Planar PD8150

DLP FullHD projector planar PD8150




Product Information

Signal Compatibility
Video Support:HDMI and DVI with HDCP for digital video, Component and RGB HDTV (1080p, 1080i, 720p), Component and RGB EDTV (576p, 480p), Component, Composite and S-Video SDTV (576i, 480i), RGB SCART with adapter, NTSC/NTSC 4.43, PAL (B,G)/(D,K)/I/M/N, SECAM Computer Supportigital and Analog up to 1920x1080 @ 60Hz, Macintosh® Communication:RS-232 (discrete commands and SW upgrades), IR remote, on-board keypad

Connectivity
(2) HDMI V1.3 with HDCP:HDTV RGB and Component, EDTV, SDTV, HDMI (High Definition Multimedia Interface) with HDCP (High Bandwidth Digital Content Protection), DVI via adapter (1) Component (3 x RCA, gold):HDTV, EDTV, SDTV, SCART RGBS: RGBS via component and composite inputs (adapter not included) (1) Component (3 x BNC, 75 ohm):HDTV, EDTV, SDTV (1) RGB (HD15):HDTV, RGBHV, YUV, EDTV (1) S-Video (4-pin mini-DIN):SDTV (1) Composite (RCA, gold):SDTV (2) 3.5mm mini jack:12V (+/-1.5V) screen trigger (250mA) (1) 9 pin D-subRS-232 for discrete control and SW upgrades (1) 3.5mm mini jackIR input for Niles/Xantech compatible IR repeater systems





Performance
Microdisplay:Texas Instruments DLP® 1080p DMD Native Resolution:Full HD, 1920 x 1080 (2,073,600 pixels) Aspect Ratios:Native (Pixel-to-Pixel), 16:9, Letterbox, 4:3, 4:3 narrow, Letterbox (Anamorphic lens compatible) Projection Lens:All glass, F/2.5~2.71, f = 39.1~50.1mm, 1.3x manual zoom, made in Japan Throw Ratios (2 lens options):1.85 – 2.40 (distance/width) – Standard lens
1.56 – 1.86 (distance/width) – Optional short throw lens Lens Shift (optical):-50% to +120% (vertical, ceiling mounted, % half height) Video Lumens:1,000 ANSI lumens (max) calibrated at D65 Contrast Ratio:15,000:1 typical (sequential with DynamicBlack on) Cooling Performance:High efficiency adaptive voltage side-to-side cooling with low system acoustic noise level and low light pollution cabinet Projection Modes:Front, Rear, Ceiling (front/rear) Lamp:User replaceable 180/230W HPM (selectable), 4000 hour lifetime* Video Processinglanar customized Gennum GF9450 with 10 bit independent dual channel image processing, true 1080i deinterlacing, MPEG artifact reduction (block and mosquito noise), latest motion adaptive processing, 3D noise reduction, detail enhancement, rich color processing and noise reduction, less than one frame latency. Calibration:Full RGB gain/offset control (White Balance), Gamma, Contrast, Color Temperature, Brightness



General
Dimensions:20.6" (523mm) L x 17.7" (450mm) W x 7.6" (194mm) H Weight:22 lb (10 kg) Operating Temperature:50° F (10° C) - 104° F (40° C) Operating Altitude:Sea Level - 7,500 Ft (2,300m), 95° F (35° C) up to 10,000 Ft Operating Humidity:0% - 85% non-condensing Universal Power Supply:100V - 240V at 50-60Hz (auto-ranging), true soft power Regulatory:FCC Part 15 Class B, CE Class B, UL, cUL, CB, RoHS, WEEE, local conformances as required Menu Languages:English, French, Italian, German, Spanish, Swedish, Traditional Chinese, Simplified Chinese, Japanese, Korean, Portuguese, Russian


http://www.planarhometheater.com/pd8150/












?

http://www.cine4home.de/Specials/Planar8150/PlanarFullHd.htm

http://www.avsforum.com/avs-vb/showthread.php?t=1009361



PD8150 features

Here are some of the features we offer in the new platform:

