谁来翻译一下（关于CEDIA 2005)

mds

Hello all!

Sorry it took so long to get this up, but we wanted to make sure we covered everything we saw at the show! Please feel free to comment/disagree/shower us with praise:

WHAT WE SAW AT CEDIA 2005

The operative phrase at this year’s CEDIA show was 1080P, as in 1920 x 1080 native resolution displays. Everyone was showing 1080P product in front and rear projection, including Texas Instruments with their prototype 1080P single and triple chip DLP front projection systems. Sony made a big splash with an SXRD based front projector that displays full 1920 x 1080 resolution for right at $10,000, which seems to have created quite a stir. While not a “DLP Killer” by a long shot, it will be interesting to see how their $10,000 offering affects pricing on 1080P DLP once it ships (looks like mid-2006).

Another product that seems to be attracting quite a bit of interest are the new black front projection screens from Sony and DNP. The latter was represented at the show by Screen Innovations (DNP’s only authorized US distributor), who had a small display set up in the RCA dome. The cool thing about the new black screens is that they are just about impervious to ambient light and will work in (literally) just about any lighting situation. The question is, are they really suitable for home theater? More on those later…

PROJECTORS

TEXAS INSTRUMENTS

Texas Instrument’s 3 chip 1080P DLP prototype was hands down our favorite display at the show. The clips we saw of SIN CITY, MADAGASCAR and BACKSTROKE OF THE WEST (oops, sorry, I mean REVENGE OF THE SITH) looked superior to even what we have seen at the DLP Digital Cinema in Denver. Contrast was outstanding, with deep blacks and incredible depth and three-dimensionality. The SITH trailer looked the best, with great detail and rich saturated colors. In fact, it’s hard to imagine home theater getting any better than this. It literally looked better than what we have seen at the best commercial theaters, digital or otherwise, outside of an IMAX presentation. Of course, this is a purely subjective evaluation, but the best time we had at the show was stopping by the TI theater after their canned presentation was over on Sunday afternoon. The TI personnel had definitely “let their hair down” and were taking requests – and our request was to play all of their demo clips up on the 3 chip. To quote their very attractive but plastic and painfully over-rehearsed spokesmodel, “WOW.”

The single chip version also looked stunning, but lacked a bit of the incredible contrast, depth, and brightness that the 3 chip possessed. Essentially imagine the very best single chip 720p piece out there today, eliminate the screen door effect, add about 25% more perceived detail, and you have an excellent idea of what it looked like. There was no 720p piece as a reference, so again, this is all subjective.

Dropping by after the presentations are over also allows you the opportunity to quiz the TI reps in detail without a crowd standing impatiently by. Here is the lowdown on 1080P DLP, single chip or triple chip:

Single Chip 1080P DLP is in the hands of the major front projection manufacturers right now, who are all developing their own optics, electronics, etc. The new 1080P chip is based on the Dark Chip 3 platform, so expect contrast and overall performance to be comparable to the best 720p DLP projectors today, only with higher resolution (obviously). Pricing should be in the $10,000 on up category, with most being $15,000 plus (interesting – initially we had heard that all would be over $15K, but our guess is that Sony’s SXRD piece is already forcing downward pricing pressure on TI). As to when they will ship, that’s up to the individual manufacturers and their engineering teams. Best guess is mid-2006.

Three Chip 1080P DLP is also in the hands of the far fewer manufacturers pursuing this higher end of the market. Look to late 2006 and an initial price in the 30K + range. Pair a 3 chip 1080P with an anamorphic lens and a Stewart CineCurve 2:35 masking screen and you’ve reached home theater nirvana, in our opinion.

SONY

Sony’s big attention getter was their new VPL-VW100 1080P SXRD projector, mentioned above. The big story here is the price point - $10,000 list for a true 1920 x 1080 front projection display. The big question is, how did it look? The short answer – pretty good.

The A/V world seems to be split into two camps, Sony worshippers and Sony haters. We like to think that we buck this trend by being Sony agnostics – we will acknowledge Sony superiority only when we see evidence of it. With the VW100 we saw evidence that could bolster the arguments of both camps.

First of all, Sony claims a contrast ratio of 15000:1. Here’s where Sony’s marketing department earns their (I’m sure) huge paychecks. What the (thankfully honest) Sony rep told us is that the actual contrast of the panels are more in line with a 2000:1/3000:1 contrast spec, which is what our subjective viewing bore out (keep in mind that even specs like “2000:1” and “3000:1” are mostly bogus in and of themselves, but what we saw was in line with what most manufacturer’s would claim to be a 2000:1 contrast ratio). Blacks were very deep and convincing, but the overall contrast in dark scenes was not nearly as good as the best DLP projectors we’ve seen. Sony works its contrast magic by opening and closing an iris, which raises and lowers the overall brightness within a scene or shot (basically, on/off contrast). It does nothing toward improving ANSI contrast, which is the ratio of how well the projector does in reproducing bright whites and deep blacks within the same scene, even within a single shot. The DLP projectors we saw all did a better job in terms of ANSI contrast than did the SXRD pieces. This was especially obvious when we compared how the 3 chip DLP design handled dark scenes in the SITH trailer, vs. how well the Sony handled dark scenes in the ZORRO trailer. With the DLP piece, there was much greater depth and range to how it handled light and dark within a scene, while with the Sony these scenes looked a bit flat. The blacks were extremely deep, but it didn’t have the vividness of the DLP design. Of course, the Sony displays deep blacks by closing down an iris, which reduces overall brightness at the same time. DLP, on the other hand, is able to deliver deep blacks while maintaining overall brightness.

