The Vizio Quantum M-Series 70-inch 4K HDR TV offers contrast performance, and gaming features unrivaled at its price point.
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The Epson LS500 Laser Projection TV proves it’s one of the absolute best UST projector options currently on the market.
The post Epson EpiqVision Ultra LS500 4K PRO-UHD Laser Projection TV Reviewed first appeared on HomeTheaterReview and is written by Dylan Seeger
LG’s latest DLP projector impresses with good overall image quality, features, and video processing capabilities at its price.
The post LG AU810PB 4K Laser Projector Review first appeared on HomeTheaterReview and is written by Dylan Seeger
It’s no secret that UST (Ultra Short Throw) projectors have been around for a long time, but thanks to the COVID-19 pandemic keeping a record number of people inside, and lots of technological innovations happening with solid state light sources right now, the UST projector market is currently flush with near-complete TV-replacement options to choose from. Without practical means to watch movies on the big screen in commercial theaters, many are choosing UST projectors as a way to fill the void and create their own big screen experiences at home.
LG is no stranger to the UST projector market, with the company offering several UST options for consumers to choose from. With their latest flagship CineBeam HU85LA ($4,999), the company is touting its proprietary three-channel laser system, developed specifically for this projector, as a way to reel in customers. The advantage to this system is that light no longer needs to be filtered through a spinning color wheel in order to create each primary color, as the lasers themselves do this on their own.
Not only does this increase the efficiency of the light engine; it also means the HU85LA can offer high brightness without a huge sacrifice in color saturation performance like you see with most other high-brightness, single-chip DLP projectors that rely on a spinning color wheel. Additionally, the use of lasers adds the benefit of long life, reliability, and a slow, linear reduction in light output over time, advantages normally reserved for flat panel televisions. LG specifies the HU85LA’s output at up to 2,700 lumens, with the projector needing 20,000 hours of use before noticeable light loss occurs.
Other notable specifications include a 2,000,000:1 contrast ratio, UHD resolution through the use of an XPR-enabled .66-inch DLP DMD, 12-bit video processing and color gradation, HDR10 support with REC2020 compatibility, real-time dynamic tonemapping for HDR10 video sources, LG’s ThinQ AI smart-enabled software features, and a two-year limited warranty.
Additionally, the HU85LA includes other TV-replacement features, such as a digital TV coax input, a built-in speaker system, and a smart-enabled operating system. In fact, as far as I can tell, this is the same LG-designed webOS operating system used on the company’s premium LCD and OLED televisions. This means you can run apps directly from the projector as you would from any smart TV. LG even includes a back-lit variant of the company’s wonderful and intuitive Magic Remote to control the projector. To date, this is one of the most well-rounded TV replacement options I’ve seen. Once you purchase a screen, you can say goodbye to your flat panel television and hello to the new big-screen experience at home.
One of the most important aspects of setting up any UST projector is pairing it with the right screen. Because the HU85LA is intended to be used inside a living room as a TV replacement, ambient and reflected light within this environment has the potential to wash out the projected image. For this review, Screen Innovations was kind enough to send over one of its Solo Pro 2 screens (Available at ProjectorScreen.com) featuring the company’s Short Throw screen material, which is a great match for this projector. It’s designed to more ideally reflect the shallow angle at which these projectors throw their image, so that more of this light is reflected back towards viewers. It also has ambient light rejecting (ALR) optical coatings. If you’re planning on buying this projector and using it in an untreated space, a screen like this is an absolute must if you want to get the most from the projected image.
For connections, the HU85LA offers a pair of full-bandwidth HDMI 2.0 ports (one ARC compliant), an optical TOSLINK audio port, an RJ-45 LAN port, the aforementioned digital TV coaxial antenna input, a Kensington lock for extra security, and a pair of type-A and single type-C USB ports to power connected devices. Be aware that if you’re installing the projector close to a wall to fill a smaller screen, you may need to buy some 90-degree cable adapters for this type of installation to work. The ports are located on the side of the chassis that will face your screen wall, and although they’re recessed into the chassis a bit, the cavity may not be deep enough for a straight install, depending on the thickness of your cables.
The HU85LA has an exceptional short 0.19:1 fixed throw ratio. With this throw, LG says owners can create a 120-inch diagonal image from 7.2 inches, or one as small as 90-inches from just 2.2-inches away from the screen. This particularly short throw ratio makes setting up the projector a bit more time consuming and tedious than usual, even compared with other UST projectors. For best results, you’ll want to take your time and make sure the projector and screen are symmetrically mirrored in physical planes with one another as close as you can get. Otherwise, you may see issues like waves in the image, focus non-uniformity, trapezoidal image geometry, and hotspotting. To help with proper positioning, the HU85LA includes four adjustable feet underneath. For dialing in focus, you’ll find an adjustment knob hidden underneath a door on the top of the chassis.
The projector itself comes in a fairly compact form factor, measuring in at 26.8 by 5.0 by 13.7 inches and weighing 26.9 pounds. Build quality is excellent overall, with premium materials used throughout. Be aware that the only finish option available is matte white. However, the projector comes with a grey “kvadrat” cloth grille cover to break up the all-white chassis and conceal the pair of five-watt speakers built into the projector.
If you’ve adjusted the feet and you’re still seeing issues with image geometry on screen, you have the option to use image manipulation software within the menu system of the projector. But tread lightly. The more you rely on this software, the more potential it has to diminish image resolution and subjective sharpness. My advice is to get it as close as you can physically before you use this software.
Once you have the projector installed, you’ll find the initial software setup process is essentially identical to pretty much all currently selling smart TVs on the market. You’ll start by setting up your internet connection (either wired or wireless), then you’ll want to download and sign in to your desired streaming apps, adjust your audio output if you don’t plan on using the included speakers, and then dive into calibration controls if you’re the kind of person who likes to fine-tune the image.
During my own setup process, I was a little disappointed to find that the list of available apps was far less extensive than what’s offered on the LG B8 OLED installed in my living room, despite the fact that it runs the same webOS operating system. It’s also worth noting that the user interface felt less fluid and responsive. I suspect these issues stem from the projector not using one of LG’s newest processing solutions. With that said, you still have access to Netflix, YouTube, Amazon Prime Video, Plex, Google Play Movies, Disney+ and Spotify, among others.
If you’ve used any webOS-enabled LG display from the past several years, finding your way through the menu system on the HU85LA should be second nature. Menu items are logically placed and named to avoid confusion as to what each option does. You’ll find several preset picture modes to choose from. For SDR content, I’d recommend going with Expert (Bright Room) mode, and for all HDR10 content, Cinema user mode. Each of these offered the best out-of-the-box performance for their corresponding content.
