Color temperature (Movie Mode/Warm Color Temperature before/after calibration):
20 IRE: 7,596 / 6,513 K
30 IRE: 7,145 / 6,483 K
40 IRE: 6,914 / 6,363 K
50 IRE: 7,166 / 6,461 K
60 IRE: 7,121 / 6,527 K
70 IRE: 7,189 / 6,463 K
80 IRE: 7,218 / 6,478 K
90 IRE: 7,180 / 6,465 K
100 IRE: 7,169 / 6,908 K
Brightness (100-IRE window, before/after): 133 / 113 ftL
Primary Color Point Accuracy vs. SMPTE HD Standard
|Color||Target X||Measured X||Target Y||Measured Y|
With the 52LEDLP's Movie and Warm color-temperature presets selected, grayscale tracked very tightly across the brightness scale but mostly centered between 7,100 and 7,200 degrees kelvin, well to the blue side of the neutral 6,500-K standard. Individual user menu adjustments for red, green, and blue brought it to within ±140 K from 20 to 90 IRE, though a slight lean toward red at 40 IRE could not be eliminated (only shifted), and re-centering the grayscale around 6,500 K across most of the brightness range introduced a leap toward blue in the full-on 100 IRE window. Still, it remained below 7,000 K, and discounting the minor anomaly at 40 IRE the set tracked just ±66 K from 20 to 90 IRE.
Post-calibration 100-IRE brightness of 113 foot-lamberts, which I arrived at using test patterns followed by subjective viewing of program material, was notably high. Although I lean toward a punchy image generally, this level of light output from a rear projector in a dimly-lit room would normally have me running to clamp down the contrast control. I can only conjecture that the lack of eye fatigue may be attributable in some way to the evenness of the red-green-blue LED light source vs. a traditional white lamp or was perhaps a function of the Nuvision's exceptionally tame reds (see below). But I'm really shooting in the dark here (so to speak).
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