• Stunning piano-black ID with metal-flake and multiple layers of clear coat
• Oversized optics for superior image uniformity and clarity
• Super low noise and light pollution cabinet design
• limits stray light output to less than 50% of the brightness of projected black
• Built-in sound dampeners
• Shock mounted components
• Angled side vent louvers to direct ventilation away from customers
• Oversized fans for lowest noise level possible
• Sleeve bearing color wheel for long life and silent operation and zero pure tones
• Sixteen HD video timings; eight for1080p including 1080p 24Hz
• Six position full HD PIP & PBP
• Automatic ceiling mode detection
• NegitivePulse lamp technology for increased color bit depth
• Resize modes for 2.35:1 anamorphic lens use
• Two selectable IR codes built-in, plus ability to disable IR
• I/O panel illumination LED activated via remote
• ISF day and night calibration memory settings
• Ten individual sharpness controls
• NightVision red backlighting on remote control
• Lens shift controls under top mounted trap door
• Threaded focus ring for adding Neutral Density filter
• 12v trigger(s) that can be assigned to six separate functions -
• Lamp on/off, 4 resize modes and RS-232
• Four individual noise reduction controls
• Calibrated to D65 standards out-of-the-box
• Selectable DLP frame rate control – Auto, 48Hz, 50Hz, 60Hz
• DynamicBlack™ for superior frame-by-frame black level adjustment
• Adaptive contrast using electronic contrast enhancement
• BrilliantColor™ for increased color brightness
• Two lamp wattage choices - 4000 hour life and 2000 hour life
• Auto-power on mode when AC is detected - Wall switch compatible
• Five programmable source selection keys
• Three programmable image memory selection keys
• Eleven Built-in test patterns
• Blue-only mode for calibration
• Four level translucent menu
• Lamp can be replaced while projector is ceiling mounted
• Field upgradable software
• Intelligent service menu for advanced troubleshooting
• Serial number visible while ceiling mounted and via OSD
• Sealed optical system and no filters necessary
• Beveled cable cover for easy table-top demonstrations and a super-clean installation
• Centered lens for uniform look and easier installations
• Five position OSD, with 12 supported languages

__________________
Brian Carskadon
Director of Product Management
Planar Systems, Home Theater Business Unit
Brands: Runco, Vidikron, Planar





The short throw lens will be an additional charge. Should be around $800, and it will work on both the PD8150 and the PD8130.

As for the DLP frame rate control, here is the explanation of each mode:

“Auto” will frame lock to the main source if it has a vertical refresh from 48-62Hz. 24-31Hz sources will have their vertical refresh rates doubled. Frame rates between 31 and 48Hz and above 62Hz will be converted to 60Hz. This is the default setting.
“48Hz” will force the output frame rate to 48Hz. For 60Hz film-based sources this will remove the 2:3 pull-down judder.
“50Hz” will force the output frame rate to 50Hz.
“60Hz” will force the output frame rate to 60Hz.

So if you leave it in Auto, then it will be as you state.


We support the following 1080p timings:


1080p 23.98
1080p 24
1080p 25
1080p 29.97
1080p 30
1080p 50
1080p 59.94
1080p 60 __________________
Brian Carskadon
Director of Product Management
Planar Systems, Home Theater Business Unit
Brands: Runco, Vidikron, Planar


The PD8130 has 100% - 120% (% of the 1/2 height), and this is conservative. The PD8150 is -50% to +120% (V), and +/-15% (H).

__________________
Brian Carskadon
Director of Product Management
Planar Systems, Home Theater Business Unit
Brands: Runco, Vidikron, Planar

Απο το μανουαλ....


SERVICE LABOR:
Planar will pay for service labor by a Planar Authorized Service Center when needed as a result of manufacturing defect for a period of two (2) years from the effective date of delivery to the end user (excluding the lamp).
PARTS (not including the lamp):
Planar will provide new or rebuilt replacement parts for the parts that fail due to defects in materials or workmanship for a period of two (2) years from the effective date of delivery to the end user. Such replacement parts are then subsequently warranted for the remaining portion (if any) of the original warranty period.
PROJECTOR LAMP:
Planar will pay for service labor by a Planar Authorized Service Center when needed as a result of a manufacturing defect for a period of six (6) months or 1000 hours, whichever comes first, from the effective date of delivery to the end user. In addition, Planar will provide a new or rebuilt replacement lamp for the lamp that fails due to defects in materials or workmanship for a period of six (6) months or 1000 hours, whichever comes first, from the effective date of delivery to the end user. Such replacement lamps are then subsequently warranted for the remaining portion (if any) of the original warranty period

