Yamaha DPX-1100 User Manual download pdf (Page 6)

there was only one (720p) pixel of outlining

around vertical lines for 1080i signals, but

there were about 5 pixels of moderately

bright outlining for 480i and 480p signals.

Either the scaling or anti-alias filtering

completely removed the single-pixel lines in

the top burst of the 1080i multiburst pattern.

Those lines (1920 pixels per picture-width)

a r e beyond the resolution of a 720p pro j e c t o r.

For 1080i signals, there were about two

pixels of overscan on the left and right

sides of the frame. There was about 1 per-

cent overscan on the left and right sides of

480i and 480p frames, and less than 0.5

percent overscan at the top or bottom.

The 4-band Sharpness control adds sig-

nificant edge outlining to vertical lines, but it

has no effect on horizontal lines. I didn’t see

any need to use the Sharpness control on

HDTV or good quality DVDs, but it may be a

useful tradeoff with some lower resolution

broadcast video.

The S-video chroma bandwidth is excel-

lent. Avia PRO’s polyphasic chroma sweeps

show good response to about 1.6 MHz.

Deinterlacing

The DPX-1100 uses Faroudja deinterlac-

ing technology, which includes inverse-

telecine (film-mode) processing for standard -

definition movies, and DCDi

™

(Directional

Correlational Deinterlacing) deinterlacing for

standard-definition original interlaced video.

Inverse-telecine deinterlacing is an ideal

p rocess for art i f a c t - f ree deinterlacing of film-

source video, as long as the video proces-

sor can lock onto the 2-3 field pulldown

cadence that results from transferring 24

frame-per-second film to 60 field-per-sec-

ond interlaced video. It then merges the

video fields that originated from the same

film frames. That eliminates interlaced line

twitter and avoids interpolation that would

soften the image. The inverse-telecine pro-

cessing worked without producing notice-

able deinterlacing artifacts on the DVD

movies that I viewed. It was able to quickly

lock onto the 2-3 pulldown cadence, even

when jumping between chapters of a DVD.

There are two standard-definition dein-

terlacing modes—Auto and Video. In the

Auto mode, the projector automatically

switches between inverse-telecine deinter-

lacing for film sources and DCDi motion-

adaptive deinterlacing for original inter-

laced-video sources. The automatic switch-

ing worked seamlessly without any glitches

or combing artifacts on the Video Essentials

“Montage Of Images,” which cuts back and

forth between segments transferred from

film and original interlaced video.

It is much more difficult to deinterlace

original interlaced video sources than it is to

deinterlace video from film sources. There

are no ideal methods for video source dein-

terlacing, and regardless of the technique

there are always tradeoffs between line twit-

ter, jaggies (static or moving stair-steps on

edges), and a loss of picture resolution.

DCDi is a motion-adaptive deinterlacing

process that also uses directional interpola-

tion to reduce jaggies along edges.

The video segments of the Video

Essentials “Montage Of Images” provide

excellent sequences for evaluating deinter-

lacing. Unlike many deinterlacers, the DCDi

processing completely eliminates jaggies

on the bobbing frozen branch and the

stripes of the rippling American flag. There

was almost no color bleed between the red

and white stripes, which I have seen on

other projectors with DCDi processing.

DCDi deinterlacing is also the best that I

have seen in reducing jaggies on the over-

head lamp supports in the scene driving

under the overpass. But there is more line

twitter during vertical movement over hori-

zontal edges during the zoom out of the city

and in the train yard than is exhibited by

some other motion-adaptive deinterlacing

processes.

DVD

I supplied the DPX-1100 with 480i YPbPr

analog signals from my reference DVD play-

er so that I could evaluate the projector’s

analog-to-digital conversion, internal dein-

terlacing, and scaling. I also obtained

excellent results with the 720p DVI output of

a V. Inc. Bravo D-2 DVD player, but I pre-

ferred the inverse-telecine deinterlacing in

the DPX-1100.

The physical similarity between the DPX-

1100 and the DPX-1000 might suggest that

there has only been an incremental

improvement in performance. Nothing could

be further from the truth. The new HD2+

DLP engine and seven-segment color

wheel, refined gamma curves, and better

scaling have profoundly improved the pic-

ture quality, even though the DPX-1000 was

an excellent projector.

The DPX-1100 has more than twice the

on-off contrast ratio of its predecessor. It

produces a much darker black level, virtual-

ly eliminating one of the few remaining

advantages of CRT front projectors. Many

films have scenes shot at night or in dimly lit

interiors. The haziness that remained over

those scenes has been vanquished. They

are no longer veiled and now look excep-

tional on the DPX-1100. The balcony meet-

ing in The Italian Job (2003) is a fine exam-

ple. It’s rendered with vivid colors against a

pitch-black sky, with clear detail in the

shadows, and the actors have natural flesh

tones. Similarly, there are many dark interior

scenes in The Thomas Crown Affair (1999)

where the realism is greatly enhanced by

the ability to discern additional detail, while

maintaining the intended brightness.

There is no film too dark for the DPX-

1100. Even the shadowy world of Dark City,

the ultimate challenge for contrast and

black level performance, looks magnificent

with vivid color and exceptional image

depth in its darkest scenes. What were

merely pleasing or satisfying pictures with

an HD2 DLP projector are now dynamic

and vibrant images.

Dithering isn’t an issue in dark scenes.

Standing at the screen, I could see traces

of dithering noise on the 1-10 IRE luma pat-

terns from the AccuPel generator, but it

wasn’t noticeable from a normal viewing

distance.

The improved gamma curves have elimi-

nated the luma compression that was evi-

dent in the brightest picture areas with the

DPX-1000. But there is now slight contour-

ing (discrete brightness steps around bright

objects) around the swinging overhead light

and the wall lamps near the beginning of

Dark City.

Deinterlacing and scaling are nearly

flawless with no visible edge outlining added

to pristine film transfers. Clarity and image

definition are excellent throughout The Fifth

Element and LeeLoo’s leap from the ledge

appears exceptionally three-dimensional.

I believe accurate color is essential for

home theatre. Once you experience images

with the correct colorimetry, it becomes

addictive. The only current way to have

standard colorimetry for both standard-defi-

nition and high-definition video is through

an electronic color management system,

which is becoming a popular feature in

fixed-pixel projectors. When the DPX-1100

Color Adjustment system is set up with the

Rec. 601 colorimetry, the DVD color accura-

cy is superb.

Color accuracy is the key to producing

brilliant, vivid color while maintaining natural

flesh tones. One of the better DVD exam-

ples is Austin Powers: The Spy Who

Shagged Me. On accurate projectors the

flesh tones will remain natural, even though

other colors are brilliant and deeply saturat-

ed. That’s the case when the DPX-1100 is

set to the Rec. 601 colorimetry. But when

set to the default WRGB mode (Rec. 709

standard) the flesh tones become slightly

too red. When switched to the “Standard”

mode, which uses the native primaries, the

skin tones are significantly oversaturated.

Fortunately, the Color Adjustment process-

ing doesn’t exacerbate existing MPEG arti-

facts or add noise to the picture. Austin’s

blue jacket in the London street scene

equipmentReview

www.WidescreenReview.com • Issue 88 • September 2004

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