The HU85LA offers an extensive set of video adjustment and calibration controls for those who’ll use them. These include basic Brightness, Contrast, Sharpness, Color and Tint controls, but you’ll also find a full color management system, extensive white balance controls, and user-selectable gamma options. There are also options to manually adjust settings for color gamut, dynamic range, smooth motion frame interpolation, dynamic digital contrast and color enhancement, smart sharpening controls, and customized tonemapping options for how the projector processes and displays HDR10 video content.
If you plan on watching HDR10 video content, I highly recommend enabling the projector’s Dynamic Tonemapping menu option. That’s because the HU85LA shares the same excellent real-time dynamic tonemapping software found on LG’s higher-end flat panel displays. When enabled, the projector will automatically adapt the HDR image to better suit the real-world capabilities of the projector.
While it would have been nice for LG to include some customizable settings for the software, such as setting the peak white image brightness for better tone mapping performance, it’s still a useful and effective tonemapping tool. With it enabled, you can expect an image with colors that appear more natural and fully saturated, with a far better sense of dynamic range and brightness within the image overall. This is the type of HDR video processing I wish others in the home theater projector industry would adopt as well. Currently, JVC is the only other company that I’m aware of that uses this type of software.
Before we get into the measurements, I want to discuss who I think the HU85LA would be an excellent choice for. Because this is a single-chip DLP projector, it’s going to have inherent strengths, relative to most other projection technologies, in motion, ANSI contrast, image sharpness, resolution, and uniformity. These strengths lend themselves well to brighter, higher frame rate video material like you’d typically find with certain broadcast television, live sporting events, and video games. As you’ll see, on/off contrast performance and black level are not among its many strengths. This means it’s going to struggle a bit with many Hollywood-style films and television shows, as this type of video content is typically dark overall and requires solid on/off contrast performance to look good in a subjective way. So if you are planning on watching a lot of movies with the HU85LA, keep your expectations in check.
Out of the box, I found that Expert (Bright Room) mode offered the most accurate out-of-the-box image for SDR video content, so I used that as a starting point for calibration. With the projector placed in its highest light output mode (Minimum Energy Saving), I measured a peak of 1,953 lumens after calibration. This is a relatively competitive amount of calibrated light output for an UST projector in this price class. If you require less light output, the projector has a Medium and Maximum Energy Saving mode, each reducing light output by nearly 20 percent. I wouldn’t recommend using the lowest output mode, however, as I found it added a large red push in white balance. With that said, all of my subjective viewing was using this projector’s highest light output mode. In this mode, using the projector’s two-point white balance controls, delta errors averaged 4.1 prior to calibration and just 2.1 after.
I found that out-of-the-box color accuracy was quite good as well. For SDR content, in Expert (Bright Room) mode, the HU85LA can fully cover the REC709 color gamut. Delta errors averaged 3.5 prior to calibration and just 1.5 afterwards. For HDR10 video content, the projector switches over to a REC2020 compatibility mode with several picture modes to choose from. I found that Cinema mode offered not only the most accurate image for HDR video content, but also the most color saturation performance as well. I measured this mode to cover 94.5 percent of the DCI-P3 color gamut within the REC2020 triangle, with delta errors averaging 2.1 after calibration. Be aware that this boost in color saturation costs you about ten percent in light output over Expert (Bright Room) for SDR video.
While this extra color saturation past REC709 is definitely welcome, I was expecting to measure quite a bit more due to the fact that this projector employs an RGB laser light source. Incredibly deep color saturation has been one of the defining features of RGB laser light sources for years, with most projectors that use them (some far less expensive than this projector) being capable of saturation past REC2020, which is something no other consumer display technology can currently achieve. So not seeing this type of color performance, especially at this price point, was a bit of a letdown.
But I wouldn’t let this level of color performance bother you. The fact remains that there are only a handful of movies out there that utilize color saturation past DCI-P3. Even on some of the movies that do, such as the recently remastered version of The Matrix on Ultra HD Blu-ray, the deep shades of cyan and green that this movie is known for still appeared satisfyingly saturated and natural in tone. The list of movies graded beyond DCI-P3 is more than likely to grow in the future, though, so if you were eyeing this projector’s RGB laser light source as a means to a more future-proof purchase, the HU85LA might not be the best choice. With that said, color performance is still up there with some of the best home theater projectors on the market today.
Contrast performance offered by the HU85LA is only middle-of-the-road. I measured a peak native contrast ratio of 1,695:1 after calibration. While this is definitely a great level of native contrast for a single-chip DLP projector in this price range, the problem is that the projector lacks a dynamic contrast system to take things to the next level. Without one, it really holds back the image relative to other projectors that are currently selling in this price segment, and even some other UST options that cost considerably less.
While the HU85LA was here, I took a look at a few scenes from the movie Ad Astra on Ultra HD Blu-ray. This movie can be tough for any display to render convincingly, not just projectors. Like most sci-fi movies, it has shots of pure black space, dimly lit interiors, and plenty of shots where mixed bright and dark elements appear on screen at the same time. The HU85LA had no problem with most of the shots when mixed content was on screen, but fell apart anytime most of the image needed to be black. Shots of space subjectively looked more like a shade of gray. A dynamic contrast system would have helped dramatically throughout. So if you watch a lot of sci-fi or horror movies, you may want to consider a different projector.
Brighter video content is where this projector comes alive. I played back a few scenes from the movie Midsommar on Ultra HD Blu-ray. The bright outdoor sequences portraying the idyllic Swedish retreat where the majority of this movie takes place looked remarkably good. Thanks to LG’s excellent dynamic tonemapping solution for HDR10 video material, the image had an impressive sense of depth, dynamic range, and natural color rendition. There was also an impressive sense of image sharpness and resolution that few other UST projectors that I’ve seen, at any price point, have.
Video games also suit the HU85LA extremely well. I can’t tell you how much fun I had playing games like Microsoft Flight Simulator 2020 and Star Wars Jedi: Fallen Order on the big screen in my living room. The HU85LA offered an image that was tack sharp, with lots of pop and apparent resolution. Flying around in Flight Simulator was extremely impressive, with the projector allowing me to see extremely far off in the distance and able to make out exquisite detail rendered in distant objects. Pans and other fast movements had an impressive sense of motion resolution as well, something I think gamers will really appreciate.
With that said, input lag isn’t the best. I measured 53 milliseconds with my Leo Bodnar input lag tester. This should still be low enough for most casual, noncompetitive titles like a flight simulator or real-time strategy games. In my own experience, I didn’t run into any major issues. However, if you’re a more competitive gamer, you might want to look elsewhere.