Our argument is that ANSI contrast is much more obvious and important when viewing typical video content. If a particular scene in a movie has both light and dark elements within the same shot, a projector with greater ANSI contrast will reproduce these scenes with greater accuracy, depth, and dynamics.

This is not to say that the Sony VW100 had poor contrast or a poor image – it doesn’t! The ANSI contrast was very good compared to most LCD or LCOS projectors, it just wasn’t as good as most DLP designs. Our point here is that resolution is NOT the most important spec in determining image quality, but it’s the one most people seem to get caught up on. Color accuracy and contrast are at least as important, if not more so.

In terms of color, the Sony did very well. Reds seemed a little “hopped up,” but overall color balance was smooth and natural.

Speaking of smooth, this is one area the Sony excelled at. Like JVC’s DILA designs, SXRD has a rock solid smoothness that is very appealing. In this regard it was superior to 720p DLP designs, equal to the DLP 1080 designs. Of course, for those driven to distraction by DLP rainbows, SXRD and DILA have it all over single chip DLP.

Another plus – Sony recommends the VW100 for screens 120” and under. Judging from the image on the 120” Dalite Cinemavision they had it on, you could probably go even larger, as the image seemed quite bright. Since visible pixels are not an issue with this projector, larger screen sizes won’t reveal any screen door artifacts but will reveal more mpeg and picture artifacts.

Speaking of picture artifacts, this is the one area that we feel that the VW100 could stand some improvement. While the overall image looked smooth, there was an overly processed, “smeary” look to the picture that was distracting. What we saw here was exactly the kind of artifacts you see on some rear projection and CRT sets when the set has all of those so-called “picture enhancement” effects turned on. Edges looked both soft and overly enhanced at the same time, and fast motion had a bit of an unnatural feel about it. Interesting – when queried as to the difference between the Qualia and the VW100, the Sony rep stated that the Qualia had a considerably more refined image. Based upon our past experience with the Qualia, we would have to agree (he also mentioned brightness as a major difference).

Also on the negative front, the $1000 bulb price is more than a bit steep! That, plus their main demo clip was the trailer for Sony Picture’s STEALTH, which looks beyond idiotic.

Sony was also showing off their 3640 x 2160 SXRD. Unfortunately, they now subjected us to an entire scene from STEALTH to do so (did we mention that Sony’s marketing execs absolutely earn their paychecks?). While there was nothing negative to say about the picture on this commercial cinema projector, it sure didn’t leave us with the same weak-kneed “WOW” feeling we had when we first saw the Qualia two years ago. Funny – most of the people walking out of the presentation were saying the same thing. Our opinion is that they sacrificed a potentially spectacular demo in favor trying to generate renewed interest in the upcoming video release of a major box office bomb…

INFOCUS

InFocus will continue with their current Screenplay 4805, 5000, 5700, 7205, and 7210 for the time being. There are some cool things on the horizon from InFocus in the “under $10,000” price range, mainly an extremely attractive new chassis design that is much more “consumer A/V component” oriented and a new quieter fan design. Don’t hold your breath, though – the new models are still months away, and the current InFocus lineup still hits the performance and price points it needs to.

The big news from InFocus is the major price drop and performance enhancement of the Screenplay 777 3 chip 720P DLP projector. The enhanced 777 has a new optical engine developed around 3 TI Dark Chip 3 720P DLP chips and has a greatly improved contrast ratio as a result. An effective demo was switching to the 777 from the 7210 right in the middle of a clip from I ROBOT. The 7210 looked very good, but the picture coming from the 777 was brighter, richer, more solid, and had that “real” quality that we have only seen on 3 chip DLP projectors and the original demo of the Qualia. There are definite improvements in picture quality by going up to a 3 chip DLP design over a single chip piece, improvements in ANSI contrast and other areas that are immediately apparent in a side by side comparison (we also saw this in our evaluation of the SIM C3X, but more on that later).

The best news of all is the new price of the 777 – a list of $14,995. That makes the 777 the least expensive 720P 3 chip DLP projector on the market, and it is an excellent performing and very attractive unit to boot. Finally these things are out of the pricing stratosphere and may actually end up in some home theaters.

