Posts Tagged ‘Samsung’

Ho-Ho-Ho! Is Turning Into Uh-Oh-Oh!

The results are in, and they aren’t pretty.

 

Both Sony and Panasonic posted substantial losses for the current fiscal quarter and are looking at lots of red ink next March, when their current fiscal year ends. Sony forecast a $2.2 billion loss for its TV operations in the fiscal year that ends next March. Overall, the company is looking at a $1.1 billion net loss for the current financial year, which reverses an earlier prediction of a $730 million profit.

 

This is Sony’s eighth straight year of losses for its flagship TV lines and rumors are flying that its S-LCD partnership with Samsung may be deep-sixed. Earlier, Sony announced it would split its television business into three divisions, consisting of (a) outsourcing, (b) the current LCD TV business, and (c) next-generation TVs (read: OLEDs), starting November 1.

 

But that may not be enough to stem the tide. Some prominent Asian market analysts think Sony should bite the bullet and just pull the plug on TVs altogether, concentrating on their gaming console, smart phone, VAIO computer, and camcorder operations.

 

The easier path to income may be for Sony to license its name to a Chinese TV manufacturer and collect royalties, much the same as Philips has done with Funai in North America.

 

Panasonic is looking at as much as $5.4 billion in losses by year’s end. The culprits are the high value of the yen against the dollar and euro, and the merger and re-sizing of the combined Sanyo – Panasonic operations.

 

Two TV manufacturing plants in Japan will be taken offline, while plasma TV production capacity will be cut by 48%. Further procurement will move to Singapore from Osaka, and plans to relocate plasma fabs to mainland China will also be put into limbo. The company expects to cut its payroll to 350,000 employees worldwide.

 

What does all of this mean to you? Expect to see deep discounts on TVs starting around Black Friday. There will be some amazing deals on large (55 inch and up) LCD and plasma TVs. Even the 3D products are going to come down in price, continuing a trend of diminishing premiums for 3D functionality.

 

So if you are in the market for a new LCD or plasma TV, this could be the perfect year to upgrade. Watch your online price trackers and be ready to move when you see a good price. Right now, you can find ‘basic’ LCD and plasma TVs for about $10-$12 per diagonal inch, up to 55 inches – use that as a baseline when you are wheeling and dealing. Who knows? You may do even better!

Hey, This Is Really Hard!

A story in the October 27 edition of the Wall Street Journal states that television may no longer be the ‘king of the hill’ when it comes to watching programming.

 

Food for thought: Apple’s high-end 10.1” iPad costs more than a 42-inch LCD or plasma TV (even a 42-inch LED-backlit LCD TV). And based on a presentation in my Display Technologies session at the just-concluded SMPTE Fall Technology Conference, more and more sales of ‘displays’ are going to switch to smaller, portable devices like the iPad, and away from conventional TVs.

 

Neither Internet-connected TVs nor 3D have helped revive TV sales, which slowed considerably after the 2008 recession. According to DisplaySearch, more than half of all new TVs shipped by 2015 will have Internet connections, just as more and more TVs will include 3D as a feature and not a premium upgrade.

 

The WSJ article quotes TV industry executives as speculating Apple, Google, and Amazon might enter the TV arena with products of their own. Apple’s TV prototype is already circulating through factories in China, according to several published reports. And Amazon already has experience in mass distribution of content over its Kindle platform.

 

Profits are hard to come by in the TV business. Three of the top four Japanese TV manufacturers said they lost money on TV operations during Q2 ’11, with Sharp being the exception – although Sharp’s LCD fabrication business was its biggest loss leader in the same time period. I have previously documented Sharp’s rapidly-diminishing market share in U.S. TV sales, which has been accompanied by a worldwide decline to about 8% of the market for the latest reporting period.

 

Over in Korea, similar red ink was seen at Samsung and LG’s LCD fabs, according to the article. In contrast, the TV marketing and sales operations were profitable. The challenge that all manufacturers face is continually declining values even with larger and larger shipment volumes, and the fear that TVs will soon fall into the low-priced commodity trap of computer monitors.