I also tested the speaker system built into the projector. As expected, bass performance was lacking. But this level of bass performance is pretty typical for speaker systems built into projectors. Dialogue sounded great. It was crisp and detailed and the volume can go pretty high without any major issues with audible distortion. At this projector’s price point, I suspect most owners will opt for a dedicated two-channel or surround sound system anyways, so I don’t expect this to be a deal breaker for most.
As mentioned above, the only major gripe I have with the HU85LA is its lack of a dynamic contrast system. Historically speaking, one of the big ways premium displays differentiate themselves from the more value-oriented segment of the market is by offering up enhanced contrast performance. You saw this with plasma and continue to see this with OLED televisions. And that’s because contrast performance is one of the most important aspects of a subjectively pleasing image. And when you’re using DLP as your display device, a technology that hasn’t kept up with LCD-based projector technology in terms of native contrast over the years, a dynamic contrast system has become even more important if the projector wants to remain relatively competitive, especially in the more premium part of the projector market.
Another issue I see with the HU85LA is the DMD LG has chosen to use. The .66-inch XPR DMD has a hardware limitation that forces all video to be output at 60 Hz. This means 24p film cadence often takes a noticeable hit. You may see some occasional judder introduced by the forced 3:2 pulldown. Playing back the iconic Minas Tirith sequence from The Lord of the Rings: The Return of the King clearly showed off this motion deficiency. As Gandalf and Pippen ride their way up through the city, these long panning shots were filmed with 24p cadence in mind and are supposed to appear smooth. Through the HU85LA, there was noticeable judder added into the moving image. One way to help lessen this issue is to enable the De-Judder option found in the TruMotion menu system. Set to level 1, I found this helped remove most of the obvious judder, but could not fix this problem completely.
One last thing you should be aware of is that, despite using an RGB laser light source, the HU85LA is still prone to color breakup artifacts, more commonly referred to as rainbows. I see a lot of mixed information out there regarding solid-state illumination and how it relates to creating (or not creating) these artifacts. Creating this artifact is determined by how quickly color can be provided in sequence to the DLP DMD imaging device, not necessarily the type of light source being used. While there are some LED and laser bank controllers that can provide colors in sequence fast enough to avoid seeing the issue, in the case of the HU85LA, it doesn’t appear that LG is using a controller that can supply color and sequence fast enough to avoid the phenomenon. Based on my subjective testing, rainbows are still visible, appearing about as often as I’ve seen them on projectors using a six-segment RGBRGB color wheel that are typically found in projectors near this price point. So if you’re sensitive to seeing these artifacts, you’re more than likely going to see them with this projector on occasion.
One of the HU85LA’s closest competitors in feature-set and overall performance is Optoma’s CinemaX P2. Like LG’s projector, the P2 is a 4K/HDR10 capable, single-chip DLP projector featuring a laser-based light engine, stereo speakers, and a smart operating system to provide owners with a near-complete TV-replacement package. Despite these similarities, the P2 comes in at a far more attractive price point of $3,299. But it’s not just price where the P2 takes a lead. Optoma also delivers an additional 300 lumens of specified image brightness, a slightly more expansive range in color reproduction, and, most importantly, a true dynamic laser dimming feature for improved contrast performance that that HU85LA desperately needs to compete at its high asking price. If you’re looking to stick with a single-chip DLP projector, the P2 is high on my list of other projectors to consider.
Priced at $5,999, Epson has taken direct aim at the HU85LA with the company’s recently released LS500 UST projector. Like the LG and Optoma UST projectors, the LS500 also includes a long-lasting laser-based light engine, stereo speakers, and an AndroidTV operating system. One of the ways the LS500 separates itself from the HU85LA, however, is that a 120-inch ALR screen is bundled in at that price, making the LS500 a truly complete TV-replacement package. Because this is 3LCD-based, you do lose out on a few inherent strengths that DLP projectors offer, such as great motion resolution and higher on-screen resolution, but in lieu of that, you’ll be gaining better native and dynamic contrast and won’t need to worry about color breakup artifacts interjecting themselves when viewing high-contrast video material.
Whether or not the HU85LA is right for you truly depends on the type of video content you typically watch. If it will be primarily used for sports, video games, and brighter TV-style content, I think this projector is a great option. The image is tack sharp, provides excellent resolution and class leading performance in motion, color, video processing, and a multitude of smart TV software options that a lot of owners will find useful.
The main problem I see with the HU85LA is the lack of a dynamic contrast system. And because I’m coming at this review with home theater in mind, the way this projector recreates a movie-viewing experience is my main focus. And it’s in this area where I feel this projector simply lacks what’s needed to keep up with other options currently on the market, some of which are quite a bit less expensive. And at this projector’s premium price point, solid contrast performance is definitely needed to justify the cost.
Dylan Seeger of Home Theater Review answers common questions about Smart TVs.
HDMI 2.1 is the latest standard for digital video and audio connectivity. This next-generation interconnect standard increases the data throughput rate by more than 2.5 times that of the previous HDMI standard. This means consumers will be able to pass 8K resolution video at up to 60 frames per second and 4K resolution video at up to 120 frames per second over a single HDMI cable.
But it’s not just this extra data throughput that’s exciting. HDMI 2.1 adds a ton of new features that a lot of consumers will find useful, such as Variable Refresh Rate and Quick Frame Transport functionality that will ensure a smoother video gaming experience with less lag.
Updated eARC functionality now supports sending Dolby Atmos, DTS:X, and other object-based audio formats to compatible AV receivers from the TV itself or devices connected to it via HDMI. And Quick Media Switching functionality will eliminate annoying screen blackouts as your TV switches between content at varying resolutions and frame rates.
All-in-all, HDMI 2.1 is a big deal. So, if you’re shopping for a new TV, it’s probably a good idea to make sure whichever one you choose supports it.
Home Theater Review’s Dylan Seeger answers common questions about Smart TVs.
If you’re a gamer, choosing the right TV is important. Input lag – or the time it takes for your display to accept, process, and ultimately display the image – varies widely between TV models. Choosing a TV with low input lag (or a TV with a low-lag picture mode, often designated as a Game mode), should be high-up on your priority list if you’re a gamer, as it will decrease the time it takes for your button presses and moves to be reflected in the on-screen action.
Certain display technologies, such as OLED, offer faster pixel response time over more conventional LCD-based televisions as well. Because of this, OLED TVs add in next-to-no motion blur compared to LCD TVs, thus potentially providing gamers more visible motion resolution that can be important for competitive play. So, opting for an OLED television might be a smart choice if you play a lot of games.
