Color temperature (Pro2 mode, Warm color temperature before/after calibration):
20 IRE: 9,891/7,349 K
30 IRE: 9,279/6,505 K
40 IRE: 8,926/6,478 K
50 IRE: 8,966/6,495 K
60 IRE: 9,044/6,511 K
70 IRE: 9,027/6,531 K
80 IRE: 9,044/6,546 K
90 IRE: 8,980/6,598 K
100 IRE: 9,200/6,697 K
Brightness (100-IRE window before/after calibration): 27.5/31.0 ftL
The Toshiba 47LZ196's Pro2 and Movie modes measured closest to the standard grayscale target of 6,500 degrees kelvin but were still unacceptably blue. Service menu tweaks brought the Pro2 mode to within ±197 K from 30 to 100 IRE and ±50 K from 30 to 80 IRE, which is excellent performance. Brightness in this mode was a fairly low 27.5 foot-lamberts before calibration and 31.0 ftL after; users may want to use a different, brighter preset (Sports or Standard) when ambient light is strong.
Color decoding error initially measured +20% red and +7% green, but I was able to zero these out by adjusting the Color Palette controls. Accuracy of red, green, and blue primary color points was very good.
Our 1080i and 720p test patterns were fully resolved via HDMI but slightly soft in the finest lines via component video. Overscan measured 0% in the pixel-for-pixel Native picture mode, 2.5% on the Natural default mode.
Screen uniformity on full-field gray patterns was less than perfect in our sample, with patterns from 30 to 50 IRE appearing slightly darker in the middle than on the sides. This effect was exaggerated somewhat when the TV's contrast or backlight controls were set higher, as they might be in high ambient light. It was also detectable on program material, albeit infrequently.
The Toshiba barely passed the "jaggies" tests on the Silicon Optix HQV disc when fed a 480i signal from our reference DVD player, though it was impressive on the disc's detail and the noise tests. On the downside, when fed poor quality 480i signals from our cable box, the set's two noise reduction circuits failed to improve the picture notably; the MPEG NR option cleaned up a bit of graininess at its middle and high settings, but at the noticeable expense of detail, while the DNR option seemed to have no effect. The 47LZ196 had no trouble with 2:3 pulldown when its FILM cinema mode was activated.
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