 

Sony’s continuing struggle to make a profit in LCD TVs for the past eight years shows that even a strong brand can’t carry the day anymore. The real threat is between smaller, portable wireless tablets that can do an amazing job with video playback.

 

On my flight home last night from SMPTE, I counted two dozen iPads in use playing back cached video or DVDs, plus numerous notebook computers. Each and every one of those products is now climbing the hill, ready to topple the king…

Wishing Won’t Make It So

These Elite sets may look great, but you can't get by on looks anymore in the TV game.

Last Thursday in New York City, Pioneer and Sharp took the wraps off a new line of high-end LCD TVs that will carry the familiar Elite brand. These products are intended to fill a hole in the high-end television retail channel; one that was created when Pioneer pulled the plug on their Kuro plasma sets a couple of years ago.

 

For readers who didn’t know, Sharp owns a 14% stake in Pioneer, and the two companies have collaborated on products in the past. You may not remember, but Sharp once carried 42-inch and 50-inch Pioneer plasma TVs in their line. That was back in the day when large LCD panels were difficult to manufacture and very expensive.

 

It’s instructive here to remember why Pioneer pulled out of the plasma TV business. First off, Pioneer had the smallest fabrication capacity of any of the big plasma brands, cranking out a fraction of the monthly yields of Panasonic and Samsung.

 

Second, Pioneer made the mistake of continuing to focus only on high-end retail channels for their plasma TVs long after it was clear that the plasma market was being commoditized. Panasonic’s best plasma TV sets were widely available through numerous brick-and-mortar stores for much lower prices and offered comparable performance to Pioneer’s offerings.

 

Even the vaunted Kuro sets couldn’t compete. Sure, they had super-deep black levels. But the additional first surface polarizers used to pull off that trick also dropped brightness levels to the point where the Kuro sets had to be viewed in dark or near-dark rooms. Panasonic, Samsung, and LG suffered from no such limitations.

 

In the end, the math is what did Pioneer in. You can’t make money these days selling a mass-produced flat screen display product in limited quantities at a price premium. It simply will not work. That is one reason why Hitachi exited the plasma TV business and ultimately the LCD TV business in the United States.

 

It appears that Pioneer didn’t learn that lesson. Neither did Sharp, who has a seen a precipitous drop in LCD TV market share since 2006. The Aquos brand, which once commanded better than 20% of the U.S. TV market, now struggles to hold onto 3% of it. Even the new Quattron four-color LCD TVs have met largely with yawns, and it doesn’t help that TVs are a tough sell in general these days. (Notice how even market giant Vizio has been pushing tablets and phones lately?)

 

According to a story in TWICE, the motivation for the new Elite LCD TVs came from Cedia dealers who said there was a definite hole in the market after the Kuro sets were discontinued and Runco shut down its Vidikron brand. (Runco/Planar’s misadventures in the home theater channel are another story altogether.)

 

Hence, Sharp and Pioneer created an Elite sales and marketing channel, with Sharp providing the TVs and Pioneer supplying Blu-ray players and AV receivers. The Elite TVs will be sold exclusively in North America, limited at first to about 750 dealers with the possibility of expansion into a larger base.

 

Elite dealers can either order TVs directly from Sharp or through a one-step distribution process. That last sentence should give pause; moving products to distribution guarantees that prices will drop over time and more retail outlets will be found to increase the volume of sales, thereby removing the ‘elite’ part of the equation. That’s what distributors do, unless they’re not serious about making money.

 

If this is such a good idea, why haven’t Sony and Samsung taken a similar approach? Sony’s woes with TV profitability are well-documented, while Samsung (and LG, and even Panasonic) recognized that mass-produced products can’t be sold in onesies and twosies for very long. But with Sharp’s inability to reverse its six-year slide in TV market share and Pioneer’s apparent jonesing to get back into the TV business, it appears both companies will give any idea a try these days.

 

For the record, the two Elite models that were launched were the 60-inch PRO-60X5FD, shipping this week for $5,999, and the 70-inch PRO-70X5FD, shipping later this month for $8,499. Those same screen sizes in the Aquos LCD TV line can be had for about $3,300 and $4,800, respectively.

