Category: The Front Line

They’re Back…HDTVexpert.com Archives Update April 8, 2010

Still wondering where some of your favorite old HDTVexpert.com articles went?

Look no further. You’ll find ’em in the Archives, where I’ve been busy restoring some popular product reviews and tech articles from 2009. (The Archives tab is over in the right column.)

Looking through my back-up DVDs, I see there’s a TON of stuff from the old Web page, some of it going back almost ten years.

Obviously, not all of that material is useful anymore. But some of the tutorials and reviews are. And here’s where I need your help:

If there’s a review, tutorial, or other article you really, REALLY can’t live without, drop me an email at pete@hdtvexpert.com.

I’ll do my best to accommodate you and get it re-posted on the site…photos and all. The articles and tutorials that get the most requestses will be restored post-haste.

In the meantime, enjoy rummaging through the basement! (or attic, if you prefer…)

Classic Product Review: Eviant T7 Card Portable Digital TV (2009)

It’s finally over. The United States has transitioned away from analog (NTSC) TV broadcasting after 60+ years, and moved to an all-digital system (8VSB) for full-power TV stations. (Low power and translator stations are still analog for a few more years.)

The NTIA converter box program is slowly winding down, and the latest estimates from Nielsen (June 21) showed that about 2.1 million homes, or 1.8% of all over-the-air TV viewers, were still unable or unprepared to watch digital TV.

The upside? Over 62 million converter box coupons had been mailed as of June 24, with 32 million redeemed and 24 million expired. And of course, every new TV set that supports NTSC reception must also support the ATSC DTV standard. So, we’re out of the woods with DTV reception issues, right?

Not quite. Everyone that ever bought a portable TV, from Sony Watchman LCD sets to tiny tabletop CRTs, just saw their investment reduced to zero on June 12. None of these legacy sets can receive ATSC signals, and it’s impractical to connect an NTIA converter box as a “retro move,” since there’s only one model that can run off batteries.

Never fear; Eviant is here! The company recently introduced two new LCD portable TV sets that are fully ATSC-complaint. Both sets are being featured as “hurricane TVs,” or sets you should keep around in case of a weather emergency.  But they’re also good-looking and small enough to use for everyday viewing on the go.

The T7 “Card” is the larger of the two models and the one that’s currently shipping to retail. According to the press release, “…The Eviant “Card” series 7-inch digital portable TV is available now in leading retail outlets including Kohls, JC Penny, Walmart.com, Target.com, Belks, Aafes, Bon Ton, D&H, HSN, Amazon.com, Shopko, Marsan and more with a MSRP of $169.99.”

Figure 1. Eviant’s T7 “Card” portable digital TV, shown in a white finish.

OUT OF THE BOX

Eviant’s T7 is about the size of a thick paperback book, and not all that heavy. It measures 7.3 inches wide by 5.7 inches high and is 1.1 inches deep. With the included lithium ion battery, it tips the scales at just over a half-pound. The supplied lithium ion battery charges up quickly (less than one hour), and is supposed to provide 2.5 hours of viewing time between charges.

Eviant has shown this TV with different color finishes. The official press photo shows a white housing, but my review sample was black and I also saw a red version at the CES summer line show. The shipping box shows pink, blue, and green as additional “skin” options, so you can knock yourself out with color coordination options!

The T7 isn’t just a TV. Eviant has also included a composite video input and mini audio connection to go along with it, plus a matching cable. If you have a portable media player with these connections, you can at least watch your videos on a larger screen. There’s also a mini-stereo headphone connection for private listening.

The whip antenna is actually a slide-on whip, which means you can pull it off and hook up other types of antennas to the threaded F connector. (Bravo, Eviant!) Eviant’s also included a little vertical UHF antenna with a magnetic base that you can stick just about anywhere.

The TV has a swing-out support stand for tabletop use. There’s even a credit card-sized remote control that has extremely limited functionality — basically, you can adjust volume and channel, plus access the menu. There isn’t even a power button on the remote (strange!), but there is a “channel +10” button for moving around faster.