OPTOMA

Not much news here, although it looks like the Optoma H31 is coming back into the lineup after we were told it was discontinued earlier in the year. This is good news as the H31 is one of the best performing 480p DLP projectors on the market. The H79 still looks great and is still current.

One of our goals in talking to Optoma was to find out what the altitude restrictions were on the H79, but were not able to get a clear answer. We bring this up since there is a persistent rumor that the H76/77/79 will overheat and shutdown at altitudes over 5000 feet. Since we are at 6000 feet here in Colorado Springs/Denver, this is kind of a big deal to us (so is a large portion of the country, so we feel that Optoma *might* want to take a look at this). We’ve got an H79 in here now we are testing that seems to be working fine. Basically what Optoma tells us that that H79 should work fine at high altitudes providing the room it is placed in has good ventilation and is cool year round, plus the projector itself have plenty of room around it for air flow.

We were also told that the H77 and H57 are gone for good. Then again, we’ve heard these kinds of things from Optoma before only to have the units rise again, Phoenix-like, to once again take roost in home theaters around the country.

We like Optoma’s projectors, we really do. We just wish that Optoma as a company was a little more organized and a little less inconsistent!

BENQ

Not much new here either. BenQ was relegated to a fairly small area in the dome compared to the usual huge “BenQ compound.” Both the PE7700 and PE8720 projectors on display, although neither was up and running. Unanswered was why the 8720 is taking so long to get to market. This time we were promised October (after hearing May, then July, then September).

NEC

Another booth in the “nothing to see here, please disperse” category. NEC had the HT1100 on display (still a great little projector, and a great deal at current pricing) and the HT410 and HT510 “rainbow generators.” Why NEC, with having such a great track record with the HT-1000 and 1100, should ignore the HD2 and 2+ market and instead offer two low resolution projectors with slow 2X color wheels (hence the term “rainbow generator”) is beyond us.

NEC, please come back!

SIM 2

Another big favorite for us was the SIM C3X. We didn’t spend much time with it at the show, since we had an extensive opportunity to evaluate one a few weeks ago when SIM brought one in specifically for us to evaluate.

Based upon the two hours we had to play with the C3X at one of our showrooms here in the ‘Springs, we would say that it is comparable to the other 3 chip DLP designs we’ve seen but in a much smaller case (and, with the exception of the Screenplay 777, a much more attractive case as well). Pictures on the C3X were rock solid and real, an adjective we use when you forget you are watching a video display and just plain accept the image before you as a reproduction of reality. We put on SIM CITY and were just blown away (a phrase I hate, but accurate here) with the depth and solidity of the image. ANSI contrast was excellent, as was revealed in our standard ANSI torture test clip of the inside of a boat cabin with bright sunlight revealed through the windows. In this regard it was clearly better than the H79 and Screenplay 7210 we had in our shop, which rendered the scenery outside the window accurately but made the inside of the cabin look dark and dreary. The SIM, on the other hand, rendered it as you might actually perceive it in real life.

This is the exact same test we used with the Screenplay 777 over a year ago, one that the 777 also passed with flying colors. This area of ANSI contrast is clearly an important one, one where 3 chip DLP designs have demonstrated to us consistent superiority over their one chip counterparts.

Compared to the Screenplay 777, the C3X has one area in which we feel it is superior and one where we feel like it is lacking. The main advantage of the C3X is its small size – it’s not much bigger than a SIM HT300E, for example. In this regard it certainly will be easier to install, not only from a size perspective but from an aesthetic one as well. On the negative side, we believe that the InFocus colors were a bit more accurate and we like their out of box gamma curves better as well. The SIM gammas all seem to reveal a tiny bit more MPEG noise in darker scenes, especially with DVD. Still, a good calibration should eliminate this “problem.” An extremely impressive performer.

PANASONIC

We showed up for the presentation of the Panasonic PTAE900 at 2:00 pm on Sunday(an hour before they were supposed to close up shop), but Panasonic was already tearing down before we got there. Disappointing! Supposedly the AE900 is a noticeable improvement over the AE700, which is one of the few LCD projectors we like.

JVC

JVC had a very nice suite set up with 3 HD2K DILA projectors, two of which were stacked in order to show off the Sensio 3-D projection system. This was VERY impressive – the best 3-D presentation we have ever seen, including 3-D IMAX presentations. Unlike IMAX and other 3-D systems, the image does not collapse if you turn or tilt your head. The 3-D process really seems to benefit from DILA technology, as the almost total lack of screen door effect and the rock solid quality of the image really contribute to the illusion of reality.

