3/18/2023 0 Comments Projector centralDetail provides the dimmest image for the darkest titles and Bright is for the hottest titles or for adding the most punch to bright highlights in HDR titles with average brightness. The HDR Brightness control, which is easily accessible by pressing and holding the Menu button to call up a small slide-out menu, can be set to Detail, Film, Standard, or Bright. The HDR mode looked excellent out of the box, minus a bit of oversaturation of caucasian faces on most content that was tamed with a few clicks down on the Color control, plus the usual content-dependent tuning of Brightness (black level), Contrast (peak white), and the four-position HDR Brightness setting. As measured in the dark, it punched out 20.1 ft-Loff my 0.6 gain, 100-incher (about 33 ft-Lon a 1.0 gain screen). It too, calibrated up nicely and delivered a great-looking image for moderate to high ambient light. Measurements showed a bluer/cooler color temperature for white-not surprising for its higher brightness-and the same blue color point that needed correction. The Cinema mode defaults looked fine for bright room viewing where both contrast and color accuracy are less mission-critical. With final settings I measured 16.1 foot-Lamberts off my 100-inch, 0.6 gain screen, which would translate to about 27 ft-Lon a same size 1.0 gain screen. Still, this mode calibrated well in the end and ultimately delivered a very neutral white and excellent color accuracy. Nonetheless, images took on an unexpected modest blue tint that proved to be the result of a well-oversatured and off-hue blue primary. Out of the box, the Reference mode measured close to the industry-standard D65 color point but leaned a little red on its grayscale. I performed measurements on the P2 using Calman software from Portrait Displays, an Xrite i1Pro2 spectrophotometer, and a Murideo Six-G 4K/HDR signal generator. I ended up using Reference and Cinema as my dark- and bright-room SDR modes, adjusting the Brightness (black level) and Color saturation controls as needed to insure the best contrast and skin tones. Cinema mode produced noticeably higher brightness for ambient light viewing with a modest sacrifice in color accuracy, and Game mode provided even more punch for high brightness but with much more saturated color and bluer whites that would be well-suited to games and animation but wiped out fine differences in caucasian skin tones in its default settings. Reference was the most color accurate but least bright mode out of the box, making it most suitable for serious dark-room movie viewing, even on my 100-inch 0.6 gain USTALR screen. There's also a laser brightness setting that can be adjusted from the default 100% Brightness setting down to 50% brightness in 5% increments, or switched into any of three graduated DynamicBlack settings that deepen the blacks on dark content.Īlthough side-by-side comparisons of like-named modes on the P1 and P2 revealed differences in the each projector's tuning, my pecking order remained the same as with the P1. All the modes provide the same access to picture tuning controls that include both RGB Gain/Bias for grayscale and a full RGBCMY color management system to align the color points. There are dedicated modes that activate for HDR10 or HLG high dynamic range content and for 3D. The Bright mode comes with the usual green bias that makes it unsuitable for most serious viewing, though the tint was modest enough that it might be helpful for casual daytime viewing in bright rooms with lots of windows. The P2 offers similar color modes as the P1, beginning with six for 1080p/SDR (standard dynamic range) content: Cinema (the out of box default), HDR Sim (for simulating an HDR effect with SDR), Game, Reference, Bright, and User (which starts out mimicking the Cinema mode). Ineffective Aptoide-based web-streaming platform PerformanceĬolor modes and Calibration. + Solid on-board audio system compatible with outboard subwoofer
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