The LCD display measures 7” and has a working resolution of 480 x 234 pixels, so don’t go crazy expecting to see HDTV on this product. Remember — it’s a portable TV, first and foremost. Besides, trying to put a 7” HD display in a product like this would be overkill.

Figure 2. The T7 (and its “coming in the 3rd quarter” 4.3” companion) grabbed more than a few eyeballs at the CES NY Line Shows in early June.

MENUS AND OPERATION

Eviant has included a surprising detailed menu. There are five sections you can diddle around with — Picture, where you can select the AV input or regular TV mode, plus choose between Personal, Dynamic, Standard, and Soft image presets, and fine-tune contrast, brightness, and color.

The Audio menu is where you can adjust balance, plus select the preferred language when more than one audio track is available. The Clock menu lets you set the OSD duration in 15-second increments, plus toggle to your time zone and switch Daylight Savings Time on and off.

The Tools menu is where you can set the OSD transparency (on or off), color temperature (Warm, Normal, Cool), and the picture Zoom mode for when 4:3 content is displayed on the screen. The default (factory) setting for this control is Wide, but you can switch everything (including HD broadcasts) to 4:3. Or, you can just select Auto, and let the T7 provide the correct screen size, based on the video format being transmitted.

The last menu, Channel, is where you’ll scan for ATSC and NTSC channels. Believe it or not, the T7 will also scan for and receive NTSC and QAM digital cable channels (handy for when there’s a cable TV feed near your campsite, I guess?). The NTSC support means you’ll still be able to pick up local community TV stations, which converter boxes won’t receive.

You can initiate a general channel scan in this menu, and also an overlay scan to pick up any channels you may have missed the first time around. This secondary scan is also handy if you rotate antennas or travel, and don’t want to lose digital TV channels you captured previously.

PERFORMANCE

I first tested the T7 by connecting it to my attic antenna system, which feeds my home office. It takes a while to scan — about two and a half minutes to saunter through channels 2 through 69 — but once done, works as well as any PC-based digital TV tuner I’ve tested. As you step through channels, you’ll see a blue display in the upper right corner of the screen showing you each station’s virtual channel number and call sign.

One thing you won’t see on the T7 is PSIP. For whatever reason (and it may be that cost is the reason), there is no way to display electronic program guide information on the T7. It will, of course, display closed captions. But the only way you’ll know what you’re watching is to change the channel up and down to get the virtual channel display to appear briefly onscreen again.

The next step was to connect the T7 to my rooftop antenna via a splitter, with the other leg feeding a Zenith DTT901 DTV converter box. My goal here was to see how the two compared in terms of sensitivity and ability to handle multipath.

The answer? They were equivalent in performance on both close-in and distant DTV channels. I installed a 20 dB step attenuator in line to both sets and began cranking back signals 1 dB at a time until they started to break up or drop out. That point was exactly the same for every channel on both the T7 and the DTT901( the latter is effectively running Generation 6 8VSB receiver technology).

An inquiry to Eviant’s PR firm came back with the response that the receiver’s chipset is made by MStar Semiconductor of Taiwan, and is the MSD110. From my tests, it appeared functionally the equivalent of the LG 8VSB front end used in the DTT901.

The next test took place during my Super Tuesday session at InfoComm. The session, attended by 180+ people, was held in Room 303 of the Orlando Convention Center. I scanned for channels and picked up over 25 different NTSC and ATSC programs, most of which played just fine without any dropouts, no matter where I placed the TV in the room. (This location is over 20 miles distant from the Orlando TV transmitters.)

Figure 3. Yep, I was able to watch snippets of “Wipeout” on WABC-DT, while zipping along in a double-decker train through the Jersey Meadows!

Figure 3. Yep, I was able to watch snippets of “Wipeout” on WABC-DT, while zipping along in a double-decker train through the Jersey Meadows!

The final test was to take the T7 into New York City for some press meetings. One was uptown at the Hilton Times Square, and the others were at the Metropolitan Pavilion on 18th Street. Reception was perfect on 42nd Street by Times Square on all channels, including high-band VHF channels 7 (WABC), 11 (WPIX), and 13 (WNET). Reception deep in the Hilton was spotty in places, but still better than I expected.