In another room JVC had set up the HD2K solo on a 120” diagonal screen. Despite the low lumen rating, the image looked plenty bright. As always, the HD2K looked extremely clean and solid, with none of the picture artifacts we noticed on the Sony VW100. Colors were bright and vivid, and detail was plentiful just like on all of the 1080P pieces we saw. JVC doesn’t play any games with variable irises, so contrast specs are not all that impressive on paper. Yet the HD2K has the best contrast of any DILA consumer projector on the market. We had seen the HD2K earlier this year, and one of the things we could not figure out was why the HD2K set up solo in the room at CEDIA looked washed out with middle grey blacks. The one we had seen earlier in the year – AND the two stacked units in the 3-D display – had considerably deeper blacks. We brought this to their attention, but were told that the solo HD2K was calibrated properly. We think someone got a hold of the remote and cranked the brightness up way too high and no one had bothered to recalibrate it. Normally the HD2K is one of the most impressive performers out there - the 3-D display proved that. Blacks on the stacked units were very deep and rich. Not as deep as a DLP projector or the Sony VW100 with the iris closed down, but very good nonetheless. If only JVC had let us play with the remote for a moment, we might have been able to dial in an impressive black on the solo unit.


SCREENS

STEWART

One of the coolest demos at the show was Stewart’s new CineCurve 2:35 to 1 motorized masking screen combined with Runco (and Vidkron’s) new Cinewide projectors. The visual impact of movies stretched out to their full 2:35 to 1 aspect ratio without black letterbox bars is greater than I would have imagined. With the demo clips from THE ROCK and THE INCREDIBLES, it was amazing how the considerably wider image simply did a much better job of drawing you in to the action. The idea really is the same as Stewart’s other masking screens, except in this case the basic screen is not 4:3 or 16:9, but 2:35 to 1, the same widescreen ratio as most big budget Hollywood spectaculars (think STAR WARS, INDIANA JONES, LAWRENCE OF ARABIA, etc) . This way you have a “constant height” screen where the masking only varies the width of the image from 2:35 to 1 down to 16:9 down to 4:3. The other cool factor is that fact that the screen is slightly curved, just like in the older movie palaces. This helps with viewing angle, engages your peripheral vision, and compensates for the pincushion distortion common to anamorphic lenses. Extremely impressive.

We keep getting inquires as to whether or not Stewart is developing a black screen, like the Sony black screen or the DNP Mirage. The answer is yes. Stewart has been working on one for ages, but they don’t want to release one until they feel it is up to their standards. They have looked at the other black screens out there and don’t feel that the quality is at a level where they would feel comfortable putting their name on it. Stewart’s attitude is that you’ll see it when they get it right.

Even so, Stewart is saying that they would not consider a black screen (even theirs) for critical home theater use, but only where the black screen is the only solution to an extreme ambient light situation.

SCREEN INNOVATIONS/DNP

Screen Innovations is purported to be the only legitimate importer of the new DNP black screen, the Mirage. The sample set up at the Screen Innovations booth was certainly impressive in how it handles ambient light. Compared to the white screen sample right next to it, there was a night and day (no pun intended) difference between the two materials. The Mirage material simply did an amazing job in rejecting ambient light, to the point that it almost looked as good as most white materials in a totally darkened room. Please keep in mind this is a totally subjective comparison, as we really had no way to really test the Mirage material other than out on the show floor under the glare of the stadium lights. Still – the pictures some of you have seen online are accurate. It is that good with ambient light.

Negatives – the material does definitely hotspot. While it was hard to make a true evaluation of it under the conditions it was displayed under, it was clear that moving your head around the screen resulted in the brightest part of the image moving with you, always centered in your field of view. This would indicate to us that the area of the screen closest to your seating position will have a noticeably brighter image than any other part of the screen. Again, please keep in mind this is all preliminary and based upon viewing a small demo screen under far less than optimal viewing conditions.

One last point – someone we trust with an excellent working and technical knowledge of screens told us that their evaluation of the DNP and Sony screens led them to a couple of conclusions. One, that the DNP product was considerably better engineered and had far less color shift than the Sony, and that neither is really up to critical home theater use and he would recommend them only where ambient light is excessive and uncontrollable.

JOHN SCHUERMANN/BRAD WAITE

INTEGRITY HOME THEATER

mds

有一段好像说sony的15000：1的对比度不真实，不如DLP。

doudouluo

嗨~！大家好！

这么晚才把文章传上来不好意思，这都是因为我们力求面面俱到，所以，请自由地带着赞美来评论、反驳甚至炮轰我们吧。

展会见闻

今年CEDIA的主题词是“1080P”，也就是具有1920*1080物理分辨率的显示器。每家厂商都展示了他们的前投或者背投的1080P 产品，这其中也包括德州仪器，他们展示了最新的，支持1080P的单片和三片前投系统。SONY在SXRD上大做文章，以整整1万美圆推出了一个完全支持1920*1080的投影机，似乎是掀起了一个小小的轰动。虽然SXRD很难成为“DLP终结者”，但是整一万美刀的价格，无疑会影响DLP1080P未来上市的定价策略，对此，我们将拭目以待。（看来DLP1080的上市时间可能为2006年中期）