Gamers should also look for a TV with HDMI 2.1 inputs, as this next generation interconnect standard has added benefits for them.
Home Theater Review’s Dylan Seeger answers common questions about Smart TVs.
Remember the format war that pitted HD-DVD against Blu-ray back in the late-2000s? Well, something similar is happening now in the 4K TV era. But the format war has nothing to do with discs – it’s about which enhanced HDR format will reign supreme.
HDR10 is the most basic HDR format available. Any display that claims to be HDR-compatible needs to support it. HDR10 was developed in conjunction with Dolby to act as the base HDR video format for Ultra HD Blu-ray. Dolby takes this base video and further enhances the image with its proprietary Dolby Vision HDR format through something called metadata. On Ultra HD Blu-ray, it works by injecting extra bits of predetermined data into the video signal to further enhance the HDR-effect. And because Dolby Vision’s HDR processing takes place inside the display, it can alter the image in a way that better suits the real-world performance capabilities of any given display in terms of its peak brightness and color capabilities, thus making Dolby Vision the more ideal HDR format to choose from, if available.
HDR10+ was developed after Dolby Vision and in many ways it attempts to do exactly the same thing Dolby Vision does. But because HDR10+ was late to the game, it’s having a much harder time gaining widespread adoption among Hollywood studios and streaming services, despite the HDR format being royalty-free, unlike Dolby Vision. Amazon Prime Video is currently the only major streaming service that supports HDR10+, and if more support for this format doesn’t occur, it may end up like HD-DVD and eventually be abandoned.
HLG is a little different and will likely remain an HDR format in use no matter which enhanced format wins. That’s because HLG is primarily used for broadcast television for content such as live sporting events and is compatible with both older SDR and newer HDR displays. This makes it an ideal format to broadcast in as it can work with a much wider variety of displays than any of the other HDR formats, thus reducing cost and simplifying the demands for live broadcast events. With that said, it’s the least impressive form of HDR currently available to consumers.
Dylan Seeger of Home Theater Review provides answers to common questions about Smart TVs, one of the most important purchases you will make.
On top of mentioning your price range, the salesperson should be informed on how you will use the TV. For example, will you be gaming and watching a ton of sports? Or will you mostly be watching movies and TV shows?
They should also know a bit about your viewing environment. Will the room be filled with ambient light (or sunlight from windows), or do you prefer to watch in the dark whenever possible? All these factors play into finding a TV that’s right for you, as certain display technologies are better suited to handle some of these viewing variables.
These terms denote resolution, which defines how detailed an image can ultimately be. 4K – also known by its more technically correct name, Ultra HD – has a digital resolution of 3,840 pixels wide by 2,160 pixels tall. This means a 4K television has the ability to display an image with more than 8 million unique pixels.
8K doubles the vertical and horizontal resolution, ultimately quadrupling the total number of pixels over 4K. But because 8K is currently at the bleeding edge of consumer display technology, I wouldn’t worry too much about making sure your next television has 8K resolution. It will be quite some time before 8K video content becomes widely available.
Home Theater Review examines Hisense 65-inch H9G Smart TV
For most people, the answer to this question comes down to personal preference, but there is also a bit of science involved, too. The general rule of thumb is, the farther your seated position from the TV, the larger your TV should be.
Human visual acuity comes into play here, and depending on what resolution your TV is, organizations who create video standards, like THX and SMPTE, typically recommend viewers who have 20/20 vision sit anywhere from around 1 to 1.5 screen widths away from the TV to gain most of the benefits in image detail that HD and Ultra HD resolutions have to offer. (1.5 screen widths for a 65-inch TV would be roughly seven feet.) This seating distance may be impractical for a lot of viewing environments. But don’t fret – these are just general guidelines. So, even if you’re not quite at the optimal viewing distance, you’re still likely to see extra detail in the image as long as you’re not insanely far away.
You can get an equally impressive viewing experience wall-mounted or not. Many people choose to wall-mount their TV for aesthetic or space-saving qualities, not necessarily for the best viewing experience. The important thing to consider when installing your TV is that wherever you decide to place it, it should be in a spot that isn’t going to cause eye or neck strain. So, while a TV may look pretty hanging way up high above your fireplace, it might not be the most practical place to put it, as it might cause you discomfort viewing it for long periods of time. Choose a place not too far away, not too high up, and not installed in a spot where the sun will be shining directly on it.
What You Need To Know About Samsung 65-Inch Q70T TV
There are four consumer HDR formats currently in use: HDR10, HDR10+, Dolby Vision, and HLG. You might be tempted to buy a TV that supports all four, but I wouldn’t go out of your way or spend a ton of extra money on finding a TV that does. The fact remains that the vast majority of HDR content currently available is either in HDR10 or the more advanced HDR format, Dolby Vision. These are the two important HDR formats you’ll want to make sure your TV supports. And luckily most TVs do. HLG support is also fairly common, but this type of HDR is typically only used for live broadcast events, like sports. HDR10+ is not a widely used HDR format, and all indicators point to it remaining this way. So, don’t worry too much if the TV you’re looking to buy doesn’t support this HDR format.
Remember the format war that pitted HD-DVD against Blu-ray back in the late-2000s? Well, something similar is happening now in the 4K era. But the format war has nothing to do with discs – it’s about which enhanced HDR format will reign supreme.
HDR10 is the most basic HDR format available. Any display that claims to be HDR-compatible needs to support it. HDR10 was developed in conjunction with Dolby to act as the base HDR video format for Ultra HD Blu-ray. Dolby takes this base video and further enhances the image with its proprietary Dolby Vision HDR format through something called metadata. On Ultra HD Blu-ray, it works by injecting extra bits of predetermined data into the video signal to further enhance the HDR-effect. And because Dolby Vision’s HDR processing takes place inside the display, it can alter the image in a way that better suits the real-world performance capabilities of any given display in terms of its peak brightness and color capabilities, thus making Dolby Vision the more ideal HDR format to choose from, if available.
HDR10+ was developed after Dolby Vision and in many ways it attempts to do exactly the same thing Dolby Vision does. But because HDR10+ was late to the game, it’s having a much harder time gaining widespread adoption among Hollywood studios and streaming services, despite the HDR format being royalty-free, unlike Dolby Vision. Amazon Prime Video is currently the only major streaming service that supports HDR10+, and if more support for this format doesn’t occur, it may end up like HD-DVD and eventually be abandoned.