 

The usual hype accompanied the press event, with Pioneer claiming these sets have the best black levels in the LCD TV business (that’s not saying much) and no competitors can come close. Sound familiar?

 

Here’s something else to think about. According to HIS iSuppli research, the “sweet spot” for U.S. TV sales is in the range of 40 to 49 inches. In the first quarter of 2011, that bracket accounted for 40% of all TV sales. The #2 position was occupied by the 30 – 39 inch group with 25% of all TV sales. In short. these two categories combined accounted for two out of every three TVs sold in this country from January through March.

 

Screens measuring 50 inches and larger represented 23% of all TV sales in that same time period. Although iSuppli didn’t drill down, I’d bet that 60 to 70 percent of the TVs sold within that category measured between 50 and 55 inches. That doesn’t leave a lot of market share to play with, if you want to sell 60-inch and larger screens.

 

The question here – as was the case with the Kuro plasma TVs – is how many units would have to be sold to turn a profit, and how many units the pro AV and Cedia channels could absorb at the listed prices. I would suspect that the answers are (a) a lot more than Sharp and Pioneer think, and (b) a lot less than Sharp and Pioneer think.Again, it’s all about the numbers these days – competitive prices and volume of sales.

 

Sharp has additional pressure on it to perform, given that it built the world’s only Gen 10 LCD fab a couple of years ago in Sakai, Japan. Sony was supposed to hold a 34% stake in the fab, but has capped its investment below 10% and is instead looking to China for lower-cost LCD TV panels. What will Sharp do with all of that capacity? And the fact that their finished panels are too expensive when compared to Korean and Chinese glass?

 

You can’t exist on high-end TV sales alone. Mitsubishi was the latest company to figure this out and underwent a massive re-organization this past spring to try and salvage what’s left of their rear-projection TV operations. Sony has lost so much money in the television business that it may have to walk away from manufacturing altogether and just private-label Chinese-made products in the future.

 

Wishing won’t make it so.

Sony: “Make. Believe” Isn’t Making It Anymore

An August 2nd Reuters news story said that Sony is preparing to overhaul its LCD television business to reduce costs and attempt to remain competitive against the likes of Samsung and LG. That means selling off TV factories to Chinese companies such as Foxconn Technology (manufacturers of the iPad) and moving more and more to a Vizio-style rebranding model.

 

Sony’s TV business has lost money for eight consecutive years, which about as long as Sony has been selling Bravia LCD TVs. The company cut its sales forecast for the current fiscal year by 19% to 22 million units, and now there is talk among analysts of the possibility that Sony might exit the TV business altogether – something that is almost inconceivable, given Sony’s long involvement with television.

Three words: Wake. Up. Call.

But the facts are hard to argue with. Ever since Sir Howard Stringer took over at the helm six years ago, Sony Corporation has lost 50% of its market value. According to the Reuters story, Sony is currently valued at just $25 billion, less than 25% of the market valuation of Samsung.

 

Over the years, pursuing profitability in the TV business has led Sony to form an alliance with Samsung (S-LCD), announce plans to take a 34% investment stake in Sharp’s Gen 10 LCD fab (later pruned back to less than 10%), and search high and wide throughout Taiwan and Hong Kong to find a competitive source for the smaller LCD panel TV sizes that still dominate the market.

 

Sony’s initial TV strategy was to position themselves as an Apple-like brand, getting people to pony up a premium for a perceived advantage in Sony product quality and engineering smarts. Trouble was; it was all too easy to surf the Internet and discover that smaller Sony LCD TVs were being sourced from many of the same manufacturers as 2nd-tier LCD TV brands.

 

Sony’s “own the manufacturing chain” business model was blown out of the water by Vizio, the ultimate OEM TV partner, who spent millions of dollars in advertising and went for the jugular with aggressive pricing in wholesale clubs and discount outlets. And of course, Samsung is responsible for much of Sony’s misery, given how aggressively the Korean TV giant followed its ten-year blueprint to become “the next Sony.”

 

It doesn’t help that 3D and Google TV have done little to stem the losses. 3D TV is still struggling to gain widespread acceptance and will likely become just another option built-in to all future TVs; one that cannot command a premium.

