Marantz VP-12S3 Especificações descarregar pdf (Página 7)

the DVI input, can improve the apparent

picture definition if used judiciously.

However, it is crucial to use a DVD player

that has minimal edge outlining on its 480i

analog output. It may also be necessary to

use the analog YPbPr input if the movie

contains extremely saturated red colors,

because the DVI input does not include a

Color saturation control.

HDTV

I used the DVI and analog RGB outputs

of a Samsung SIR-T165 HDTV Receiver to

feed high-definition broadcast video to the

projector. The IEEE 1394 (i.Link

®

/FireWire

®

)

output of a JVC HM-DH40000 D-VHS

®

D-

Theater

™

VCR was also connected to the

Samsung, which provided an entirely digital

video path for high-definition D-Theater

movies.

My favorite D-Theater film transfer con-

tinues to be X-Men. Its exceptionally sharp

edges and fine detail present a difficult

challenge for 720p-native projectors. The

VP-12S3L rendered X-Men with more defini-

tion than any DVD movie, but the image

appeared slightly softened by the 1080i to

720p cross-conversion, and jaggies ran

along diagonal edges during camera pans.

The horizontal slats of a park bench also

exhibited line twitter during vertical camera

movement. I hope manufacturers will make

it a top priority to incorporate inverse-

telecine deinterlacing for 1080i film sources

in the next generation of DLP projectors.

NBC’s The Tonight Show With Jay Leno

continues to produce some of the finest

HDTV images, and it looked striking on the

Marantz projector. The cityscape backdrop

was particularly impressive with its vivid col-

ors and fine structure. The depth-of-field of

the high-definition studio cameras maintain

splendid focus, and the projector’s scaling

produces very little edge outlining. But

there is no motion adaptive deinterlacing for

1080i video, which somewhat softens the

picture. The 1080i DVI signals produced

slightly better definition than the analog

RGB signals.

I was particularly impressed by the color

accuracy and the brilliance of color detail

on network broadcasts and D-Theater

movies. However, a few HDTV broadcasts

pushed red saturation to the limit. Although

I never found it seriously objectionable, it

would have been desirable to make a small

reduction in color saturation on some pro-

grams, which is not possible with the DVI or

analog RGB inputs.

In the F5.0 Low Lamp mode, with a peak

brightness of 13.4 fL, there was virtually no

visible pixelization or spurious digital noise

other than a small amount of dithering on

the very darkest signals, which was virtually

invisible from a normal viewing distance.

Summary

The Marantz VP-12S3L is a third-genera-

tion 720p DLP projector. It features Texas

Instruments’ newest HD2+ DLP technology,

which provides a dramatic improvement in

black level and contrast ratio compared to

previous generation DLP and LCD projec-

tors. It also includes a unique gray scale

auto calibration system to maintain consis-

tent color accuracy. Faroudja deinterlacing,

excellent scaling, and a superior Minolta

long throw lens produce pristine image clar-

ity for DVD movies from 480i YPbPr

sources. The HDCP-equipped DVI digital

video input is preferred for 480p and HDTV

sources. ■■

Equipment

Review

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