Sony VPL-VW1000ES Projector – Performance 2

Color Temp over IRE Range (Best Mode, Pre calibration)

VPL-VW1000ES Dynamic Iris

Sony VPL-VW1000ES Projector - Post Calibration

3D Brightness of the VPL-VW1000ES

This Sony with its roughly 1200 lumens (you can probably find an extra 200+ lumens by sacrificing picture quality) can do a nice job on 3D content with screen sizes around 100″ diagonal.  I was very comfortable with that size 3D image on a number of 3D movies.  As one of my screens is a StudioTek 130 (Stewart Filmscreen), with a 2.35:1 aspect ratio, I had the opportunity to fill it with some movies that are 2.35:1 in 3D, at the full 124″ diagonal. Overall, I felt the image was definitely a bit less bright than I actually would have liked to call reasonably bright..

Mind you, I’m big on having a good bit of 3D brightness.  This evening, about 3 hours before I am writing this, I was in a local IMAX 3D theater (Regal), watching Men In Black 3.  No question about it:  3D at the 124″ diagonal size at my house with this Sony may be a touch less bright than I like, but no question about it, this setup in my theater is significantly brighter than the image at the IMAX theater.  I guess, I should stop complaining. I’d say that the brightness difference between my viewing at 100″ and at 124″ diagonals is a smaller difference than from viewing in my room at 124″ compared to the IMAX.

From our calibrator:  Mike’s NOTES:  This is probably the first projector I’ve seen where the brightest mode was arguably also the best mode.  Reference mode, which puts out over 1200 lumens, has a decent RGB balance.  By contrast, the dimmest mode (Cinema Film 2) is only 330 lumens and has terrible RGB balance, with an overabundance of green.  Reference mode calibrated quite well, with an average Delta E of 1.2, rising above 3 only at 100 IRE. 

As usual, Sony provides a range of color spaces that tend to make using a CMS unnecessary.  BT.709 is just about right on the Rec. 709 standard.  Color Space 1, 2 and 3 expand the gamut to varying degrees, with Wide 3 being the largest gamut of the three.  There is also an even wider DCI color space, which is designed to conform to the new DCI standard.

The Calibration page provides the settings we used. That includes basic settings as well as gain and offset.