 

Google TV is even more of a bust. If you’ve ever had a chance to use the remote control for Sony Internet TVs, you’ll know why: It’s complicated and intimidating to use. People like the idea of watching Internet-delivered video, but they don’t want to search for it with a computer-like interface.

Seriously - Who thought THIS was a good way to watch TV?

To make matters worse, the Sony name doesn’t command respect like it used to.  Interbrands’ annual survey of global brands places Samsung 15 places above Sony. That is mind-boggling, given the strong brand equity Sony used to have.

 

The Reuters story states that Sony could lose close to a billion dollars this year in its TV operations, and that would push total losses to almost $5 billion since 2004. So the question is – how long will Sony continue to spill red ink?

 

One obvious solution to the problem is for Sony to wash its hands of TV manufacturing completely and instead license the Sony name to a line of OEM TVs, much like Kodak is doing these days with digital cameras and photo frames.

 

There is a precedent: Earlier this year, CE manufacturing giant Philips threw in the towel on its TV business, citing increasing losses and an inability to remain competitive even on its home turf in Europe. Going forward, Philips has licensed its brand to Funai for all future Philips LCD TV manufacturing.

 

By following this model, Sony could finally achieve profitability in the TV game. Ironic, isn’t it?

Product Review: Mitsubishi HC9000 Diamond 3D Projector

While 3D TVs have been available for over a year, the first crop of 3D front projectors are shipping now. The models I’m aware of use either digital light processing (DLP) or liquid crystal on silicon (LCoS) imaging technologies, and all of them are engineered to operate with active shutter glasses, with the exception of LG’s $15,000 CF3D, which works with passive eyewear.

Mitsubishi’s HC9000D has been in development for the better part of a year, and I had the chance to see it in the prototype stage a few times prior to this review. Those earlier versions were underpowered, making the 3D footage they projected unusually dark.

Now, Mitsubishi has started shipping a fully-powered chassis with some interesting bells and whistles inside. It comes with power zoom, focus, and lens shift, plus multi-step gamma correction and a two-position IR emitter for synchronizing its active shutter glasses.

Figure 1 – The HC9000D is definitely a ‘looker!’

OUT OF THE BOX

This is not a small projector, nor is it particularly light at 32 pounds. But it does have that cool gloss black finish that disappears into the darkness, plus an aerodynamic housing with all of the connectors along the left side, and not in the back.

The imaging engine for the HC9000D may be a surprise to you: It uses three .61” SXRD LCoS chips, just like the previously-mentioned LG CF3D and of course, both of Sony’s 3D front projector offerings. This is Mitsubishi’s first foray into reflective imaging, and LCoS offers a much lower cost than 3-chip DLP engines.

3D projectors need lots of light to overcome all of the polarization losses in active shutter glasses, so Mits has equipped the HC9000D with a 230-watt short-arc lamp. The supplied zoom lens has a ratio of 1.8:1, adequate for any home theater set-up as it easily lit up my Da-Lite Affinity 92” screen at a distance of 12 feet.

The input connectors include a pair of HDMI 1.4a inputs that also support ten different standard digital computer resolutions, and there’s also an analog VGA PC input connector for everything from 640×480 to 1080p/60. Mitsubishi has also provided a single component video (YPbPr) input, plus composite and S-video jacks. (Question: Why are manufacturers still supporting composite video on high-end 1080p projectors?)

The interface panel is rounded out by a pair of 12V triggers for powered screens and anamorphic lens adapters, an RS-232 jack for remote control, and another DIN jack that connects to the EY-3D-EMT1 IR emitter through a short (1 meter) or long (15 meter) cable. The emitter can be attached to the lower front panel of the projector, or positioned under your projection screen.

The supplied remote control is identical in function to all previous Mits remotes (I inadvertently turned on my Mits HC6000 a few times with it), except that it has a black housing. You can directly access any input, jump to preset picture modes, operate the powered lens functions, and step through the iris settings. The only exception is that the STANDBY button now toggles between 2D and 3D display modes.