另一个充满吸引力的产品是有SONY和DNP公司出品的投影黑幕（DNP目前只对美国地区销售），DNP公司在美国无线电公司的屋顶上设立了一个展示，并这次展会上被形容为“投影屏幕的革新者”。这种新的黑幕能阻挡环境光，并声称可以胜任在任何光环境下，不过我的问题是：这个玩意真的适合家庭影院吗？也许一切都要以后（才能定论）。。。。。。

投影机

TI（德州仪器）

TI的3片式1080DLP投影机毫无疑问是我们的最爱，用这部机器观赏《SIN CITY》、《马达加斯加》和《星战前传3——西斯的复仇》，其效果已经超越丹佛的DLP数码影院。差异是明显的，（TI具有）更加低沉的黑色、难以置信的颜色深度和立体感。《西斯》的短片看上去细节极为丰富、颜色饱满、效果最棒，事实上，我们已经很难想象家庭影院的效果能够超过这部机器了。我们甚至可以说，除了IMAX，她已经超过了我们所看过的所有的商业影院、数码影院和其他任何影院的效果。当然，以上纯粹是主观评价，不过在CEDIA上我们度过的最快乐的时光就是站在TI的展台前，在周日的下午TI例行介绍的结束后（看片）。TI的工作人员倒是比较亲和，说可以满足我们的要求，而我们的要求就是要用TI
的3片DLP看他们带来的所有的DEMO，并且一边看一边惊呼“WOW！”，就象TI那个罗里罗嗦的发言人一样。

TI的单片机看上去也非常棒，不过少了3片机的魔力，就是少了一点点亮度、饱和度还有层次。总的来说，想象一下当今最好的720单片机（比如MARATZ12S4之类的）的效果，然后去掉door effect，再加上25%的细节，就差不多了。不过现场并没有720P的投影机，当然，这又纯粹是我的主观印象。

（待续）

doudouluo

下文是关于TI单片或者3片1080DLP的内幕，可以让你在没有一大堆人不耐烦地围观的情况下了解一些TI的细节。

目前，单片1080DLP已经交付给前投制造商，由他们自己开发全部的光学、电气和其他部分。新的1080P芯片脱胎于Dark Chip 3（也就是SIM2，C3X用的芯片——译者按）平台，所以所有的物理特性和现在最好的720P机器基本相当，除了分辨率得到提升（很显然）。售价在1万刀的档次，大部分产品可能要卖到15000+（很有意思，一开始我们听说所有的产品都要卖到15000$以上，不过我们的估计是SONY的SXDR已经给了TI价格压力），至于何时上市，则要取决与制造商和他们的工程师团队，最乐观的预计是2006年中期。

3片1080P芯片也已经交付给极少数追逐超高端市场的厂商，可能会到2006年晚些的时候（上市），最初成本应在3万美刀左右。不过如果你拥有了一套3片DLP1080，再配上镜头和Stewart CineCurve2.35：1的幕布，你就已经登上了家庭影院的宇宙之颠，至少我是这么认为。

SONY

SONY的焦点是全新的VPL-VW100SXRD式前投。说到这里，最大的亮点是价格——一个1万美圆的真1920*1080投影机。关键的问题是：这个机器的效果如何？简单地说：还真是不赖！

A/V世界看起来似乎被分成了两派，一派是保“索”，另一派是倒“索”。我想把握潮流要靠不知“索”，什么叫不知“索”？就是要靠VPL-VW100的真实表现来支持各自的观点：到底SONY优越或是根本不行？

首先，SONY声称VPL-VW100具有15000：1的对比度，看，这就是SONY市场部能拿到那么高的薪水的原因了。（感谢诚实的）SONY同时告诉我们实际对比度介乎于2000：1~3000：1之间，这让我们感觉很困扰。（实际上我们看起来2000：1~3000：1也有虚假的成分，大概也就和市面上标称2000：1的机器差不多）画面的黑色低沉有力，但对黑暗画面的全局表现就不如最高档的DLP来的好，SONY的对比度伎俩是在一个场景或一桢中，开或者关一个晶膜来提高或者降低整个画面的亮度，而这对于提高对比度没有任何意义。ANSI就对比度如此定义：对比度是指投影机在单个场景或者单桢画面中同时再现白亮和黑暗的效率。我们看到所有DLP在对比度上都要比SONY的SXRD来的好，通过对比在3片DLP上的《西斯》片段和SONY机器上的《ZURRO》片段，就看的特别明显，DLP在暗部的深度和层次上要好很多，可以同时准确把握亮部和暗部，但SONY的画面就显得要平淡一些，虽然黑色够黑，但亮部就不如DLP来的透亮。当然，SONY的“纯粹的黑色”是靠降一挡晶膜，而减低整个画面的全局亮度来实现的，但DLP就不用，DLP可以在显现绝对黑色的同时保持画面的全局亮度。