HLG is a little different and will likely remain an HDR format in use no matter which enhanced format wins. That’s because HLG is primarily used for broadcast television for content such as live sporting events and is compatible with both older SDR and newer HDR displays. This makes it an ideal format to broadcast in as it can work with a much wider variety of displays than any of the other HDR formats, thus reducing cost and simplifying the demands for live broadcast events. With that said, it’s the least impressive form of HDR currently available to consumers.
Our Séura 55-Inch Shade Series 2 Outdoor TV Review
HDMI 2.1 is the latest standard for digital video and audio connectivity. This next-generation interconnect standard increases the data throughput rate by more than 2.5 times that of the previous HDMI standard. This means consumers will be able to pass 8K resolution video at up to 60 frames per second and 4K resolution video at up to 120 frames per second over a single HDMI cable.
But it’s not just this extra data throughput that’s exciting. HDMI 2.1 adds a ton of new features that a lot of consumers will find useful, such as Variable Refresh Rate and Quick Frame Transport functionality that will ensure a smoother video gaming experience with less lag.
Updated eARC functionality now supports sending Dolby Atmos, DTS:X, and other object-based audio formats to compatible AV receivers from the TV itself or devices connected to it via HDMI. And Quick Media Switching functionality will eliminate annoying screen blackouts as your TV switches between content at varying resolutions and frame rates.
All-in-all, HDMI 2.1 is a big deal. So, if you’re shopping for a new TV, it’s probably a good idea to make sure whichever one you choose supports it.
If you’re a gamer, choosing the right TV is important. Input lag – or the time it takes for your display to accept, process, and ultimately display the image – varies widely between TV models. Choosing a TV with low input lag (or a TV with a low-lag picture mode, often designated as a Game mode), should be high-up on your priority list if you’re a gamer, as it will decrease the time it takes for your button presses and moves to be reflected in the on-screen action.
Certain display technologies, such as OLED, offer faster pixel response time over more conventional LCD-based televisions as well. Because of this, OLED TVs add in next-to-no motion blur compared to LCD TVs, thus potentially providing gamers more visible motion resolution that can be important for competitive play. So, opting for an OLED television might be a smart choice if you play a lot of games.
Gamers should also look for a TV with HDMI 2.1 inputs, as this next generation interconnect standard has added benefits for gamers, which are outlined above in the answer to another frequently asked question.
It’s common for televisions to have at least one fairly accurate picture mode that requires little change from the default settings to get a great looking image. These modes are often called something like Cinema, Movie, or Reference mode, but a quick Google search of your TV model should point you in the direction of a review that will tell you which mode is best.
As far as more customized calibration goes, you might be tempted to plug in someone else’s settings you’ve found posted online, but more often than not, these settings will do more harm than good due to the fact that two TVs sharing the same model number and screen size can still have slight variations in color accuracy, etc. If you’re a perfectionist looking for the most accurate image possible, hire a certified calibrator. But going with one of these fairly accurate out-of-the-box image modes should give you a good start, and you may find that you only need to slightly tweak your main settings (contrast, brightness, etc.) using a benchmark disc or test patterns found on Netflix.
It’s also a good idea to make sure that certain image enhancement features are either switched off or turned down low. Many of them, like noise reduction, motion interpolation, image sharpening, and contrast enhancement, are set too high by default. Many of these features should be disabled if you’re after an honest and accurate image.
After posting my initial First Look article for Sony’s new VPL-VW915ES, the company was kind enough to let me hang on to it so I could get a more in-depth feel for the projector. As I previously wrote, Sony has added in some new hardware and software features over the previous model, which help improve the overall experience and improve picture quality, too. While I don’t think it’s fair to say these improvements constitute a revolutionary jump in overall performance, the improvements over the VPL-VW885ES the 915ES replaces are the types of gains in performance that were needed most. And, most importantly, Sony has dropped the price by twenty percent, bringing the MSRP down to $19,999.
The first of these improvements is an updated dynamic contrast system, which Sony calls Dual Contrast Control. At launch, the 885ES was only using its laser light source to dynamically boost contrast performance. With DCC on the 915ES, Sony has enabled the iris found within the lens to help further enhance contrast. With two ways to boost contrast, Sony can not only more efficiently adapt the projected image, it can also do it with fewer visible dynamic contrast-related artifacts. In fact, with the exception to full-fades-to-black, the 915ES has one of the most well-programmed dynamic contrast systems found in any home theater projector available today. With normal, everyday video content, I witnessed no issues with pumping, flickering, or gamma shifts like you see on most other projectors using dynamic contrast.
The second notable improvement is an updated video processing solution, which Sony claims can analyze more parameters of the video than ever before, down to the individual pixel level. The new ‘X1 for projector’ video processing solution found inside the 915ES also allows Sony to include a new HDR processing mode called Dynamic HDR Enhancer. As I mentioned in my First Look article, however, this new software feature is not a dynamic tonemapping solution that many were hoping for. Instead, this appears to be no more than an updated and tweaked version of the Contrast Enhance software feature of the 885ES. While this new software definitely provides a boost in subjective image quality when viewing HDR10 video, it still falls a bit behind some of the more advanced tonemapping techniques currently employed by other brands in the premium projector market. More on this later.
As I mentioned before, pretty much everything else with this projector remains the same compared to the previous model. The 915ES still uses Sony’s latest 0.74-inch native 4K SXRD panels, a long-lasting Z-Phosphor (blue laser and phosphor) light source providing owners with up to 2,000 lumens of light output, a fully motorized lens with lens memories, Sony’s Reality Creation upscaling and image refinement engine, Digital Focus Optimizer to help offset lens focus non-uniformity, MotionFlow creative frame interpolation with video sources up to 4K60p, as well as support for HLG, HDR10 (with REC2020 compatibility), and 3D.
The 915ES comes in an attractive matte black chassis that looks nearly indistinguishable from the 995ES I reviewed last year. This is a fairly large and bulky projector, weighing in at a hefty 44 pounds. Take note of this if you plan on ceiling-mounting the projector. You’re going to need an extra set of hands if you want to do this safely.
The main thing that sets the 915ES apart from the 995ES in looks is a slightly less impressive lens to help justify the reduction in price. Sony specifies the throw ratio for this lens as a wide 1.38:1 to 2.83:1, with up to ±85 percent vertical and ±31 percent horizontal lens shift. This gives owners a ton of flexibility in where the projector can be placed in relation to the screen. And with the lens being centrally mounted and fully motorized, it makes the initial setup quick and painless. Owners can simply walk up to their screen and dial in zoom, shift, and focus with the remote control. If you notice some issues with convergence during setup, the 915ES features a digital convergence correction feature in the menu system to better align the projector’s three primary color images. I highly suggest you take advantage of this software for the sharpest-looking image possible.