MENUS AND ADJUSTMENTS

Mitsubishi 3LCD projectors are known for high image quality and part of the reason is the detailed menus provided for in-depth calibrations. That protocol continues with the LCoS-powered HC9000D. Four different picture preset modes (Cinema, Video, 3D, Dynamic) are provided for viewing, along with three USER memory slots.

Gamma correction is also possible through five presets (Cinema, 2.0, 2.1, 2.2, 3D, and USER), and the USER gamma adjustments offer detailed adjustments of white, red, green, and blue at 15 grayscale steps. That is a tremendous amount of tweaking at your fingertips, if you are that fanatical about precise gamma response.

Color temperature and white balance adjustments are also available for each USER mode, or you can select from one of six presets, including 5800K, 6000K, and 6500K. None of these are completely accurate, but will get you into the ballpark. There are also a set of color management controls for all six primaries that I suggest you avoid playing with, as they don’t exactly work as intended in their current implementation.

The menu complement is rounded out with three different levels of black set-up (0, 3.75, and 7.5 IRE), a ‘cinema filter,’ 3:2 frame rate conversion or ‘true’ (native) frame rate selections, and various adjustments for noise reduction and detail enhancement. The former will soften the image to hide digital noise artifacts, while the latter may enhance edge transitions too much. I’d leave ‘em both off if possible.

The HC9000D also has image warping software (referred to in the owner’s manual as ‘Anyplace’ control) built-in. It lets you re-map the pixels on a projected image to correct for off-axis projection, such as a severe high and wide angle. While it works quite well, it does impact image resolution as it decimates pixels to correct for trapezoidal distortion. (It can also fix lens distortions like barreling and pincushioning.)

You are much better off mounting the projector as close to the optical centerline of the screen as possible, and using the lens shift controls to move the image into position. Try to avoid any adjustments that manipulate pixels to correct for geometry!

The HDMI inputs have their own sets of tweaks. You can manually select the HDMI color depth (4:2:2, 4:4:4, or RGB), or let the projector configure it for you. There are also four different HDMI inputs modes – Auto, Standard, Enhanced, and Super White.

It’s best to leave this setting in Auto, as it will pick the correct color bit depth for each connected input. Enhanced is usually selected for PC input connections, but I have no idea what ‘Super White’ is intended to do: The manual just says, “Select when solid white occurs.” Any guesses?

There are also a few useful 3D image adjustments. The only 3D mode that is detected automatically by the HC9000D is the Blu-ray 1080p/24 frame-packing format, so called because it packs both left eye and right eye video into a single BD frame with 45 pixels of blanking for a total of 1920×2205 pixels. On the other hand, the so-called ‘frame compatible’ 3D formats (also known as ‘half-resolution’ formats) must be selected manually in the 3D menu, and include top+bottom (720p) and side-by-side (1080i).

You can compensate for light attenuation through polarization losses by boosting projector brightness in five steps, with 5.0 being the default setting. The sync pulse for active shutter glasses can also be reversed if needed in this menu. Normally, you should not need to play with either control (and as you’ll find out, a brighter screen will do you more good than the 3D brightness compensation settings!).

The last control I should point out is the ever-present Iris adjustment. Dynamic iris controls are de rigueur for LCD and LCoS projectors to drop black levels and improve contrast on low-level video content. I have never liked these adjustments because of the non-linear effect they have on gamma curves, and prefer to leave them off and just work with whatever dynamic range the projector manufacturer brought to the table – which isn’t as bad as you might think most of the time.

If you must use the iris settings, you have four different presets (Open, 3, 2, and 1), plus 18 steps of irising in the User menu. My advice? Set your black levels correctly and adjust the contrast for best dynamic range, and just live with it. In 2D mode, the black levels may be a bit higher than you’d want, but in 3D mode, you won’t see them anyway with the glasses on.

ON THE TEST BENCH: 2D

For my tests, I used a combination of SpectraCal’s CalMan V4.4 software and ColorFacts 7.5 to take all readings through Spyder 2 and Eye One Pro sensors. All of my calibrations were done in 2D mode, as I was most interested to see what the projector did to these settings when switched into 3D mode.