我们要探讨的是，当人们观看一个典型的视频影象时ANSI的对比度是非常明显而重要的。如果一个比较特殊的电影中有一桢同时拥有亮部和暗部，那么ANSI对比度高的投影机就有能力更逼真、更准确、更有力地还原图象。

这并不是说SONY的机器对黑色的表现很差或者画面很差，不是这样的！ASNI对比度对于大多数LCD和DLP投影机来说是个不错的评判指标，DLP不过是在这方面也具有一点优势。这里我们还想说，分辨率并不是决定画面质量最重要的指标，但大多数人对分辨率非常在乎，色彩还原和对比度至少和分辨率同样重要，甚至要更重要。

（未完待续）

[ 本帖最后由 doudouluo 于 2005-9-19 10:48 编辑 ]

doudouluo

在色彩方面，SONY做的非常好，只是红色稍微有一些“跳”，整个画面的色彩平衡非常平滑自然。

谈起画面的平滑，SONY在这个领域具有优势，和JVC的 DILA 的设计类似，SXRD具有非常吸引人的平滑度，这点比720P的DLP要强，和1080P的DLP旗鼓相当。当然，因为（单片DLP）有令人困扰的彩虹现象，所以无论是SXRD或者DILA都要优于单片的DLP。

还有一点，就是SONY建议VW100的投射尺寸为120寸或者更小，但是从他们在120寸Dalite电影幕布上的投射画面来看，你也许可以投射在更大的屏幕上（也毫无问题），因为画面看上去非常明亮。可见象素（的密度）对这个机器来讲已经不是问题，所以即使用更大的屏幕，也不会暴露DOOR EFFECT（也许是晶格现象），但会暴露出更多的其他画面问题。

谈到画面处理，我们认为SONY在这方面可以做一些改进，虽然画面看上去很平滑，但有些处理过头的感觉。颜色看上去有些“脏”而使画面发“虚”，就象一些号称有“图象增强”系统的背投或者CRT投影机的毛病一样。边缘模糊且被过分的处理，致使在观看高速的运动场景时感觉有点不自然。有趣的是，当我们提及QUALIA和VW100的不同时，SONY声称QUALIA的画面显然更为细腻，基于我们过去对QUALIA的印象，我们似乎也只能同意这种说法。（他也强调了亮度的不同）

还有个负面的因素，就是1000美刀的灯泡价格，这个价格可不仅仅只是有点不合理了。这个价格包括附加的SONY《绝密飞行》的演示盘，这种做法比白痴强点但有限。

SONY也展示了3840 x 2160的SXRD，不幸的是，他们仅通过展示《绝密飞行》里面一个完整的场景来显示机器的实力。（我们是否注意到了SONY的市场部实行的是完全的绩效薪筹？）从这部商业用机投出的这个场景来看，我们没看出任何的瑕疵。两年前初次看到QUALIA的表现时，我们有些犹豫的赞叹“WOW！”，但这次没有这样。好玩的是很多人在介绍相同内容时离场，我们认为SONY这样拿出来一个最好的片段来演示，目的是吊起大家的胃口，以便《绝密飞行》可以赢得一个很好的票房成绩。（绝密飞行是SONY公司出品的电影——译者按）

（未完待续）

[ 本帖最后由 doudouluo 于 2005-9-17 12:54 编辑 ]

w1024768

板凳，坐下听，期待ing

doudouluo

INFOCUS

InFocus将继续沿用他们现有的 Screenplay 4805, 5000, 5700, 7205,& 7210系列产品，不过INFOCUS的“一万美刀”以下的定价策略还是很酷的。一个极富吸引力的全新底板设计和全新的静音风扇系统则体现了对A/V消费者的重视。先别兴奋，这些新的系统要数月后才会被应用，并且目前INFOCUS的产品系列仍然会按照即定的设计和价格调整进度来走。

INFOCUS的大件事是对于SCREENPLAY777的改进和大降价，改进型777运用了全新的核心，这个核心是基于TI DARK CHIP 3代芯片的3片DLP系统（与SIM2 C3X一模一样——译者按），结果是大大地提高了画面的对比度。演示时从右面一台7210切换出来的信号，内容为《I ROBOT》的片段。7210看上去很不错，不过777的画面更加明亮、色彩更为丰富、立体感也更强，这种真实的效果只有在3片式DLP的投影机和QUALIA上才能看到。3片式DLP比单片式DLP的进步是巨大的，ANSI对比度提高，其他方面也得到提升，这可以和并排的7210立即比较出来。（这个我们也可以从我们后文对SIM C3X的评论中得到体现）

最棒的消息是777的价格降到了14995美刀，一举使777变成了市场上最不昂贵的720P3片DLP投影机，这有利于使777变得更有吸引力并得到更好的表现，最终这些举措将超越价格层次并使整个行业受到影响。

