Steve Withers
Distinguished Member
Steve Withers gives a run-down of the most interesting projectors released this year
There has never been a better time to buy a projector, regardless of whether you're at the higher end or looking for a budget model. Thanks to a combination of technological innovation, economies of scale and good old-fashioned competition, we have seen budget models that can deliver incredible performance combined with prices that are hard to believe. At the other end of the scale we've reviewed a high end model that incorporated an LED light source into a 3D projector and Sony became the first manufacturer to bring native 4K into the home. We also saw the launch of a completely new light source that used an LED/Laser hybrid that may well revolutionise the projector market in the near future. In fact when we look back, it's quite possible that 2012 will be remembered as an important period of transition, so here are the projectors that really caught our attention this year.
Sony VPL-HW50 - RRP £2,800
There was certainly no mistaking the VPL-HW50ES's pedigree, with its attractive curves and styling, it could only be a Sony product. Despite its price point, the build quality was excellent, the remote well designed and the connections adequate. It also came with two pairs of active shutter glasses included and our only complaint was that the lens controls were manual, precluding the addition of a lens memory function. The HW50 had a reasonable set of features with only the location of the 3D menu worth complaining about. There were a number of preset picture modes, including two designed for use in a well-lit environment. However the Reference picture mode was the best, offering a genuinely impressive level of accuracy out-of-the-box. There were calibration controls to help fine tune this performance and we were glad to see that RCP (Real Colour Processing) had been improved from last year.
The 2D performance was excellent and when properly set up, the HW50 was able to produce a bright and accurate image, whilst also delivering suitably deep blacks that resulted in an impressive dynamic range and contrast ratio. When you combined this with the accurate image and superb video processing, the HW50 could produce fantastically detailed images that really did enthrall, regardless of whether you were watching standard or high definition material. The same level of performance applied to 3D, with the HW50 producing bright and accurate images that were largely free of crosstalk or other artefacts and displayed an immersive level of dimensionality. The Reality Creation feature was something of an acquired taste, working well with computer animation but giving live action content a slightly processed look. The motion handling was good but could have been better with some smearing and loss of detail on camera pans. The VPL-HW50ES possessed all the strengths we have come to expect from Sony, it had the well-engineered looks, the great build quality and the impressive performance. It wasn't perfect but our complaints were minor and at this price point, it really should be on anyone's short list.
Panasonic PT-AT6000 - RRP - £2,899
We felt a distinct sense of deja vu when we saw Panasonic's new PT-AT6000 but whilst they kept the chassis design of the previous year's departing model, they added enough new tricks underneath the bonnet to satisfy consumers. The unit had plenty of source connections but not including any 3D glasses seemed a little mean in our opinion. Set up was easy but we would have liked to see motorised lens shift controls over the rather fiddly manual joy stick but on the plus side the zoom and focus were motorised and the lens memory functionality is again included for scope screen users. A slight disappointment with this year's model was the lack of any completely accurate out-of-the-box picture presets, with even the Rec709 mode suffering from an over-saturated green. However, in actual viewing this didn't necessarily distract and most users would be happy enough. For those who wanted accuracy, the projector could be calibrated to a high degree, although the odd Colour Management System was carried over from previous models, requiring a workaround to make sure the colour calibration is accurate.
Once calibrated the PT-AT6000E offered some of the best 2D images we had ever seen from a Panasonic LCD projector. Black levels and shadow detail were impressive and a big step up from last year's model. With the Dynamic iris switched off we were able to obtain a stable gamma which helped shadow detail without any signs of clipping. Colour performance was also excellent in the calibrated modes, with strong primaries and excellent gradation. As with any LCD projector there was an amount of image blur on fast moving objects and pans, but actual motion within the frame was free from judder. 3D performance was also very good and although we did see some very occasional instances of crosstalk with difficult scenes and material, it was never distracting and we had to go looking for it. At this price point and given the incredibly tough market the PT-AT6000E is competing in, we thought Panasonic had a winner on their hands and recommended you check it out.