Connection options are pretty typical for a home theater projector in this price segment. Owners will find a pair of full-bandwidth HDMI 2.0b ports; a pair of 12-volt triggers; dedicated IR, IP, and RS-232 system control options; and a type-A USB port for system updates. If you happen to misplace your remote, Sony has also included physical buttons on the chassis to control the projector. The included remote is one of the best in the business. It’s large, backlit, and gives you direct access to nearly every picture control option you’d want to have in the palm of your hand.
The menu system is intuitively laid out, with a whole host of options available within to alter the image and control the projector. As well as basic calibration controls, the 915ES offers a full color management system, two-point white balance controls, user-selectable gamma settings, and laser power settings to control the peak white image brightness of the projector. Other useful settings found within the menu system are the Reality Creation smart sharpening and noise reduction options, MotionFlow smooth motion options, Cinema Black Pro dynamic contrast options, manual HDR video processing options, and manual color space control options.
The projector also comes with several preset picture options to choose from, each ideal for a different setup scenario. Unless you’re placing the 915ES in a less-than-ideal space with poor light control, you’ll want to stick to the projector’s Reference picture mode, as it offers the best out-of-the-box image performance, but the least amount of light output. If you’re struggling with image brightness, you have the option of choosing a different image mode to gain some light output, but at the expense of image accuracy.
If you plan on gaming with the 915ES, you’ll find a dedicated low-lag video processing mode that dramatically reduces the time it takes for the signal to be received and ultimately displayed on screen. With my Leo Bodnar input lag tester, I measured an excellent 21 milliseconds of lag, which is about as good as it gets for a projector in this price range and a low enough figure for most non-competitive gamers.
If you plan on using an anamorphic lens with the 915ES, you’ll be happy to hear that the projector not only includes an anamorphic scaling mode for traditional 1.33x anamorphic lenses, but also those manufactured by Panamorph, which allows owners to use the entire 4096 by 2160 pixel count of the projector for increased image brightness on screen. If you zoom to fill your anamorphic aspect ratio screen, you can set lens settings to memory to be recalled later. Owners have five dedicated memory slots that can be used for specific aspect ratios.
While all major 3D formats are supported, glasses are not included in the box. The 3D emitter is built into the projector, with no dedicated port on the back for use with a third-party emitter. So if you plan on watching 3D, be sure to pick up some glasses when you order the projector.
At the 915ES’s premium $19,999 price point, I was expecting nothing short of class leading performance across the board. And, other than with some issues in the way this projector handles HDR10 video (which we’ll discuss more in the next section), the 915ES provides one of the best projected images available today.
Sony has designed a projector that offers top-tier performance in nearly every facet of its image. This projector offers a rare combination of high contrast, high brightness, strong color saturation, native 4K resolution, and high-quality video processing that few other projectors currently have. With SDR video in particular, you’d be hard pressed to find another projector available today that looks as good as the 915ES does overall. And if we look at the measured performance, it’s easy to see why.
Out of the box, choosing the projector’s aptly named Reference picture mode, the 915ES offers just that. In fact, once I calibrated out the small white balance shift my screen introduced into the image with the included two-point white balance controls, the 915ES offered the best out-of-the-box image performance I’ve seen from any projector to date. No other changes within the menu system were needed to achieve an accurate calibration. And, compared to the lamps typically used in home theater projectors, this projector’s laser light source is far less prone (though not immune) to changes in the quality of light entering the optical engine, so owners should expect this level of performance to remain for quite some time.
As you can see, grayscale performance tracked nicely across all IREs, with the projector accurately covering the entire REC709 color gamut required for most SDR video. And with the gamma correction setting option enabled within the menu system, opting for the 2.2 preset, I measured flat performance across all IREs as well, with delta errors across the board well below 3.0, which is the threshold for visible errors.
For HDR10 video sources, the 915ES offers a REC2020 compatibility mode. After calibration, I measured the projector to cover nearly 90 percent of the DCI-P3 color gamut within the REC2020 triangle. While this level of color performance is technically a step below a few other projectors near or below the 915ES in price, in practice, I found this level of color saturation beyond REC709 still subjectively satisfying enough and definitely noticeable with content that makes good use of it.
I often use Inside Out on Ultra HD Blu-ray to test out color saturation performance because it has some of the deepest and most vibrant shades of color found in any video material available today. And while a few other projectors may have a small yet noticeable lead in color rendition, I was still more than satisfied by the performance offered by the 915ES. Colors appeared well-saturated and natural in tone.
Light output offered by the 915ES is class competitive. After an SDR calibration, with the projector’s lens set to maximum zoom and the laser light source set to maximum output, I measured peak light output at 1,750 lumens, which is bright enough to fill a fairly large sized projection screen in a dedicated, light-controlled space. If you prefer less light to hit your screen, you have the option to adjust the laser light source output, in one percent increments, down to your desired level.
Contrast performance is also very good overall. I measured a maximum native contrast ratio of 14,300:1, after calibration. And with regular video content playing on screen, you can expect just under 30,000:1 dynamic contrast with Sony’s new Dual Contrast Control system enabled. Additionally, with the dynamic contrast system setting set to Full, the lasers shut off when an all-black image is detected, effectively giving the 915ES an infinite level of contrast. However, throw just a few pixels of non-black picture information into frame and you jump back up to the same black level that 30,000:1 in on/off contrast provides.
Other than what’s provided by current JVC projectors, the 915ES is about as good as it gets for contrast performance from any home theater projector available today. Despite being used to the level of contrast my reference JVC DLA-NX9 provides, there were only a few instances throughout my time with this projector where I felt the level of contrast provided was at a disadvantage.
It took some pretty challenging video, such as the opening sequence of Avengers: Infinity War, to show the difference. I like to use this sequence to test contrast and black level performance because it not only shows the blackness of space, but also some pretty tough low-lit interior shots where mixed dark and bright elements appear on screen at the same time. While this sequence through the 915ES didn’t have quite the same dynamic range or black floor provided by my NX9, the performance was still extremely impressive, dwarfing all of the other projectors that I’ve reviewed recently in terms of raw dynamic range within the image. So, unless you plan on watching a lot of extremely dark video content, like you’d find on the later Harry Potter films or Game of Thrones, the 915ES should satisfy all but the pickiest of videophiles.