OPTUMA

OPTUMA没什么新闻，好消息是看来H31在今年早期被宣布停产后又要卷土重来。H31依然是目前市场上表现最好的480PDLP投影机，H79看上去也不错，并且还是OPTUMA的主打产品。

我们试图向OPTUMA询问H79工作高度的极限，但我们没得到明确的答案。有流传说H76/77/79在超过海拔5000英尺以上的地方工作时，会过热并且当机，从这个说法一出现我们就关注这个问题，后来我们到海拔超过6000英尺克罗拉多州的丹佛市和SPRINGS，这对我们很重要，（国家这么大，我想OPTUMA应该去考虑一下这个因素）我们拿了一部H79来测试，结果工作良好。OPTUMA告知我们，如果房间通风良好，投影机放置空间宽裕，空气也不是很热，那么H79就可以胜任在很高的海拔上工作。

我们同时被告知H77和H57即将停产，不过OPTUMA出这样的消息我们已经习惯了，没准什么时候这些产品又会重出江湖。Phoenix异曲同工，再一次宣布自己退出家庭影院市场。

我们真的喜欢OPTUMA的投影机，不过我们希望OPTUMA能更正规一些，不要总朝令夕改，这样才象个大公司。

（未完待续）

doudouluo

BENQ

同样没什么新闻，和往年硕大无朋的“BenQ compound” 展台相比，今年BENQ只占据了顶层的一小块场地。PE7700和 PE8720 同时展示，即没开机也没运转。他们没告诉我们为什么8720的上市时间一拖再拖，不过承诺5月上市，然后是6月，一直到9月之后，这次他们保证即将在10月份上市。

NEC

这是另一个什么也没有的展台，NEC展示了HT1100（依然是很不错的小型机器，价格也很不错），还有HT410和HT510，也就是“彩虹机器”，我们不能理解，为什么在HT1000和HT1100有着良好销售业绩的NEC会对HD2和2+不予理睬，转而用慢速2倍色轮（所以才会有彩虹）来生产两款低分辨率的机型。真不知道他们到底是什么想的。

NEC，请回来吧。

SIM2

我们另一个最爱就是SIM2的C3X，不过展会上我们没花太多时间来看SIM2。数周前SIM2特地给我们送来一部C3X进行评测，所以我们获得了很充裕的机会对C3X做全面的观赏和测试。

基于在我们位于SPRINGS这儿的演示厅里，对C3X超过2小时的测试，我们可以说C3X完全可以和任何一部3片DLP相媲美，不过C3X的外观更小巧讨喜。（777的外观也很漂亮）C3X的画面如此真实饱满，以至于你可能会忘记自己在看电影，而以为是透过一个屏幕来看真实的世界。我们观看的影片是《罪恶之城》，深沉的立体的画面把我们震飞了。（我讨厌这样形容，不过真的是这样）我们选择标准的ANSI测试样片，其中的一个场景是透过一个小船的窗户拍摄的强日光下画面，对比度很高，从这个画面来看，C3X要比H79和我们店里的7210要好很多。H79和7210在显示这个场景时，外面的阳光很灿烂，但窗内小船里的暗部却暗淡沉闷。而SIM2，把这个场景渲染的就象真实里的世界一样。

同样的测试一年前我们用777也做过，777飞一般的色彩也通过了严格的测试。在这个测试中对比度绝对重要，而正式在对比度方面，事实证明3片机要全面地超越单片系统。

和777相比，C3X分别有一个强项和弱点。当然C3X最大的优势是小巧——仅仅比SIM HT300E大不了多少，无论是从美学角度还是小型化的角度来说，C3X都不错，也更容易安装。说起弱点，我们还是觉得777的颜色表现的更为准确，除了外壳，我们更关注机器的GAMMA曲线，但C3X在显示黑暗画面时总是感觉到暗部有一点点噪音，尤其是在播放DVD影片时。尽管如此，其他方面良好的表现会遮盖这个问题，说到底，C3X依然是一部极度令人震撼的显示设备。

（未完待续）

Jam_H

拿板凳，坐下，慢慢听。顺带顶一下。

doudouluo

PANASONIC

PTAE900的展示活动是在周日下午两点钟，（1小时后他们就按规定收摊了）但我们还没到地方他们就已经收工了，遗憾呐！不过想象一下，PTAE900应该比AE700有明显的进步，要知道，AE700是我们中意的为数不多的LCD投影机之一。

JVC

JVC用3台HD2K DILA 投影机搭建了一个展示套装，并用其中的两台组成了一个立体演示系统。效果令人振奋——我们从没看过如此精彩的3D图象，就算IMAX的3D电影也没有这个好。与IMAX和其他3D系统不同，即使你抬头或者转头立体效果也不会消失。这个立体系统看来真的是受益于DILA技术，画面几乎完全没有DOOR EFFECT，真实的3D感使画面提供了十足的虚幻立体感觉。