JVC DLA-X35 - RRP £2,899
The DLA-X35 used the same chassis as previous JVC models with a centrally mounted lens and ventilation grilles at the front left and right. The build quality was reasonably good but savings were obviously being made and there was no motorised lens cover. The X35 came in a choice of black or white and there was a matte finish used this year. At the rear there were a standard set of connections and included was a black plastic remote, that was backlit and well laid out. The X35 came with JVC's new RF glasses and a small RF emitter that could be discretely connected and hidden away at the back. The setup was very easy thanks to the generous zoom and shift and the Lens Memory function was a very useful feature for those with 2.35:1 screens. The menus system was the same as before and was well designed and easy to navigate but once again there was no colour management system (CMS). The out-of-the-box performance was reasonably good and once calibrated the greyscale was capable of a reference performance. Due to the lack of a CMS the colour gamut wasn't quite as accurate but it was still excellent, although there appeared to be some restriction on the saturation of green. Overall the image accuracy was excellent but with almost every competitor now offering a CMS in their budget models, JVC really need to step up.
The performance in 2D was superb, with the X35 delivering deep blacks, great shadow detail and an impressive dynamic range. The contrast ratio was excellent and coupled with the image accuracy and some superb video processing, the resulting pictures looked natural and highly detailed. The motion handling was good, especially with 24p but there was the occasional smearing on fast pans that we have come to expect from D-ILA panels. There was plenty of brightness for our blacked-out home cinema but if you have white walls the X35 may struggle and you'll rob the projector of its inky blacks, so bear that in mind. The 3D performance was a definite improvement on last year and the X35 delivered bright, vibrant and detailed 3D images that created an immersive three dimensional experience. The motion handling was good and the images were free of artefacts and other distractions like flicker and crosstalk. The JVC DLA-X35 was another great entry level projector from the Japanese manufacturer that built on all their usual strengths like superb blacks and detailed film-like images, whilst adding an expanded feature set and improved 3D. If you're in the market for a budget projector you owe it to yourself to demo the DLA-X35; it delivers the best 2D images at this price point and also holds its own when it comes to 3D.
Epson EH-TW8100 - RRP £2,249
The EH-TW8100 used the same chassis as the more expensive EH-TW9100 and was well constructed with a nice sense of build quality. The centrally mounted lens used manual controls, which obviously meant no lens memory, putting the cheaper TW8100 at a slight disadvantage to the JVC and Panasonic projectors. There was a good selection of connections at the rear, including two HDMI inputs, whilst setup was reasonably straightforward and the remote control well designed. The TW8100 didn't come with any 3D glasses but was compatible with Epson's latest that use the new RF standard. The menu system was clear and concise, making it very effective to use and it included an excellent set of calibration controls. The out-of-the-box measurements were impressive in Natural colour mode, with a very good greyscale and an excellent colour gamut. The chosen gamma also measured close to our target of 2.4, so even if you don't get the TW8100 calibrated it is capable of delivering an accurate performance. After calibration the TW8100 could deliver a reference greyscale and gamma performance and a near reference colour gamut, which was impressive for a projector at this price point. The TW8100 was capable of putting out 1,200 lumens in its calibrated mode and had excellent black levels for a LCD projector, along with a very good contrast ratio and level of shadow detail.
The video processing was very good, with the TW8100 passing all of our tests and delivering an excellent performance in most areas. Motion handling has never been a strong point of LCD projectors but whilst there were occasional artefacts, the TW8100 was generally very good and handled 24p content extremely well. The 2D performance was very impressive thanks to the image accuracy, delivering a picture that was far better than we expected from a projector priced at this level. The 3D performance was equally impressive with good motion handling and very little crosstalk, resulting in an immersive experience that was thankfully free of distracting artefacts. The consumer truly is spoilt for choice at the moment but if you're looking for a projector that combines exceptional value with a great performance, then the Epson EH-TW8100 should be at the top of your list. It certainly holds its own in a competitive market and whilst there are minor issues, you'll be amazed at what can be achieved at the sub £2,500 price point.