Keen-eyed readers may have noticed that a lot of these measurements are nearly identical to those I measured from Sony’s far more expensive VPL-VW995ES projector, which helps cement the idea I’ve had ever since the 915ES arrived – you’re getting nearly the same overall level of performance and image quality, but for dramatically less money. The crucial bit that I think makes this a reality is a much-improved lens compared to older 4K SXRD projectors that use, supposedly, the same lens. I’m assuming that Sony is hand-picking the best lenses for this model, which would explain what I’m seeing. The 915ES focused down on pixels a bit tighter and focus uniformity across the entire image has improved over previous models that share this same lens. It’s to the point where, from a normal seating distance, I don’t know how much an improvement in image sharpness the 995ES’s ARC-F lens would add.
The only areas of measured performance I’d like Sony to try and improve upon would be to increase native on/off contrast performance closer to what JVC is currently offering near this price point, and provide additional color saturation performance to cover, at minimum, the full DCI-P3 color gamut within REC2020.
The only major drawback to the 915ES is with its software handling of HDR video material. Let me be clear – if you want to get the most from this projector when playing back HDR10 video material, like you’ll find on Ultra HD Blu-ray discs and HDR video from most streaming services available today, you’ll want to steer clear of the built-in HDR video processing solution. It’s not that what’s included is bad, per say, it’s just that the way it processes and displays HDR is outdated by today’s standards. It’s the kind of HDR rendering performance I’d expect to see in the sub-$5,000 price segment, not something worthy of a projector costing four times more. So if you want to leverage all that this projector has to offer in terms of dynamic range and color fidelity, you’ll want to purchase something like a Lumagen Radiance Pro or madVR Envy to dynamically tonemap HDR video content instead.
The problem is that Sony is still adhering to either a reference PQ curve or an optional static tonemapping solution (enabled by default), which can be further augmented by Sony’s new Dynamic HDR Enhancer software tool. You can think of a static tonemap as a way to compress the huge amount of dynamic range encoded into an HDR10 image down into a fixed range set by the software that’s easier for low-light displays to handle.
The problem with this method is that the amount of dynamic range encoded into the video signal fluctuates as it moves from scene to scene and frame to frame, so this single set of instructions on how to compress an ever-changing amount of dynamic range found in the video is rarely ideal for all portions of the video being played back. What you’re often left with are clipping artifacts and an image that can appear overly dark, colors that appear oversaturated, and, ironically, subjectively lacking in dynamic range. Sony uses their Dynamic HDR Enhancer tool to try and fix some of these inherent flaws to a static tonemap approach. This software is what’s known as a digital contrast enhancement tool, not dynamic tonemapping.
In a nutshell, with this software, Sony shifts certain brighter pixels rendered within the static tonemapped image brighter, and makes certain darker pixels darker, in an effort to give the appearance there is more dynamic range within the image. Additionally, the software applies some desaturation of color to help mitigate any obvious oversaturated color issues. The processing works on a frame-by-frame basis. But compared to more advanced ways to tonemap HDR10 video material, even Sony’s Dynamic HDR Enhancer software leaves a lot to be desired. You still end up with an image that can appear overly dark and lacking in apparent dynamic range and, with particularly high-nit HDR10 video content, pixel information that’s supposed to be visible can be lost to clipping.
These inherent problems are why others in the industry, such as JVC and LG, have switched to a dynamic tonemapping (DTM) solution instead. Properly implemented DTM removes all of these issues because it can change the tonemap settings for each individual frame, providing viewers with not only all of the pixel information a static tonemap approach loses to clipping, but an image that appears far brighter overall, with more natural looking colors, and a better sense of dynamic range. When implemented correctly, DTM affords low-light output displays, like most home theater projectors, a new lease on life when it comes to presenting HDR. This is why JVC and LG include such software with their projectors and I’d like to see Sony make the same move on any subsequent 4K SXRD models. JVC and LG currently offer this type of HDR processing on models costing nearly a quarter the price of the 915ES, so Sony has no excuse not to include it as well. It really does make that much of a difference.
I fully realize that adding one of these outboard video processing solutions dramatically increases the cost of owning this projector. If you find yourself struggling to justify the additional cost, I’d recommend using one of Panasonic’s Ultra HD Blu-ray players to handle HDR10 video material instead. All models, including Panasonic’s $249 DP-UB420, feature the company’s excellent smart static tonemapping software, which not only gives you more control over how the HDR image is processed and rendered; HDR image quality is a step above what Sony’s built-in processing provides, too.
JVC’s DLA-NX9 (aka DLA-RS3000 in certain markets) is the 915ES’s direct competitor. These projectors have a lot in common and also a few key differences. Both are native 4K, offer a similar level of light output, similar build quality, and feature many of the same video processing and software features.
One of the main differentiating features between the two is that the NX9 is lamp-based, while the 915ES uses a laser-based light source, which is where I think Sony justifies asking $2,000 more for their projector. But the NX9 offers far greater native and dynamic contrast ratios, more color saturation, a slightly nicer lens, and a far more robust HDR video processing solution (the real-time dynamic tonemapping mentioned above), which elevates stock HDR performance well above what the 915ES currently offers.
At the end of the day, if you’re the kind of person who plans on watching a lot of HDR video, the NX9 is simply a better projector for this type of video content. That is, unless you want to spend extra money on an outboard video processing solution to bridge the gap with the 915ES. If HDR isn’t your cup of tea, however, as I noted throughout my review, SDR video performance is extremely impressive, with image quality that truly reflects Sony’s asking price.
Sony’s VPL-VW915ES offers the kind of measured performance and image accuracy that most home theater projectors only wish they could have. With that said, I feel that Sony has dropped the ball a bit with its software handling of HDR10 video material compared to others in the premium home theater projector space. And with HDR video quickly becoming ubiquitous across all platforms, this puts the 915ES a step behind some of its direct competitors.
If you’re spending nearly twenty grand on a projector, I think it goes without saying that you’re looking for a complete solution that allows you to maximize picture quality, no matter the type of video content being played back. The 915ES has the ability to look excellent with HDR video material relative to what others in the premium home theater projector market space are currently offering. Remember, it has the raw image performance necessary to do this. It’s just that it needs some help to get there. Namely from a Lumagen Radiance Pro or from madVR. I had the opportunity to use both of these video processors with the 915ES while it was here and can attest that HDR did indeed look excellent. So if you plan on buying this projector, know that adding an outboard video processing solution is a prerequisite If you want to take advantage of all that the 915ES has to offer.
With LG’s recent announcement that the company would be unveiling its first QNED MiniLED television at virtual-CES, TCL, and Samsung also revealing similar display technologies at the show, many consumers are wondering what the hell “MiniLED” actually is and how it relates to current display technology. And this confusion is perfectly warranted, especially given how many marketing terms in the flat panel display market already include some variation of “LED.”