另一个房间放了一台DILA对应120寸的屏幕，尽管流明数不高，但画面看起来还是十分明亮，图象干净立体感十足，完全没有SONY VW100的那些毛病，画面明亮鲜明，细节丰富，就和我们看到的所有的1080P的机器一样好。JVC并不一直通过可变晶膜来显示场景，所以画面的对比度并不如声称的那样出色。但JVC的对比度依然是所有市面上的DILA投影机里最好的。我们今年早期曾经看过HD2K的效果，不过我们弄不明白，为什么CEDIA现场的这个HD2K单机显示出来的深灰调（或者是浅黑色）看起来象被洗过一样。而今年早期我们看过的单HD2K和现在的这个双HD2K的3D系统，都可以投射出更为深沉的黑色。就此我们向他们咨询，得到的答复是现场的这台机器（的参数）已经被适当地调校，我们猜想可能是什么人用遥控把这个机器的亮度调的很高，但没人愿意再麻烦一次把它给调回来。一般说来，DILA是展会上最优秀的系统之一，这点已经被他们的3D双机系统所验证。3D系统投射出的黑色深沉丰富，虽然比不上DLP系统，也比不上SONY VW100在晶膜关闭状态下的黑色表现力，但依然非常优秀。如果JVC的人肯把遥控器给我们玩一会，我想我们能在那个单机系统上调校出更加深沉的黑色。

屏幕部分

STEWART

STEWART的2.35：1的电动幕和 Runco （和Vidkron’s）的全新影院版投影机的组合是展会上最酷的DEMO，电影画面被拉伸而充满整个2.35：1的银幕上，画面没有黑边，超越我们的想象。演示片段来自电影《勇闯夺命岛》和《超人特攻队》，令人吃惊的是宽银幕效果使人更加投入到电影本身，这个思路和STEWART其他的幕布产品一样，就是屏幕的基本长宽比不是4：3，也不是16：9而是2.35：1，这个长宽比和大多数好莱坞的大制作影片（比如星战、夺宝奇兵还有阿拉伯的劳伦斯等）是一致的。这样一来，当你在2.35：1，16：9还有4：3之间来回切换时高度一直保持不变，改变的是画面的宽度。另一个亮点是这个屏幕稍微带一点点弧度，有点象老式的电影院那种，这样做的好处是可以改善视角，扩大可视范围，并且可以补偿镜头调整而带来的枕形失真，非常醒目。

我们一直询问STEWART是否会开发黑幕，类似与SONY的黑幕和DNP的 Mirage，答案是“YES！”STEWART就此已经研究了数年，不过在未达到STEWART自身的要求时，他们不会把产品公布。STEWART的人对其他品牌的黑幕产品不太满意，称这样的效果不能符合STEWART的标准，他们还说，当我们做好的时候，你们一定会看到相关的产品。

虽然如此，STEWART声称黑幕（即使是STEWART自己生产的黑幕也）并不适合挑剔的家庭影院系统应用，黑幕仅仅是在极端光亮环境下的解决方案。

幕布的创新/DNP

DNP的全新黑幕被认为是唯一的真正意义上的“幕布的革新者”——“Mirage”。（中文的意思为海市蜃楼——译者按）该产品的样品摆放在“幕布革新者”的展示厅内，这款幕布在抑制环境光方面的表现实在令人难忘，黑幕的右边就放着一块白幕作为对比，显示效果看上去有天壤之别。Mirage在抑制环境光方面的能力令人惊奇，看上去就象一块白幕在全黑的房间里的表现一样。请注意，这有是我的个人感受，毕竟我们没法把这个Mirage搬到体育场的探照灯下去测验，不过，你们在网上看到的（DNP黑幕的）效果图是真的，实际的表现是一样的。

但是，这种材料有明显的热点效应（或者叫太阳效应），在展会现场的条件下很难对此做一个真实的评价，但很明显地当你移动头部是亮区就会跟着移动，总是在你视野的中心位置，这显示出距离你双眼距离最短的地方的亮度要大大高于屏幕其他地方的亮度。当然，需要注意的是，这仅仅是在一个并不理想的演示环境下并且DEMO很短的效果。

最后一点，一个我们非常尊敬的屏幕方面的技术专家告诉我们，通过对DNP和SONY的屏幕的测试他们得到了两个结论：1，DNP屏幕在颜色还原和工艺上要优于SONY，2，两种黑幕产品都不适合与苛刻的家庭影院应用，只有在环境光过分明亮并且无法控制时，他才会向客户推荐这种产品。

原文：JOHN SCHUERMANN/BRAD WAITE

（全文完）

[ 本帖最后由 doudouluo 于 2005-9-17 19:13 编辑 ]

HI-VI

看来FULL HD才是正途！

冬日煦阳

好文，译得也好

bigking

都和芯片较劲阿〉。。

stefen

高手,强就一个字.
看来我得好好学英文咯

拿板凳，坐下，慢慢听。顺带顶一下