All 2D test patterns were generated by an AccuPel HDG4000, while my 3D test patterns were custom-created in Photoshop and played back @ 1280×720 resolution from a Toshiba M645 laptop computer, using the top+bottom frame compatible format. Additional 3D content came from Samsung’s Blu-ray test disc and 3D Blu-ray movie clips from Avatar and How to Train Your Dragon, played back on a Samsung BD-C6900.

You will be surprised at how little tweaking you’ll need to do to get a stable grayscale out of the HC9000D. After minimal calibration, I measured 2D brightness at 635 lumens with a center color temperature of 6542 degrees. That color temperature reading varied by a maximum of just 230 degrees over nine points of measurement. So far, so good!

Brightness uniformity was lower than I expected at 69% to the average corner from center, and 55% to the worst corner. That’s bordering on hot-spot territory, as 50% is a drop of one full f-stop in brightness. Contrast measurements were much better than you’d expect with the iris off, coming in at 279:1 ANSI (average) and 538:1 peak. While those numbers aren’t as impressive as what JVC’s achieved with their wire grid dichroic design, they are still respectable for any other LCoS projector.

I mentioned earlier that Mitsubishi always does a superb job with grayscale and color temperature performance. Figure 2 shows an almost-perfect 2.3 gamma curve after calibration that’s as good as any I’ve ever seen on the best projectors. (And it was measured with the iris disabled.)

The secret? Very tight tracking of red, green, and blue levels at each luminance measurement. You can see just how tight those levels track in Figure 3, which is the RGB histogram for the target color temperature setting of 6500 Kelvin.

Figure 2 – The HC9000D produces a nearly-perfect 2.3 gamma curve after calibration.

Figure 3 – This RGB histogram shows tight tracking of red, green, and blue across the entire grayscale.

The HC9000D has a ‘ginormous’ color gamut, which (unfortunately) cannot be dialed back accurately. That means the colors you’ll see off Blu-ray discs and other HD content will be over-saturated. The color management controls will not help you here – de-saturating a color will result in incorrect display of other secondary colors.

The correct approach is to set the exact color coordinates at the factory for RGB and CMY, based on the standard used to master the content being viewed, something very few projector manufacturers bother to do. Figures 4a-b shows the full color gamut of the projector compared to the BT.709 HDTV gamut and P3 digital cinema gamut.

Figure 4a – The HC9000D’s mapped color gamut, compared to the BT.709 HDTV color space.

Figure 4b – And here’s how the HC9000D’s color gamut compares to the P3 digital cinema color space.

ON THE TEST BENCH: 3D

All well and good – the HC9000D is a top-notch 2D projector – but what happens in 3D mode? For starters, let’s see what happens when switching from 2D mode to 3D mode with glasses off and on.

To measure the changes in brightness, I placed a Minolta CL200 directly in front of my projection screen to take an incident light reading from the projector for this test. I started with a baseline (glassless) reading of 1124 lux and a measured color temperature of 6190K – a bit on the warm side. With 3D mode enabled on the projector, but no glasses in place, the readings changed to 1137 lux (3D brightness @ 5.0) and 6093K.

After positioning Mitsubishi’s active shutter glasses in front of the CL200’s sensor, brightness readings dropped to 419 lux with a color temperature of 6576K. Finally, I turned the glasses on, and saw brightness drop to 146 lux while the measured color temperature soared to 8529K. (Switching the lamp from its normal setting into HIGH mode increased brightness slightly to 66 lux.)

That’s quite a decrease! Comparing the final 3D reading with glasses to the calibrated 2D reading without glasses, the amount of light that finally makes it to your eyes has decreased by about 87%

So, what’s the solution? You will need a higher-gain screen to enjoy 3D images from the HC9000D, as it’s just not bright enough for viewing on low-gain screens with active shutter glasses – at least, not at the projection distance I use. I dusted off an older 82” Vutec SilverStar (6.0 gain) screen, and it made a world of difference with the HC9000D.

Here’s the conundrum: A high-gain screen doesn’t match up well to the projector’s 2D mode, as it will elevate black levels. Does that suggest you’ll need two screens? Maybe not, as Stewart Filmscreens just announced a combination 2D/3D screen that’s supposedly optimized for both modes. (They call it “5D” – I kid you not!)

