Runco LS-5 Series Instrukcja Użytkownika Pobierz pdf (Strona 5)

2.1 on the 2.2 setting. Since I was testing in my pitch black theatre (yes, I wore a black T-shirt

and draped blackout material over the equipment rack), I was looking for 2.5. Having to live

with a real 2.4 was no big deal and if I couldn't stand it, the CalMAN s/w would have allowed

me to quickly craft a 2.5 gamma. As I have said before, I would normally front-end most any

display device with an outboard video processor now that they are affordable and do so much,

but with the LS-5, they would be a bit harder to justify. Runco has always had an edge up on the

competition with its VIVix image processing and its present here in the onboard incarnation.

Truth is, additional outboard video processing is unnecessary for all but the pickiest videophiles.

COLOR ACCURACY

To measure color accuracy, you first have to measure gamut. Are the primary and secondary

color points where they are supposed to be, relative to some standard? The LS-5 offers you the

choice of four selections, plus "auto", which will read a flag in the incoming signal and select the

proper color space. The four that can be forced are Rec709, the standard for HDTV and BD,

SMPTE-C (SD), EBU, a European standard and Native, the largest color space available by

design. The measured primary and secondary color points relative to Rec709 were scary close to

perfect in both saturation and luminance. In fact, I would say the deltas were in the range of

measurement error. As mentioned earlier, I usually employ outboard video processors in all my

installations for two reasons. First to have a multi-point gray scale adjustment so I can "tame"

any technology (LCDs are particularly problematic), but more recently as a defense against the

wildly oversaturated color gamuts many manufacturers default to out-of-the-box. "We give you

130% more colors". Well, we don't want that extra 30%, thank you, because they won't match

anything the cinematographer had in mind. Kudos again to Runco engineers for showing some

restraint and not making us drag colors all over the CIE chart in order to give the client a quality

image.

Finally, some projectors get "tricked" into going to the wrong color space when fed an

upconverted SD image from a standard DVD. In the "Auto" color space, the LS-5 does not make

that mistake.

MOTION ARTIFACTS

While there are several flavors of motion artifacts, clearly the most pesky are edge adaptive and

sequence adaptive de-interlacing artifacts. I use lots of different patterns from a variety of test

discs when calibrating, but some of the best "tortures" for evaluating motion artifacts can be

found on the Spears and Munsil disc. Many of these patterns appear on the ABT (Anchor Bay

Technologies) test disc as well, albeit in SD. I threw all that Stacy Spears and Don Munsil had at

the LS-5 and with the exception of a few odd pull-down cadences, if the LS-5 stumbled, I didn't

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32 VLE 7421 BL	Guía de usuario Grundig 32 VLE 7421 BL 32" Full HD Smart TV Wi-Fi Black, 97 paginas
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48 VLE 5520 BG	Guía de instalación Grundig 48 VLE 5520 BG 48" Full HD Black LED TV, 60 paginas
42 VLE 9480 BL	Guía de instalación Grundig 42 VLE 9480 BL 42" Full HD 3D compatibility Smart TV Wi-Fi Black, 93 paginas
55 VLE 9474 WL	Guía de instalación Grundig 55 VLE 9474 WL 55" Full HD 3D compatibility Smart TV Wi-Fi White, 95 paginas

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