Later on that afternoon, I plunked the T7 on the wooden bar of an Irish pub on 18th Street, as our group tossed down a quick round of Harp lagers before Pepcomm’s Digital Experience opened. Once again, I experienced flawless reception of all NYC DTV channels with the whip first extended halfway, and then fully extended. (The T7’s whip is actually more resonant at UHF frequencies when somewhat collapsed).

Just for laughs, I pulled the T7 out seconds after my westbound, double-decker NJ Transit Midtown Direct train exited the New Jersey side of the Hudson River tunnel. I flipped it on and was able to watch quite a bit of programming on WABC-7 and WPIX-11, even with the train moving at a pretty good clip — 50+ miles per hour. I could see the Empire State Building through the opposite train windows for a good part of the trip, so I figured it was worth a try.

Of course, signals were lost completely when we went through the Secaucus train station and also when we crossed lift bridges and went under other tracks. But the video and audio were there about 70% of the time. And once the train pulled to a complete stop in Newark to take on and pick up passengers, VHF and UHF DTV reception was rock steady.

CONCLUSION

Eviant’s T7 delivers the goods. It has an excellent DTV receiver front end and worked very well indoors in what are difficulty high-multipath environments (Times Square, 18th Street, and the Orlando Convention Center). Audio is surprisingly loud for such a small TV, although frequency response is limited. Images were very clear and crisp, even at low resolution.

What I didn’t like: Even with a +10 channel jump button, it takes a while to move from one channel to another. There should also be a power switch on the remote control. And I’d like to see at least a “mini program guide” button included, so you at least find out what the heck program you’re watching.

The time (broadcast by every digital TV station) isn’t even displayed, unless you go into the menu. Oops! That info would be very helpful on a “hurricane TV.” Oh, and by the way, Eviant — how about a car charger adapter for this TV, in case of a power failure that lasts more than 2.5 hours?

In any event, the T7’s faults aren’t deal breakers. From what I’ve been told, pricing is very competitive on this product — a quick check online shows Target pricing them at $149.95, and Amazon had the black version listed as low as $119. For that kind of money, you can’t go wrong.

SPECIFICATIONS

Eviant T7 Portable Digital TV
MSRP: $169.99

Specifications:
Dimensions: 7.3” W x 5.7” H x 1.1” D
Weight: .55 pounds*
RF Input: “F” connector with fitted collapsible whip
TV Systems: NTSC, ATSC, QAM
Video inputs: (1) Mini-plug
Audio inputs: (1) stereo mini-plug
Audio output: 8-ohm stereo mini plug
* Owner’s manual says .55 pounds, press release says 1.39 pounds

Available from:

Eviant
1661 Fairplex drive
La Verne, CA 91750

www.eviant.com
(866) 935-4396

Will 3D make actors redundant?

A story in the April 6 Los Angeles Times says that 3D movies do so well on their own without big name actors that they are already having an undue influence on budgeting for future projects. Columnist Patrick Goldstein points out that Clash of the Titans, originally shot and finished in 2D, was hastily re-finished in 3D – and wound up earning 52% o the movies first-weekend $62M box office revenues.

3D movies in general tend to be all about effects, although it helps to have a good story line as Avatar did. And effects-laden blockbuster movies have a force all their own, exclusive of the actors that populate them.

Take the Transformers franchise. Both movies did enormous box office with relatively unknown lead actors. They were noisy, full of action, and were ridden with corny dialogue, continuity lapses, bad acting, and plenty of helicopters (Michael Bay’s signature props!) and explosions.

No matter. Both films raked it in at the ticket window. Imagine how much better both could have done, had they been mastered in 3D? Tickets for 3D screenings command about a 25% premium at my local theaters – and customers willingly fork it over.

Need more proof? According to Box Office Mojo, How To Train Your Dragon has earned $97M to date (against a reported $165M production budget), while Alice In Wonderland has made an astounding $310M so far – putting it behind Avatar as the #2 grossing 3D movie of all time. (Dragon currently ranks #15). Both movies are doing a good part of their business in 3D.