Acer K750 - £1,850
The Acer K750 had the classic white and silver look of a data grade projector; it was small, compact and designed to be mobile. Whilst constructed of plastic, the build quality was actually quite good and had a robust feel. There are a basic set of connections at the back and the K750 came with a reasonably effective remote that had a back light. Setup was relatively straightforward but the lack of lens shift meant that careful placement was necessary. The menu system was well laid out and there was a reasonable set of calibration controls, which could deliver a relatively accurate picture. The greyscale was actually capable of a reference performance but even with a colour management system, there were errors in green that could not be corrected. This is presumably a by-product of the LED/Laser hybrid light source. The video processing was reasonably good, especially with high definition content and despite being aimed at the data grade projector market, we actually found that the K750 was capable of producing a very watchable picture. Since the K750 was a single chip DLP projector it could deliver some very detailed images and it also handled motion superbly, with 24p material in particular showing movement that was smooth and judder free.
Of course DLP also has its limitations and one of those is black levels, which were mediocre, appearing more like a very dark grey and shadow detail was also limited. The big selling point of the K750 is the LED/Laser hybrid light source, which was capable of lighting up a reasonably large screen without any issues and still delivering images with plenty of impact. It's also worth remembering that the LED/Laser hybrid light source won't dim like a regular bulb, so the K750 should be able to maintain those levels of brightness during its lifetime. The other advantage of using a LED/Laser hybrid light source with a DLP projector is that is should eliminate rainbows and whilst this is mostly true, people that are very susceptible might still see them occasionally. The Acer K750 was primarily aimed at the data grade projector market and as such there were limitations that didn't make it ideal for use in a home cinema. However the LED/Laser hybrid light source certainly has potential and if it can be used effectively in a projector aimed squarely at the home cinema market, it could finally mean the end of traditional bulb based projectors.
There has never been a better time to buy a projector, regardless of whether you're at the higher end or looking for a budget model. Thanks to a combination of technological innovation, economies of scale and good old-fashioned competition, we have seen budget models that can deliver incredible performance combined with prices that are hard to believe. At the other end of the scale we've reviewed a high end model that incorporated an LED light source into a 3D projector and Sony became the first manufacturer to bring native 4K into the home. We also saw the launch of a completely new light source that used an LED/Laser hybrid that may well revolutionise the projector market in the near future. In fact when we look back, it's quite possible that 2012 will be remembered as an important period of transition, so here are the projectors that really caught our attention this year.
Sony VPL-HW50 - RRP £2,800
There was certainly no mistaking the VPL-HW50ES's pedigree, with its attractive curves and styling, it could only be a Sony product. Despite its price point, the build quality was excellent, the remote well designed and the connections adequate. It also came with two pairs of active shutter glasses included and our only complaint was that the lens controls were manual, precluding the addition of a lens memory function. The HW50 had a reasonable set of features with only the location of the 3D menu worth complaining about. There were a number of preset picture modes, including two designed for use in a well-lit environment. However the Reference picture mode was the best, offering a genuinely impressive level of accuracy out-of-the-box. There were calibration controls to help fine tune this performance and we were glad to see that RCP (Real Colour Processing) had been improved from last year.
The 2D performance was excellent and when properly set up, the HW50 was able to produce a bright and accurate image, whilst also delivering suitably deep blacks that resulted in an impressive dynamic range and contrast ratio. When you combined this with the accurate image and superb video processing, the HW50 could produce fantastically detailed images that really did enthrall, regardless of whether you were watching standard or high definition material. The same level of performance applied to 3D, with the HW50 producing bright and accurate images that were largely free of crosstalk or other artefacts and displayed an immersive level of dimensionality. The Reality Creation feature was something of an acquired taste, working well with computer animation but giving live action content a slightly processed look. The motion handling was good but could have been better with some smearing and loss of detail on camera pans. The VPL-HW50ES possessed all the strengths we have come to expect from Sony, it had the well-engineered looks, the great build quality and the impressive performance. It wasn't perfect but our complaints were minor and at this price point, it really should be on anyone's short list.