In a nutshell, these new MiniLED displays are still LCD-based televisions that will sit in price and performance between the budget end of the market and the more premium space that OLED televisions currently occupy. The monikers that LG has chosen for said televisions simply describe the technology used to elevate performance to a level that’s worthy of something selling in an elevated-but-not-flagship price segment. The goal here is to try and bridge the gap in performance offered by OLED, and in some ways exceed it. But how, exactly?
The ‘Q’ in QNED signifies quantum dots, a technology invented back in the 1980s at Bell Labs. Quantum dots are man-made nanoparticles that have semiconductor properties and are primarily used to enhance the color performance of a display. Prior to HDR, stock color performance offered by most LCD televisions provided enough saturation on their own to faithfully recreate the video content being played back. But with the advent of Ultra HD Blu-ray and HDR streaming services pushing the requirements for accurate color rendition even further, a lot of R&D has been put into this decades-old technology, finally putting these nanoparticles to good use.
To properly utilize quantum dots, they’re applied to a film layer that’s then sandwiched between the LCD panel and backlight. The dots themselves are insanely small, ranging in size from 2 to 10 nanometers in width. When the display’s backlight hits them, the size of the quantum dot dictates the wavelength of light it emits, ultimately providing an exact color designed by the manufacturer. Larger-sized dots emit light that is shifted towards red, with the exponentially smaller dots emitting light that is shifted more towards green. Through this implementation, colors not only become more saturated, they also become more predictable, allowing companies who use them an inherently more accurate image with less performance difference between each display.
Additionally, the quantum dot effect on color stays even when a high-brightness backlight is used. With current OLED technology, deep, saturated colors are an inherent quality, but only below a certain brightness threshold. Quantum dots are less fussy, allowing enhanced color performance at extremely high nit-levels, up to at least 4,000 nits.
Then there’s the ‘NED’ part of the acronym. This is a reference to LG’s proprietary NanoCell LCD-panel technology. Such displays feature an IPS LCD panel with enhanced color and viewing angle properties. Historically speaking, LCD displays have had issues keeping colors and contrast consistent as you move off-axis from the center of the image. This means viewers sitting on the left or right side of the couch might be seeing a completely different image than those viewing from front and center.
More consistent image quality at off-axis viewing angles is another one of OLEDs strengths, but with NanoCell technology, LG is attempting to bridge this gap, too, by applying another film layer of nanoparticles on top of the LCD panel to absorb unwanted stray light at particular wavelengths. This not only enhances the purity of color and contrast on-axis, it helps to keep this enhanced performance at wider viewing angles as well, with a more consistent image that has better color rendition and an image that appears less washed-out.
But what about MiniLED? This shouldn’t be confused with microLED, a display technology more closely related to OLED than QNED, that’s used primarily for digital signage and large-format theater displays. MiniLED is a newly developed LCD backlight and dimming technology display manufacturers have recently adopted meant to help bridge the gap in contrast performance between LCD and OLED displays currently on the market. Today’s LCD panels cannot produce a true level of black on their own, so dimmable backlights are used as a means to boost contrast performance.
Unlike more traditional edge-lit or full-array local dimming (FALD) backlight technologies, MiniLED ups the ante, going from tens or hundreds of individually addressable LEDs to tens of thousands. LG’s own MiniLED backlight solution consists of up to nearly 30,000 LEDs that can produce phenomenal peak brightness and a claimed contrast ratio of 1,000,000:1.
These LEDs are supplemented by up to 2,500 individually addressable zones to provide advanced local dimming, providing a smarter and more seamless dynamic contrast system that removes many of the inherent problems previous techniques had, such as blooming, a halo artifact where pixels surrounding a bright object appear brighter than they’re supposed to be. With more addressable zones for controlling the backlight, MiniLED lessens these artifacts dramatically. MiniLED is also scalable, adapting to displays of all sizes, making it a great backlight option for all LCD-based displays as we move into the future.
But how exactly does QNED MiniLED stack up to current OLED displays? It’s a bit of a tossup really. While the self-emitting pixels found on OLEDs produce true black and a mesmerizing level of contrast within the image, OLED is rather limited in overall image brightness. Most OLED panels on the market today top out at around 600 to 700 nits of peak image brightness, and that’s only if roughly half of the pixels, or less, require them to be that bright for short periods of time. If more than half require this much brightness, the television’s auto-brightness limiter (ABL) kicks in and reduces pixel brightness down to about 200 nits, depending on the exact television model in question.
ABL must be engaged, otherwise the pixels have a tendency to degrade and lose performance. And just like with plasma televisions, OLED can be prone to image retention, more commonly referred to as burn-in, where a ghost-like image can remain stuck on-screen from static imagery that remains displayed for too long. Most OLED televisions have countermeasures in place to prevent this from happening, but it’s not foolproof.
LCD-based televisions are not prone to image retention and most offer far higher image brightness (up to thousands of nits more) that isn’t limited to a specific percentage of pixels, thus potentially providing more dynamic range required for certain types of HDR content.
If you have the budget for either type of television, the question you should be asking yourself is – do I want a higher brightness display or one with higher contrast? If you prefer to watch with the lights off, OLED is probably still the better choice. But if you’re viewing with the lights on or in an environment with lots of sunlight, the higher image brightness provided by QNED MiniLED is probably the better choice, as it cuts out a lot of the ambient light within the room that ends up hitting the screen, potentially providing a more subjectively pleasing image.
With the combination of an advanced backlight array of thousands of individually addressable high-brightness LEDs, enhanced color performance, viewing angles, and image accuracy thanks to quantum dot and NanoCell technologies, there’s a strong argument to be made that this may be close to the peak level of performance that LCD-based televisions can achieve and at some point will be replaced by a new, cheaper display technology in the segment of the market where these televisions currently sit.
But that display technology may already be here. Samsung has recently announced plans to enter the large-format OLED market with their own less-costly and brighter variant of OLED displays. Samsung hopes to simplify the typical OLED manufacturing process by reducing the number of material layers necessary to produce a working OLED television from 22 to 13. Samsung says this will nearly quarter the cost to manufacture an OLED panel. They plan on using quantum dots to help increase image brightness and to filter the light that these now-missing layers would have done. Samsung’s $11 Billion investment in developing quantum dot OLED panels will start two production lines in South Korea between now and 2025, with the company aiming to start production sometime in 2021. So it may be that QNED MiniLED flat panel technology may be short lived indeed.