Browser said:

O PD8150 που ειδα προσφατα με εντυπωσιασε.
Παρα πολυ καλη κατασκευη και τρομερη εικονα. Πολυ καλο κοντραστ με πολυ φως. Παρα πολυ καλο μαυρο, παρα το dc3 dmd που φοραει.
Πολλες ρυθμισεις/εργαλεια στα χερια του χρηστη. Επισης εχει και τα "καλουδια" περι sharpness και mosquito που εχουμε δει στο λουματζεν. Το αποτελεσμα φανταστικο !!!
Για οσους ειχαν παρεβρεθει στην παρουσιαση του λουματζεν που ειχαμε δει το τι κανουν αυτα τα ρυθμιστικα sharpness στον HD1, φανταστειτε τι κανουν σε ενα dlp προβολεα με φακο ξυραφι :blink:.

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...

Ακομα Τακη δεν ψαχνομαι. Δεν ειναι η ωρα!

Το μονο που μπορω να σου πω ειναι οτι σιγουρα θα ειναι dlp και ΔΕΝ θα χρειαστω τελικα το "δανειο" που λεγαμε :jester:

Kαι μια ενδιαφερουσα συγκριση ....

Planar PD8150 vs JVC RS1

http://www.avsforum.com/avs-vb/showthread.php?t=1021554

Δεν ξερω σαν τι μοιαζει, παντως απο αυτα που διαβαζω ,θεωρω οτι μιλαμε για καινοτομο dlp. Εφαρμοζει πολλα καινουργια "κολπα" το μηχανημα ...:worshippy:

Θεωρω πολυ χρησιμο να μεταφερω καποια επεξηγηματικα ποστ απο το avsforum, ενος απο τους μηχανικους που συμμετειχαν στην μελετη και την κατασκευη του συγκεκριμενου μηχανηματος. Περιγραφει διαφορες λειτουργειες του μηχανηματος καθως και καποιες ισως οδηγιες/συμβουλες/σχολια επι γενικου......

Bob Williams said:

.......................

Here is a summary of the DynamicBlack process in the PD8150 and PD8130.

When turned on, full field contrast levels are boosted approximately 3x. To do this, 3 steps occur for every frame of content:

1. The image is analyzed for brightness content
2. If the image does not use the full range of brightness, the range will be expanded to fit the range of the DMD. This is similar to an auto leveling function of photo editors like Photoshop.
3. An aperture is closed to one of more than 200 possible positions so that the peak brightness matches the original (pre-expanded) image. This means that even though light is being blocked by the aperture, the apparent brightness of the image does not appear to change.

Because the entire brightness range of the DMD is used during dark scenes, DynamicBlack can add up to 1.6 additional bits to the image. This reduces dithering artifacts substantially so the clarity of the image is maintained even in dark areas.

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Bob Williams said:

Negative pulsing is part of the lamp subsystem and is part of the lamp power waveform which is synchronized to the color wheel. By "waveform", I am simply referring to the fact that the power to the lamp varies with time, and there are 3 major parts to this.

1. The brightness of the lamp changes depending on which color segment is currently in front of it. This is sometimes called "variable plateau" because when you look at a graph of this over time it looks like stair steps. What this means to the projector is that we can now separate the color saturation from the white point and give you very close to a true REC709 color gamut and a true D65 white point without reducing brightness or contrast through a color correction algorithm. We do still color calibrate every projector on the production line to remove the last tolerances from the system, but when that's done you only lose 0-5% of the brightness and contrast.

2. "Negative Pulse". The lamp brightness is dropped to 50% twice during each color wheel revolution. During this time the DMD is processing only that part of the image which is below 50% brightness. The DMD is gained up 200% to take advantage of the full brightness range and processes the image at its full bit depth capabilities. Using this process, 1 additional bit is added to the image, reducing dithering in dark areas by 50%. This in essence adds two dark segments to the color wheel, and actually works better than what's typically done with ND color wheels.

3. "Maintenance Pulse". Twice per revolution a small pulse is added to stabilize the arc and to improve lamp life. This will greatly reduce lamp flicker.

Regarding the rainbow effect, although none of the above techniques are done to minimize this, because the native color temperature is so close to D65, rainbow artifacts are naturally reduced. The more color correction you do, the larger the gaps are in the rainbow artifacts and the more noticeable they are.