IMAGE QUALITY

2D image quality is top-notch, as you’d expect with a projector using an HQV Reon processor. The adjustable frame rates are used to convert 24 fps filmed content to 96 Hz (quad refresh), while 60 Hz video is doubled to 120 Hz. Scaling of 720p content to 1080p is seamless and de-interlacing of 1080i channels showed absolutely no motion errors. The projector’s dynamic range is excellent (within the limits of its black levels) and my only complaint is that colors pop too much, for reasons I explained earlier.

You could be very happy just running this projector in 2D mode. In 3D mode, it’s a different story. Most of the content I looked at on my Affinity screen was too dark when viewed in 3D mode and exhibited desaturated colors with low contrast.

The Vutec gain screen helped considerably, but this projector needs to be cranking out at least 300 – 400 3D lumens after calibration to work with my screen type, size, and projection throw. If you reverse-engineer the numbers, that means almost 3000 lumens in calibrated 2D mode.

The best 3D scenes were observed with the daytime flying sequences in Dragon and the final attack sequences in Avatar. On the Vutec SilverStar screen, they punched up considerably with improved color saturation, and the viewing experience was quite enjoyable. The 24-96 fps frame rate conversion provides a smooth, bright image with absolutely zero flicker.

One problem I noticed was crosstalk in each lens. This popped up when the glasses were tilted even slightly, with the effect more pronounced in high-contrast scenes. For 3D to present correctly; crosstalk in the glasses has to be kept to a minimum. Otherwise, you will begin to feel eyestrain and may develop a headache after sustained viewing.

For comparison, Sony’s 3D active shutter glasses suffer from crosstalk problems because only one polarizer is used, while Samsung and Panasonic glasses use two polarizers and are much better at suppressing crosstalk. The Mitsubishi glasses also use dual polarizers, but their ‘extinction ratio’ isn’t as good as I would have expected. Figures 5a – 5d show sample 3D images where crosstalk is strongly evident and not quite as evident.

Figure 5a – This 3D text chart shows crosstalk (ghost images) around the letters and vertical lines.

Figure 5b – A ghost image of the center circle can be seen clearly in this photo.

Figure 5c – Crosstalk isn’t as evident when watching 3D movies, although I noticed it in this scene from How to Train Your Dragon.  (Image © 2010 Dreamworks Animation)

 

Figure 5d – Subtle ghost images were seen along the edges of the mountains and the dragon’s wings.  (Image © 2010 Dreamworks Animation)

You will clearly see double images in the test patterns, but the ghosting isn’t quite as apparent with the stills from Dragon. But it is there, along the jagged rocky cliffs and other background objects. It all depends on the angle of your head – if you tilt your head to either side, the effect becomes more pronounced. Ghosting is readily apparent with credits and other high-contrast text and symbols.

CONCLUSIONS

Mitsubishi’s HC9000D is a top-notch 2D projector, but underpowered for 3D with low-gain screens. It calibrates quickly and performs nicely, but those calibrations will shift noticeably when viewing with 3D glasses. You’ll definitely need a gain screen with this projector for 3D content, and it might be a good idea to choose one that has a slightly warm color temperature that will offset the higher color temperature in 3D mode.

More horsepower under the hood would help. As I mentioned earlier, something in the neighborhood of 3000 lumens would be required to (a) perform a full 2D calibration and (b) provide enough illumination in 3D mode to low-gain (1.0 to 1.3) screens in the 82-inch to 102-inch range, assuming  a projection distance of 10 – 12 feet.

However, if you are sitting closer to a smaller screen, then you will be in better shape: The HC9000’s measured light output after calibration should be adequate for 3D viewing on a 72-inch screen at a distance of 6 to 8 feet, as you will wind up with 3x to 4x brighter images. And you DO want to sit closer to 3D screens to get the maximum impact: My recommended seating distance is 1x to 1.3x the screen diagonal measurement. That will make the 3D images fill 50% or more of your field of view, and give you that theater-like immersive experience!