Panasonic PT-AT6000 - RRP - £2,899
We felt a distinct sense of deja vu when we saw Panasonic's new PT-AT6000 but whilst they kept the chassis design of the previous year's departing model, they added enough new tricks underneath the bonnet to satisfy consumers. The unit had plenty of source connections but not including any 3D glasses seemed a little mean in our opinion. Set up was easy but we would have liked to see motorised lens shift controls over the rather fiddly manual joy stick but on the plus side the zoom and focus were motorised and the lens memory functionality is again included for scope screen users. A slight disappointment with this year's model was the lack of any completely accurate out-of-the-box picture presets, with even the Rec709 mode suffering from an over-saturated green. However, in actual viewing this didn't necessarily distract and most users would be happy enough. For those who wanted accuracy, the projector could be calibrated to a high degree, although the odd Colour Management System was carried over from previous models, requiring a workaround to make sure the colour calibration is accurate.
Once calibrated the PT-AT6000E offered some of the best 2D images we had ever seen from a Panasonic LCD projector. Black levels and shadow detail were impressive and a big step up from last year's model. With the Dynamic iris switched off we were able to obtain a stable gamma which helped shadow detail without any signs of clipping. Colour performance was also excellent in the calibrated modes, with strong primaries and excellent gradation. As with any LCD projector there was an amount of image blur on fast moving objects and pans, but actual motion within the frame was free from judder. 3D performance was also very good and although we did see some very occasional instances of crosstalk with difficult scenes and material, it was never distracting and we had to go looking for it. At this price point and given the incredibly tough market the PT-AT6000E is competing in, we thought Panasonic had a winner on their hands and recommended you check it out.
JVC DLA-X35 - RRP £2,899
The DLA-X35 used the same chassis as previous JVC models with a centrally mounted lens and ventilation grilles at the front left and right. The build quality was reasonably good but savings were obviously being made and there was no motorised lens cover. The X35 came in a choice of black or white and there was a matte finish used this year. At the rear there were a standard set of connections and included was a black plastic remote, that was backlit and well laid out. The X35 came with JVC's new RF glasses and a small RF emitter that could be discretely connected and hidden away at the back. The setup was very easy thanks to the generous zoom and shift and the Lens Memory function was a very useful feature for those with 2.35:1 screens. The menus system was the same as before and was well designed and easy to navigate but once again there was no colour management system (CMS). The out-of-the-box performance was reasonably good and once calibrated the greyscale was capable of a reference performance. Due to the lack of a CMS the colour gamut wasn't quite as accurate but it was still excellent, although there appeared to be some restriction on the saturation of green. Overall the image accuracy was excellent but with almost every competitor now offering a CMS in their budget models, JVC really need to step up.
The performance in 2D was superb, with the X35 delivering deep blacks, great shadow detail and an impressive dynamic range. The contrast ratio was excellent and coupled with the image accuracy and some superb video processing, the resulting pictures looked natural and highly detailed. The motion handling was good, especially with 24p but there was the occasional smearing on fast pans that we have come to expect from D-ILA panels. There was plenty of brightness for our blacked-out home cinema but if you have white walls the X35 may struggle and you'll rob the projector of its inky blacks, so bear that in mind. The 3D performance was a definite improvement on last year and the X35 delivered bright, vibrant and detailed 3D images that created an immersive three dimensional experience. The motion handling was good and the images were free of artefacts and other distractions like flicker and crosstalk. The JVC DLA-X35 was another great entry level projector from the Japanese manufacturer that built on all their usual strengths like superb blacks and detailed film-like images, whilst adding an expanded feature set and improved 3D. If you're in the market for a budget projector you owe it to yourself to demo the DLA-X35; it delivers the best 2D images at this price point and also holds its own when it comes to 3D.