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Bob Williams said:

Any display device that has a fast enough response could potentially benefit from the added bit depth possible from modulating the lamp power, including 3-chip designs. However, only imaging devices that use sequential color (such as single path DLP) can take advantage of the color balancing potential of this kind of modulation.

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Bob Williams said:

The black level pumping is masked by the overall brightness change. The intention is that the response speed exceeds the ability of your eyes to detect the change.

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Bob Williams said:

The 135mm dimension is measured from the holes to the front glass element of the lens. The 140mm dimension is measured to the end of the lens barrel. The one you want to use (if you really want to be precise) is the 135mm dimension. Nothing has changed mechanically since these were written.



The lens is sharp enough to show any video or computer content you would like to view from any reasonable viewing distance. I cannot guarantee, however, that if you want to walk up and look at the image from a foot away, that you will be able to see all of the gaps between the pixels perfectly since they are about 1/20th of a pixel wide. I am not a fan of overdesigning lenses since the cost goes up dramatically when you do.



Yes. Anyone with a serial cable and a Windows PC can upgrade the firmware. We planned from the start to have maintenance releases of firmware for end users, and we are working on one now based on the early feedback we're getting.



There are full controls for RGB gains and offsets. You can also choose from 5 different gammas. There is no look-up table access as we do not feel the control was needed. DLP devices are inherently linear and do not require recalibration of gray tracking at any time.



If you want more saturated colors than REC709 then you can switch to the native color gamut of the projector. This is only slightly larger than REC709, as we did design the product to be as close to a true REC709 device as possible.



Our typical projector measures a little over 500:1 ANSI. Due to the small number that ANSI contrast has, it was decided not to report it so that people do not confuse it with the full-field contrast.



The DynamicBlack aperture closes to its most-closed state during a fade to black. At this point the black level is about 1/3rd of what it would be with DynamicBlack turned off.

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http://www.avsforum.com/avs-vb/showthread.php?t=1009361

Bob Williams said:

Yes, it is. Although the native color primaries do vary a little from unit to unit (based on the tolerances of the color filters on the color wheel), the white point, primaries, and secondaries are all individually calibrated on every projector on the production line. Therefore the final variance from unit to unit will be quite small.

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Bob Williams said:

The processing chips are exactly the same for all 1080p DMDs at this time. The mirrors on all 1080p DMDs move at the same speed. Although when 720p changed from DC to DC2 the speed increased, this is not the case with 1080p.

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Bob Williams said:

Unlike some other projectors, lamp modulation is not changed from scene to scene in the PD8150 or PD8130. I agree that lamp modulation to increase contrast (which is what some other projectors do) is a bad idea, since the lamp's color temperature will change and the arc could potentially become unstable. Our color calibration is done at both economy and standard power modes due to the color temperature shift.

Lamp modulation will increase rainbows if it is used to increase brightness. We do the opposite. Our lamp modulation is designed to get the white point in the right place, so instead of increasing the gain during bright colors, we do it in dim colors. Therefore, rainbows are reduced. As with all technologies, turning the wrong knobs may yield to worse performance, but that does not invalidate the knobs themselves.

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Bob Williams said:

Adaptive Contrast is a control designed to give the picture more "punch" at a cost to accuracy. I suggest leaving it off. It is part of the standard controls that Gennum provides and we do include it for those who want to use it, but it's really meant to give a more "TV showroom" appearance to the image, which personally, I don't like.

The implementation we are using for BrilliantColor is the mildest of all of the available options. When turned on, gray levels are boosted approximately 20% and secondary colors (yellow, cyan, and magenta) are boosted approximately 10%. This amount of brightness increase yields a good compromise between accuracy and increased image brightness/contrast. In addition, having a brighter yellow helps makes skin tones more “pleasing”. The default setting is off because the video accuracy would no longer meet studio monitor standards (and therefore some reviewers might not like it), but turning it on does not hurt the image tremendously.

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Bob Williams said:

When lamp modulation is used to increase brightness, it is typically done in green, yellow, or white segments. The brightest parts of the visible spectrum from mercury lamps are green and yellow, and a white segment includes all colors.

