composite video, S-Video, and audio. In fact, the computer connector does triple duty by also handling a USB control line and component video (the latter requires an optional cable).

But the real simplicity of the system reveals itself in the remote control, which has only six buttons for power, input source and navigation of slide shows and the projector’s menu. Gone is the confusing array of rarely used buttons such as digital zoom. The only feature that we miss is a laser pointer.

One of the best qualities of the IN10 is its 120-Watt lamp. The company claims it will last 4,000 hours at full power, which is twice as long as most other projectors. Of course, at $419 for a replacement bulb, it’s nearly twice as expensive, too. We also liked the 1.3X optical zoom lens and the generous 10-foot AC cable, both of which give you some much needed flexibility regarding projector placement.

Performance

In our lab tests, the IN10 gave a moderate if not mediocre level of performance. We measured the brightness at 1,658 lumens, which is just 8 percent below the claimed value, and within the industry standard of hyperbole. In our checkerboard test the contrast ratio came in at an unspectacular 410:1. Brightness uniformity, corner to center, was a better-than-average 72 percent. The cooldown time was fairly slow, at 61 seconds.

The IN10 did better in our subjective tests. Its images were quite sharp, but we did notice slight blue comet tails in the upper right. The projector did amazingly well in its ability to resolve very dark and very light grays. We were somewhat disappointed, however, in our video playback tests. Granted, we did not have a suitable component video cable available, but our tests with an S-Video cable showed a slightly higher level of jaggies than we have seen with other models. Also, the IN10’s cooling fan was surprisingly noisy for such a small projector. And, unlike most other projectors, this model lacks a low-power mode that could quiet the fan.

Verdict

The InFocus Work Big IN10 is a solid ultraportable projector at a reasonable price. However, it is facing some tough competition in the featherweight end of the projector market. The Dell M209X is only slightly heavier yet significantly brighter and $200 cheaper. Also, the widescreen Optoma EP1691 is not only well suited to today’s wide-aspect-ratio laptops (and HDTV), but like the Dell model it is significantly brighter and more affordable. Even InFocus itself has launched some potent competitors: The recently announced IN1100 weighs 2.8 pounds and beams out 2,100 ANSI lumens at a price just $100 higher than that of the IN10. And while all this competition may be unfortunate for the IN10, it is the best news yet for ultraportable projector buyers.

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