Does this mean we’ll see a premium for 3D Blu-ray releases, just as BD commanded a premium over conventional DVDs? If so, will customers pay that premium? And just how important will A-list actors be to future 3D movie releases?

Game On! Early tests of 3D plasma vs. 3D LCD

Consumer Reports has posted a short video clip that shows their preliminary tests of Panasonic 3D plasma and Samsung 3D LCD TVs. You can find it here.

http://www.consumerreports.org/cro/video-hub/electronics/televisions/16935238001/

During the clip, they point out that while both technologies exhibit high contrast 3D images, the Samsung images essentially go black if the viewer lays down while watching TV with 3D glasses. (This puts the polarization axis of the glasses at 90 degrees to the screen, and is not recommended in any case!)

Performing the same test with the Panasonic plasma resulted in a slightly dimmer image, and nothing more.

There’s an easy explanation as to why this happens with LCD TVs. Liquid crystals can only shutter light that is already polarized, which is why each LC pixel element has two polarizers – one mounted at the rear of the pixel wall, and one at the front. Rotating a pair of active shutter glasses 90 degrees in front of the screen in effect acts as a third light shutter and cancels out whatever light remains after the LC imaging process.

Ever hold two pairs of polarized sunglasses at right angles to each other? Then you’ve seen the same effect.

Now, let me state that lying down on your side while watching 3D is a pretty dumb idea all around. The images are oriented in the wrong axis with respect to your vision, and it’s also got to be uncomfortable!(Come on, how lazy can one get?)

Even so, this video demonstrates clearly that moderate changes in polarization angles make images from 3D LCD TVs noticeably darker, so if you tilt your head to one side or the other while wearing glasses and watching a 3D LCD TV, you will experience this effect.

Why doesn’t this happen with plasma? Because it doesn’t use polarized light, just a burst of light from color phosphors. OLED 3D TVs (if and when they ever get here) are also free from this cross-polarization problem.

This is another example of why 3D TV needs to be thoroughly explained to potential buyers so that they don’t run into any unpleasant surprises after the sale.

Alice in 3D Land

Last night, I took my daughter to see Disney’s Alice in Wonderland, presented in 3D at the Regal Cinemas Warrington Crossing multiplex.

Things got off to a bad start when the pre-movie trailers shut down and the digital projector failed to run. The theater manager came out and did a song-and-dance, stalling for time while the projectionist tried to get things running again.The digital projector was a Sony 4K SXRD (LCoS) model, by the way.

About 20 minutes later, the system came to life and we settled back to watch a movie that has grossed an amazing $116M over its opening weekend, despite tepid reviews by several media outlets.

It’s important to note that Alice wasn’t shot in 3D. All of the 3D effects were added later, in post production. And for the opening live action sequences, it was hard to see much in the way of 3D effects using the RealD circular polarized glasses.

Photo Copyright © 2010 Walt Disney Pictures

Things improved somewhat after Alice entered Wonderland and the movie shifted to a mix of live and CG effects and backgrounds. However, the projected image didn’t have as much contrast and snap to it, compared to the showing of Avatar I saw back in December that used a Christie DLP Cinema projector. Black levels were higher than I’d expected, but that’s not surprising – none of the Sony 4K demos I’ve ever seen had really good blacks and low grays.

Tim Burton went berserko with vibrant colors for the Wonderland sequences and those were spectacular to watch.  And the 3D effects got better as the movie wound on. In fact, the most dramatic 3D effect was the closing title sequence, with characters and key credits presented inside a rectangular trellis that I swore was just a few feet in front of me – I even reached out to try and touch it.

The verdict? Alice in Wonderland is indeed entertaining, although a bit slow at times. Many of the 3D effects aren’t all that intense or even perceived. The live action sequences at the start and end of the film are largely flat, and Disney and Burton could have taken a Wizard of Oz approach by leaving those sequences in 2D, requiring the glasses only for the Wonderland sequences.

If you go to see it, head for a theater that uses Christie or Barco DLP projectors. You’ll see a lot more contrast and better color saturation.