Epson EH-TW8100 - RRP £2,249
The EH-TW8100 used the same chassis as the more expensive EH-TW9100 and was well constructed with a nice sense of build quality. The centrally mounted lens used manual controls, which obviously meant no lens memory, putting the cheaper TW8100 at a slight disadvantage to the JVC and Panasonic projectors. There was a good selection of connections at the rear, including two HDMI inputs, whilst setup was reasonably straightforward and the remote control well designed. The TW8100 didn't come with any 3D glasses but was compatible with Epson's latest that use the new RF standard. The menu system was clear and concise, making it very effective to use and it included an excellent set of calibration controls. The out-of-the-box measurements were impressive in Natural colour mode, with a very good greyscale and an excellent colour gamut. The chosen gamma also measured close to our target of 2.4, so even if you don't get the TW8100 calibrated it is capable of delivering an accurate performance. After calibration the TW8100 could deliver a reference greyscale and gamma performance and a near reference colour gamut, which was impressive for a projector at this price point. The TW8100 was capable of putting out 1,200 lumens in its calibrated mode and had excellent black levels for a LCD projector, along with a very good contrast ratio and level of shadow detail.
The video processing was very good, with the TW8100 passing all of our tests and delivering an excellent performance in most areas. Motion handling has never been a strong point of LCD projectors but whilst there were occasional artefacts, the TW8100 was generally very good and handled 24p content extremely well. The 2D performance was very impressive thanks to the image accuracy, delivering a picture that was far better than we expected from a projector priced at this level. The 3D performance was equally impressive with good motion handling and very little crosstalk, resulting in an immersive experience that was thankfully free of distracting artefacts. The consumer truly is spoilt for choice at the moment but if you're looking for a projector that combines exceptional value with a great performance, then the Epson EH-TW8100 should be at the top of your list. It certainly holds its own in a competitive market and whilst there are minor issues, you'll be amazed at what can be achieved at the sub £2,500 price point.
Acer K750 - £1,850
The Acer K750 had the classic white and silver look of a data grade projector; it was small, compact and designed to be mobile. Whilst constructed of plastic, the build quality was actually quite good and had a robust feel. There are a basic set of connections at the back and the K750 came with a reasonably effective remote that had a back light. Setup was relatively straightforward but the lack of lens shift meant that careful placement was necessary. The menu system was well laid out and there was a reasonable set of calibration controls, which could deliver a relatively accurate picture. The greyscale was actually capable of a reference performance but even with a colour management system, there were errors in green that could not be corrected. This is presumably a by-product of the LED/Laser hybrid light source. The video processing was reasonably good, especially with high definition content and despite being aimed at the data grade projector market, we actually found that the K750 was capable of producing a very watchable picture. Since the K750 was a single chip DLP projector it could deliver some very detailed images and it also handled motion superbly, with 24p material in particular showing movement that was smooth and judder free.
Of course DLP also has its limitations and one of those is black levels, which were mediocre, appearing more like a very dark grey and shadow detail was also limited. The big selling point of the K750 is the LED/Laser hybrid light source, which was capable of lighting up a reasonably large screen without any issues and still delivering images with plenty of impact. It's also worth remembering that the LED/Laser hybrid light source won't dim like a regular bulb, so the K750 should be able to maintain those levels of brightness during its lifetime. The other advantage of using a LED/Laser hybrid light source with a DLP projector is that is should eliminate rainbows and whilst this is mostly true, people that are very susceptible might still see them occasionally. The Acer K750 was primarily aimed at the data grade projector market and as such there were limitations that didn't make it ideal for use in a home cinema. However the LED/Laser hybrid light source certainly has potential and if it can be used effectively in a projector aimed squarely at the home cinema market, it could finally mean the end of traditional bulb based projectors.
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