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Bob Williams said:

Low geometric distortion, low lens flare, low chromatic aberration. Individual pixels should be resolvable and the colors should line up enough so that all of the original information in the content is maintained. Beyond that you're not really doing the image any more good at normal viewing distances.

The lens we have does all of these things well.

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Bob Williams said:

The lens shift we add is the amount that the market dictates. Although you do get some placement flexibility, adding shift increases lens cost so you only want to add the amount you really need. If there were only one customer in the world (i.e. me) then there wouldn't be any lens shift on this product. However, that's not realistic.

Although it seems to make sense that using the very center of the lens will give you the best image quality, this is actually not necessarily true regarding contrast. The reason is that, even though all of the glass elements in our lens have anti-reflective coatings, these coatings cannot be 100% efficient. Therefore, when you have something bright in the image, the light from it can get reflected backwards in the lens causing a loss of contrast from this resulting "stray" light. As lens offset increases, these reflections end up more and more out-of-field so will be absorbed by the lens barrel. Theoretically, this means that the highest inter-scene (ANSI) contrast will be achieved with the largest offset. This is why we recommend 100% offset as the baseline for this projector, and not 0% offset.

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Bob Williams said:

If I remember correctly, I actually heard about DynamicBlack before I heard about the Eclipse design. I believe both systems are trying to do the same things, that is, create a contrast booster with as few artifacts as possible.

LEDs, because they can duty-cycle their brightness in much the same way that DLP does, could completely replace any mechanical iris mechanism and potentially do all of the work electronically, in sync with the DMD. They could also replace color wheels. With such a system you could produce very high sequential contrast, as high as infinity if you really wanted it. LEDs therefore have a lot of potential. But right now they're costly and relatively dim.

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Bob Williams said:

Yes. When ceiling mounted, for instance, we'd like the nominal position to be with the lens centerline at the top of the screen. This doesn't mean you get poor performance anywhere else, it's just where I would put it if given the choice.

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Bob Williams said:

The RGB color refresh is 6 times the incoming frame rate. This is commonly referred to as 6x. Note that 24-30 Hz sources are frame rate doubled first, so they run at 12x.

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Bob Williams said:

Yes. I don't know of anyone who defines it any other way. The reason we don't report the actual speed is that first, the RPM would not be very meaningful to most people, and second, that home theater DLP projectors usually have two of each of the red, green, and blue color filters, thereby having two refreshes of each color per revolution. Doubling up on the filters reduces the rainbow artifact greatly, but also reduces brightness a little.

The actual RPM for the color wheel in the PD81xx varies from approximately 8600 to 11200 RPM depending on the frame rate of the signal. It is locked to 6x for all frame rates between 48 and 62Hz and 12x (via frame rate conversion to double the frame rate) for 24-30Hz sources.

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...how much is the brightness decrease at the longest throw?

Bob Williams said:

.....................

There is about a 7% brightness decrease going from full wide to full tele.

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Bob Williams said:

Despite the possible increase in contrast due to offsetting the lens horizontally, I really think you should keep it centered to keep it simple. In general, try to stay away from the limits of the offset range because there is more distortion (barrel, chromatic) there than there is in the middle, and it increases faster as you get closer to the edge.

Yes. As mentioned above, the geometric and chromatic distortions are worse at 100% offset than they are when the lens is centered. However, they are still small at 100% offset.

The diameter of the projection lens at the entrance (nearest the display device) increases directly with the amount of offset you want to have. The rest of the lens barrel is not as stongly related, and has a lot to do with the magnification you want (aka throw ratio). The longer the throw, the cheaper the lens, in general.

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Bob Williams said:

The current plan is to offer a short throw, user replaceable lens starting in June. We have no other plans at this time. However, if the platform is sufficiently popular a lot of things are possible in the future.

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Ο ανθρωπος ειναι ΣΧΟΛΕΙΟ :worshippy::worshippy::worshippy::worshippy::worshippy:



http://www.avsforum.com/avs-vb/showthread.php?t=1009361

Λετε να τον ρωτησω ποτε θα βγαλουν αντιστοιχο μηχανημα με xenon ? :blink:

ΜΑΝΩΛΗΣ ΚΑΣΤΡΟΥΝΗΣ said:

Ο Bob Williams είναι Chief Product Architect της εταιρείας.

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Κρινοντας απο το αποτελεσμα, οντως :SFGSFGSF: