Proyector Sony SXRD - CineAlta 4K

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Y ese tal Dios... ¿sabe alemán?

No Inglés :freak
Altavista a lo bestia.

No other manufacturer excited as much attention in the home cinema industry in the last months, as Sony. With its recent SXRD technology it succeeded to the enterprise to set in record time of yardsticks in dissolution, picture depth and colors. The last caper: The VPL-VW100, which celebrated test premiere with Cine4Home European-wide.

But the next caper follows immediately: Also in the professional segment the SXRD technology sets new yardsticks, at least in the dissolution. The models SRX-R110 and SRX-R105 (picture above) offer a dissolution of 4096x2160 pixel, that are almost 9 million pixel! We examined this characteristic and all other display spaces in detail.

With projectors like the SRX-R110/105 it does not concern home cinema projectors, but around pure professional devices for display widths beyond the 5m. corresponding is rarely it that one can argue with such models in peace and at the same time also still under suitable space conditions. We were all the more pleased, as of Germany invited home cinema enthusiast Nr.1, Wolfgang Mayer, us, the newest wonderwork of the technology in its personal to test (home)Kino. It did not shrink from troubles to organize only few days after the initial delivery a test copy here again thank you!

1. The "test area"
As previously mentioned the projector is meant not for "modest" conditions from home cinemas, but for professional projections in industry, economics and cinema. In order a really objective picture from the efficiency to make oneself, one must the equipment also under suitable conditions to test be able. The private cinema of Mr. Mayer, a display width of 7m is absolutely unique and perfectly with absolute black-out, black walls and without disturbing sources of light places so some public cinema in the shade here.
Above photo developed for Mr. Mayers during the development phase of home cinema of 4m on 7m canvas width and shows impressively the size. In the carcass simply white mol clay/tone was pegged to the cover, in order to get a feeling, as largely the 7m works Also with 1,80m body size one looks before the canvas like a dwarf...

With our arrival the projector (unfortunately) was already developed. How one sees in the following pictures, the SRX-R110 is in outstanding society from the same Japanese "nut/mother house".

Here probably each home cinema heart strikes more highly: High ending projectors where the eye looks. This particularly came to meet our test, because thereby direct comparisons with the "small brothers" of the SRX-R110 were possible. We had it also so comfortably, the electrical cinema seats with couch device rarely set likewise yardsticks, only the female company were missing to us unfortunately.

2. The technology
The projector sets yardsticks in the size under aspects of home cinema also. With dimensions of 740 x 500 x 1330mm (29 4/5 x 19 4/5 x 52 3/5") and a weight of at least 110kg it usually needs its own Vorfuehraum.
The powerful front of the SRX-R110 The Design failed for professional equipment unusually. Instead of a black "cube" the projector works rather like a spaceship from one the well-known Science Fiction films or like a camouflaged military weapon. This is confirmed also in the profile admission. The entire housing consists, like it for a professional projector belonged, of flat black metal and obtains themselves a stable impression. The optics necessary for the projection must be purchased separately and costs due to its high-qualityness?20,000. approximately -. four different models of different focal lengths stand to the selection: The selected optics is used in front and works uncommonly powerfully in its appearance. When exact regarding it is noticeable that in their a scattered light screen is inside, probably for contrast optimization. The large optics with integrated screen (picture down, arrow) The difference between the models R105 and R110 are the shining means and the light achievement attainable thereby. In both models are equal two lamps, which can be operated both alone and in the tandem. In the R105 this two 1000W xenon lamps are, in the R110 even two 2000W xenon lamps. The model R105 reaches so maximally a light achievement of 5000 lumens, the model R110 even 10.000 lumens. Beyond that the lamp brightness in several steps can be varied and be optimized so optimally on the targeted application and the canvas size. In our test we operated the projector (R110) with only one 2kW-Lampen. The necessary ventilation makes clear after switching on on fast that it does not concern a home projector: The projector is so loud that it needs definitely its own area. Particularly interesting it is to be also observed, how the lamp after-after still approx. one minute after switching off red.

Each particular had a native resolution of approximately 8.85 million pixel, the SR110/105 is thus scarcely a 9-Megapixel projector. One of the three SXRD panels In the picture above very well the panel of the superlative is to be recognized with the control lines, which reflektiv like a mirror works. In its pixel structure it develops technically on the hp panels of the Qualia004. In order to increase the dissolution in such a manner, one doubled simply the diagonal from 0,78 tariff to 1,55 tariff, which leads to a quadrupling of the surface and thus dissolution. Accurate resolution amounts to 4096x2160 pixel. That it concerns a genuine cinema projector, one recognizes also fast by the display format. It corresponds to not our video standard of 1,77:1, but the typically American film format of 1,85:1. At 16:9 feed can be used the over-lasting surface on the right of and left for a horizontal Lens SHIFT.

The above colored surfaces indicate true to scale the different usual dissolutions compared with that of the 4k-Projektors: Standard PAL/NTSC the format is of maximally scarcely "small" over 414,000 pixels so in its dissolution that it takes off only one corner of the 4K projection.

Also constitute the at present usual "small" dissolution of hp of 1280x720, as they exhibit current home cinema LCD and DLP projectors, with 900,000 pixels only a very small part of the surface.

Even the Full hp dissolution with approximately 2 megapixels covers less than a quarter of the projektionsflaeche. It becomes fast clear, how much Potenzial the projector in things offers dimension of picture area, image quality and flexibility. This underlines also its technical operational principle:

The SRX-R110 is developed like four projectors in one, i.e. each of its hp picture quarters can be headed for separately. Necessary are for this appropriate input boards. The connections are on the right side of the projector as well as a status LCD, which holds the operator over the current operating condition up to date. The wuchtige projector with its connections Four module-guide offers the projector for the input boards, with which the user has at present three different models to the selection.

Also during the support of the classifications of signals one recognizes that this projector is aligned to the professional market exclusively:
"LKRI-001" is similar board, for the feed of RGB H/V signals. The five BNC entrances are still earliest well-known from high-quality computer monitors or projectors.
"LKRI-002" is a HP-SDI board. It supports 1080 YUV/RGB 4:2:2 signals beside 525/625 standard definition video also. SDI is, like many Heimkino Highendern admits is, those uncomplicated and at the same time high-quality and most reliable kind of the transmission, also for hp material. Unfortunately become/will this standard never transferred to the home cinema range.
The best input board is the "LKRI-003", which permits 4:4:4 as dualleft also HP-SDI.
A professional projector becomes more universally applicable with increasing signal support. For this reason are further input board variants, e.g. an DVI entrance to expect in the course of the yearly. Many manufacturers recognize thereby also the increasing necessity for digital copy protection systems such as HDCP. It remains hoping that also Sony sets here on flexible application type and support will realize DVI with HDCP.

Our test equipment offers a healthy mixture, from each input board in each case one: Three of the four Slots occupies Each of these input boards is responsible for its own picture quarter. This principle has pro as well as cons. A large advantage is in the fact that the projector is able to project up to four completely from each other independent sources of picture at the same time on the canvas. Uninteresting for the cinema rather this mode offers undreamt-of possibilities for many presentation ranges. Whether in controls center, with industrial conferences or in wettbueros, "Quad"Modus is here very flexibly. Example of use: The projector indicates at the same time satellite photo, geographical maps and a statistics. Everything in each case in full dissolution of hp! In "dual"Modus only two different pictures on the canvas are projected next to each other, in each case again with own dissolution of hp. Apart from these flexibility advantages the large disadvantage is to the so-called single mode in the actual full 4K-Projektion of only one picture. Since the dissolution of projector is as it were ahead here the signal and recording standard a step, the 4K-Bild must be likewise joined from four separate hp signals. From four Mach one: The single mode in genuine 4k-Aufloesung The problem is to four signal sources obvious, must be synchronized one on the other. Besides one needs for a full 4k-Projektion equal four input boards, which must to be bought all separately in addition and thus for clear extra costs provide. Our test equipment would not be to be projected for example with its three input boards so yet in a the position, a fully dissolved 4K picture in the single mode. It becomes likewise difficult, if one liked to feed an accordingly highly dissolved PC picture (e.g. digital photo) into the projector: For this one braeuchte a system, which splits the original picture into four subranges and then as own signal into the projector feeds these separately, perhaps with four separate SDI Grafikkarten. Natural the R110 is to be converted however in a the position, a detailed HP-SDI signal format-filling with HDTV or 2K dissolution to its native dissolution and represented. Later for this more in the picture part.
3. Operation Also the operation is completely co-ordinated with the professional employment. Since a cinema projector can be adjusted badly by on screen menus and remote maintenance on the canvas, the main control component consists of a PC steering wheel often commodity. Alternatively connected by serial interface or network, here e.g. a Notebook serves as comfortable "cable remote maintenance". Our "experimental setup" with steering wheel often commodity In addition, additionally further a remote maintenance belongs to the scope of supply, with which the most fundamental functions can be called such as source choice, zoom shot/focus, Lensshift and Main power. Also simple picture parameters such as contrast, brightness and farbsaettigung can be adapted with it on the fast one, the green OnScreen information however very spartanisch failed. Interesting for our readers the different tax and picture options of the separate software, which we want to describe here in detail, are natural. The software is attached to the projector as CD and is installed after only few minutes on the desired control computer. The SRX CONTROLLERS software, version 1.02 After the program start one is surprised of the clear control surface, which can be handled for professional equipment unusually simple and intuitive. On the main side the projector which can be steered can be selected. It is possible actually over Ethernet to steer a whole network from SRX projectors to since its own IP address can be assigned to each equipment. In order not to lose the overview, it is possible to assign the individual devices names and locations as additional information. Central control of several projectors Within the "Installation" range of the software above all technical facility parameters of the projector are ordered. With the following screen SHOT one receives a good overview. The installation menu In the upper left range "screen control", graphically very easily understandably the different screen Split modes of the projector are activatable: Single, double and Quad. Depending upon mode also simply the sources can to be assigned or a range faded out completely by mouse-click. Right above the user is informed about service life, lamp remainder time and possible disturbances. Here the projector can be switched off also if necessary. "LensControl" offers self-describing focus, zoom shot and vertical Lensshift. The "progressive display" mode is meant for a genuine 4K dissolution with four separate signal sources. The functions "Lamp SELECT" and "Lamp power" are particularly practical, with them can the desired brightness on the canvas be adjusted. If one needs the full brightness, then one starts the dual mode, in which both 2kW lamps shine at the same time, here reaches the R110 up to 10,000 lumens. Additionally one can dimmen the lamps manually, in 7% steps up to 51%. With a lamp and moeglicht little achievement are minimum possible for so approximately 2000 lumens. The internal width unit image generator is likewise practical, with which the most usual test patterns for color area -, contrast and sharpness measurements for the order. Screen control menu "screen the control" menu (picture above) serves for the picture adjustment of all individual entrances, everyone separately for itself, with "signal info." is directly information for the lying close signal sources readable. "signal Adjust" is self-describing, here has one the usual picture parameters for the order. "signal mode" serves for the selection of the transmission standard (YPbPr/RGB) and "read but emergency leases" can with "I/P mode" the De-Interlacer on standard half-image material or PsF (progressive segmented Frames) be placed. By the way it is possible to store different attitudes as profile which can be called up with "Function" or on the remote maintenance directly. Color/Frame menu The "Color/Frame" column offers, like the title already says, resuming parameters to the color and signal adjustment: For a cinema projector the color area ("Color space") is important, 709 (video D material), DCDM (film) and CIEXYZ stand to the selection. Also the color temperature ("Color temp") can be co-ordinated, work calibration is here "DCI WIP" (film) and "6500K" (HD/Video/RGB), which can sometimes relieve much calibration work to the user of. But also own temperatures can be put down under "Custom1-4". "gamma" keeps three different brightness distributions ready, to "1.8", "2.2" and "2.6". Thus the projector is prepared for different applications, space occurences and standards. With "Frame Adjust" can be adapted with similar signals phase and Clock and be shifted with all signals the image position horizontal. Service menu Password-protected service the menu offers surprisingly few options. Are from principal interest here the Gain and bias automatic controller of the basic colours for the white alignment. Direct influence on the picture only the function "interpolation" has for the fine scaling from hp signals is meant in this menu. To examine menu leaves itself nevertheless still in the service whether the entire firmware of the projector on the current conditions is. Altogether the control concept of the SRX-R110/105 is so practical and durchdacht that it would stand also for a modern home cinema projector well. Only still more functions we would have wished ourselves here, but in most cases also "updates" pull to software behind itself. 4. Picture We were strained with the start-up of the new projector sign of Sony. Does higher resolution bring something with HDTV material, is at all perceptible for the eye the profit? Can the 4K actually reach or exceed the image quality of 35mm projections? 4,1 pixel structure (Know How left here) Which represents more within the home cinema range a problem for pea counters for objective view of picture, a serious topic is in the professional use: The pixel structure. In cinemas or with presentations and Simulationen viewing distances are fallen below often clearly by double display width. With dissolution lacking and large pixel distance fast the fly lattice effect can adjust itself with so close view, which clouds the reality feeling clearly. Therefore those cannot at all be inconspicuous the pixel structure enough. The Sony 4K projector here two characteristics come much to property: On the one hand its high native resolution of nearly 9 million the pixel, on the other hand its high filling rate of clear over 90%. The distance of the pixels amounts to actual among themselves less than 0,35µm. On our test canvas with 7m display width was accordingly the result: After Adam giant is with this display width a pixel approximately only 1,7mm(!) broadly. In addition the distances are in such a manner small that they cannot be noticed from short viewing distances no more. Here the 4K sets new yardsticks, which let the problem of "Screendoor" fail for all times purely academically. 4,2 color area (Know How left here) In things color area gives it likewise a large difference between home cinema and cinema projectors. While first must fulfill only the video standard with their modest color area, a digital Cinema projector should be able to exhibit just as large color area, as its Zelluloid brothers. Because in the cinema there, as in nature, are strong red, green and blue and from this resulting mixed colors. Professional projectors use therefore the same source of light, xenon. How already described under technology, the R110/105 orders equal over two of it. We measured and were almost speechless the color area: Outstanding color area Above CIE diagram shows the maximum color area of the 4K-Projektors (white triangle), determined with the internal test pattern generator. The projector uses its far color area, if it is switched into the appropriate "DCDM" mode. As one recognizes, the color area can keep up to a very large extent with that from film, large compromises must one not be received. In order to use the large color area in addition also for fine nuances without color reductions à la DLP, the SRX-R110 works additionally with a 12bit-Signalverarbeitung, which permits it a theoretical clearance of approximately 4000³ nuances. But as professional equipment the 4k-Projektor should not be optimized alone on the filmwiedergabe. Many conceivable applications contain "only" standard passing on in SD- or hp. The color area is here differently defined. In the color menu of the steering wheel often commodity the color area "709" can be activated. We checked it with appropriate test material. Messergebis shows that the projector is co-ordinated outstanding e.g. with our PAL standard. All primary and secondary colors are exactly, where they are to be. Thus the projector without Nachkalibrierung achieves an absolutely akkurate color representation. Unfortunate that the manufacturers walten only in so high preisklassen such care leave, in the home cinema range such work tunings are still utopia. 4,3 color temperature (Know How left here) Also with the color temperature a conscientious factory setting is particularly welcome and practical. As already describes, the projector offers the option of "6500K", particularly important for video. Also we examined these with our sensors: Absolute color temperature and RGB tuning of the 6500K-Presets Above result of measurement shows, how exactly a "remote calibration of the other end of the world" can fail. In middle brightness on the point the maximum deviations within a framework, which cannot to at all hardly be noticed in the normal enterprise, keep themselves exact. Only the gruenstich in lower brightness is to be felt as disturbing, since green appears particularly remarkable. A little unfortunate is it there that the 6500K-Setting can be refined not further by the user. This must evade for own attitudes on "Custom1 - 4", which are aligned to the lamp spectrum however and so "from the front" on D65 must be optimized. The "lamp white" lies as used from xenon quite near D65, shows however still another certain green surplus. In the diagram above the maximum white of xenon lamp is to be recognized: Left during throttled lamp achievement (51%), right with fuller. One sees that the lamp control has only little influence on the color characteristic. Together with that outstanding co-ordinated color areas the R110 offers already ex factory optimal conditions for one perfectly to color representation. Accordingly well also our impression was with current pictures.

4,4 contrast, brightness (Know How left here) Difficult it is still to be combined a large quantity of light with a high contrast. Also the DLP technology well-known for their high contrast reaches a contrast relationship of over 1500:1 with brightness beyond the 2000 lumens only rarely. In addition, with conventional cinemas the contrast relationship is a difficult topic, in the reality often hardly reaches public cinemas a value of over 1000:1. For home cinemas berauschender value, he is not quite sufficient in the cinema in combination with the enormous canvas and the better colors, in order to obtain a plastic and reliable picture impression. It is important to evaluate professional equipment after its operational area and the characteristics relevant for it. The SRX-R110 is indicated as a light achievement by 10,000 lumens on use of both 2kW lamps. With our test we operated the projector with only one lamp, which exhibited when new a measured luminosity of over 5000Lumen. In the dual mode therefore the factory specification of 10,000 lumens is correct. In the cinema area of Mr. Mayer practical Sehtests showed that the projector threw still sufficient light also with clearly throttled lamp achievement on the canvas, in order to let also bright field recordings appear reliably illuminated. We can to each home cinema friend here only guess/advise to make themselves their own impression display width planned by the picture brightness of each projector with and not be publicised overall on any daumenregeln, as them at present in various places again and again to respect or to take these as K.O. criterion. We likewise examined the indication of contrast of "1800:1" of the manufacturer: At our measurements the test equipment exceeded this value with scarcely more than 2000:1 clearly. Considering the enormous light achievement this is an impressing value, which will not be unfortunately reached in many cinema premises due to the space condition. To the comparison: One of the best available home cinema projectors, the Qualia004, reaches a contrast of no more than 1300:1 with maximum brightness (1400Lumen). A contrast of 2000:1 does not sound under home cinema criteria first after much, but like already with the Qualia it shows up also with the 4K that the on/off contrast straight has a certain influence on the picture plasticity with large display widths beyond the 4m only. Like all SXRD projectors also the R110 zaubert by its high-quality optics such a high in image contrast on the canvas that even best DLP projectors often pull the shorter one. The Durchzeichnung both within dark and bright ranges is thereby on high level, should be co-ordinated however exactly with the signal source. For "black value fanatics" maximally deficits in the absolute schwarzwert result, how he becomes clear in dunkelstesn film scenes. Here the projector achieves tatscaehlich a better schwarzwert than the Qualia004, but no absolute black. For its intended purpose, the employment in the cinema, this achievement is however more than suitably, even better, than one is used to which from zelluloid. Notice: The R110 is to replace the similar cinema projection medium-term, without having to accept thereby deficits. Rarely before we saw a grossbildprojektion with several meters width in as a plasticity, as with the R110. 4,5 gamma distribution (Know How left here) How is the brightness distributed in the context of the kontrastumfanges? The picture plasticity depends particularly on the used gamma. For the gamma adjustment no detailed parameters are to the user at the disposal, only three Presets are callable unfortunately: 1.8, 2,2 and 2.6. The gamma attitude fitting for video is, as our master readers well-known, 2.2 Preset. As is the case for color area and color temperature Sony realized exemplary precision also here during factory setting: As in the picture to be recognized above, the appropriate Preset leads even 2.2 curve without swallowing dark ranges or "Clipping" to in bright. From it the Durchzeichnung in dark like also bright pictures, already good in the last chapter, results. Also the values of the Presets "1.8" and "2.6" are point-exactly reached. A gamma curve of 1,8 is suitable for lightening the picture, if the projection conditions are not optimal (e.g. not completely darkened area). In connection with the high light achievement of the projector remarkable results result also under such conditions. The 2,6-Preset is again meant for the projection from film-Material, since for this such a brightness distribution is recommended. As in perfectly darkened home cinemas so a steep gamma curve provides for a still more plastic picture feeling, if bloomings by scattered light one avoids. But for this reason professional cinemas are also darkly furnished to completely black. Altogether the R110 does not show weaknesses also in things brightness distribution, from the user configurable gamma curves as option would have been however still more welcome. 4.6 optical sharpness/convergence (Know How left here) The attainable image definition rises and sinks with the quality of the used projektionsoptik, it is the key member in a high-quality projection chain. High ending made of glass and metal In things sharpness does not show the R110 deficits, over the entire image plane the pixels and edges of object is continuously sharply illustrated. The optics affords no weaknesses here. Also with the convergence the optics does not offer best results, it provokes "Chromatic Abberations". Differently it looks however with the panel convergence. The test equipment exhibited a disalignment of the color red around two pixels downward and pixels to the right. Convergence from the close-up This convergence shift lies after our information in the range of tolerance of the manufacturing. Considering the enormous dissolution and comparison-wise minimum panel size in the projector such a tolerance is understandable. However the convergence was identical over the entire picture. With a simple digital convergence shift, as they already exhibit e.g. different LCOS projectors from the professional range for years, this had to be prevented. With their it is in principle possible to provide at least in the picture center for a good convergence in the case of our test equipment even over the entire picture. Here our hopes on an update the firmware of the projector and the steering wheel often commodity remain by PC. And first information after, seems to fulfill itself our hopes in the future... Apart from "unnecessary" convergence shifts for lack of digital reconciliation we would like to relate the often superproportionally aufgebauschte "problem" of the convergence shift here once justified. Straight ones with this topic will transfer partial observations from test patterns wrongly to current pictorial material, up to abstruse theories, after those a convergence shift the dissolution of the projector halved. We look at ourselves to this topic times an example: The following test pattern (cutout from original Sony 4K test pattern) shows different dissolutions up to the highest (in pixel clock). Above test pattern shows perfect convergence (so far it your monitor permits). Now we simulate a convergence shift of the color red at the same time horizontal to the right and vertically downward. One recognizes the red seam edges right and down, but the objective dissolution remains unchanged for the eye in most frequencies. Besides one must consider the viewing distance: Above cutout has width of approx. 80cm. going we an approximately massstabsgtreuen distance from your computer monitor with 4K-Aufloesung and a display width of 8m out, then you see the picture for the moment from a transferred distance from 4m to the 8m canvas, this correspond to a view distance of only half canvas width! If you double on "recover" to 1.2 subject display width (with many home cinema projectors always still a too close distance) to your Betrachtunbgsabstand, then the convergence shift continues to itself relate. Make the test and select you a viewing distance to the following picture of twelvefold photo width! Original and "falsification", to regard from twelvefold photo width. One notices fast that it requires already very good eyes and concentrated observation, in order to recognize the deficits to the original. Here again the same effect with material picture (likewise from test pattern). Convergence shift of red (down) And also here one should stick when regarding not with the "nose at the monitor" (this would correspond to a distance from approx. 1m with transferred 8m display width), but a distance of twelvefold photo width to select. In addition it must be considered that above test patterns contain pixel-exact color information, i.e. each pixel has its individual farbwerte. But transferred color information with the video recording and transmission will usually only with half dissolution (e.g. 4:2:2), how the horizontal color dissolution of a hp picture corresponds only to 1920:2 = 960! With DVDs the color information amounts to not rarely only one quarter of the picture resolution. In practice this that equal four pixels divide and the same color, means the brightness in full dissolution is only modulated. As not rare here passing on is a usually by far closer bottle neck, than possible "lack" of the projector. Resuming information to the topic finds you in our know-how Special: "the variants of the YUV of component signal - Chroma Upsampling and the problems". These observations are not to be regarded however as charter for convergence shifts. Depending upon application, particularly with Desktop projections and white writings, the convergence shifts are to be observed depending upon distance. The better the convergence, the more pleasing. 4,7 Color Uniformity/Shading (Know How left here) With our first meeting with the Sony SRX-R110 one year ago on the Integrated system Europe made a unheitliche color distribution on the canvas still concerns for us: A large range of the picture was clearly green discoloured by a color cloud in such a way specified. The technical designers took care of the thing and the Shading of the finished standard set continued to be on outstanding level. Even with picture-filling grey surfaces no strong color distortions were to be constituted, only quite not in the current film. The R110 exhibits even less Shading, than a Sony Qualia004. 4,8 picture impression generally After so many theoretical views with test patterns we were particularly strained on the image quality with current film. Even if for lack of 4K-Quellenmaterial no complete utilization of the projector were possible, we gave ourselves largest trouble to feed the R110 with appropriate hp material. We began D-theatre purchase cartridges, partly television shots, with HP-DVHS volumes, partly partly Studioaufnahmen. To the use the newest D-VIDEO home system recorder came from the house JVC with digital hp mixing CCIT place. JVC DVHS combination The connection to the professional projector is thereby not at all so simply, finally still has this none DVI/HDMI interface and already not at all over the HDCP copy protection. Remedy creates here a DVI HP-SDI transducers from the house Barco. With it it was possible for us to produce the suitable classifications of signals. The essential transducer for sources of home cinema It acts thereby likewise around equipment out of the professional range, which does not suggest quality losses. The picture impression of our material already was with the Sony 4K-Projektor impressing: With tremendous light achievement in bright scenes it radiated field recordings naturally on the 7m canvas. The likewise good schwarzwert, which can quite take up it with the usual "cinema-black", was surprising it even exceeds. The Durchzeichnung was exemplary with preset 2.2 gamma curve thereby, no details disappeared in the darkness. In the completely optimized cinema area of Mr. Mayer, who does not know the problem "scattered light", the projector could out-play also its SXRD typical high in image contrast, which is continued to promote by the high-quality optics. Darken and centralbright scenes worked plastic and spatially deeply, like one it with a digital projection to face gets rarely, only quite not with so high light achievements. With its contrast of over 2000:1 the projector struck the reference equipment for large home cinema widths, the Qualia004 in things schwarzwert and picture depth even clearly. And this is called already something, because finally took place the direct comparison to a Qualia with additional ISCO-3 (professional version), which increase the light achievement in the 2.35:1 format without Chromatic Abberation and cushion delay by 30%. The powerful Profi-ISCO3 costs as much as a Ruby In things image definition was to be constituted first no large advantage opposite the Qualia. This is also no miracle, since D-theatre-Tapes do not use the full horizontal 1920-Aufloesung, but are filtered starting from approximately 1400. In addition, Mr. Mayer had select D-VIDEO home system photographs with full dissolution. Here already the unusual image definition of the SRX-R110 was evident, although the pictorial material only a Viertel(!) the native dissolution of projector uses. The internal scaling works at it very exemplary, it obtains a high sharpness without scaling interference and ensures in the direct comparison for a still easily improved similar to Look opposite the Qualia004, the picture reminded still more of a good film-Projektion. Also premiere hp over the new Pace HDReceiver is owing to good transmission an appropriate source of picture for Sonys new professional projector. The Pace box (on the left of above), which falls by its moderate processing optically from the row The high range and MPEG4 coding provided for still fewer artifacts in the picture and left open hardly still desires. Only the inaccurate gamma distribution of the feature channels placed us before an adjustment problem (however on very high level), here still another little more Durchzeichnung would have been desirable. We hope that premiere with official program start in the future more care walten leaves. Sport transmissions via premiere looked likewise outstanding. Here the projector can out-play its fast response times, pulling tight or False Contour à la DLP is in perfectly strange. As high point of our test sifting we came finally to native hp material of Sony directly: Via a special CineAlta HP-CAM Player we were in a the position to feed directly without converters a HP-SDI signal of the source into the projector. Professional HP-CAM Player for optimum picture It is faszienierend, like a coaxial cable is already sufficient to transmit an adequate hp signal without the usual connecting problems unfortunately sits down to such zukunfstweisen standards within the Consumer range never through (copy protection and license politics of some manufacturers are thanks). 30-minuetiges HDCAM Tape Just as fascinatingly is then also the image quality: The multicolored mix the demo material from computer animations, material film and sport cutouts showed a Brillianz, like one it before not to face got, only quite not within the home cinema range. Apart from the picture depth and sharpness already mentioned the projector could out-play also the enormous color area of its xenon lamps here fully. The colors worked still more strongly and more nuancierter than with the Qualia, which was still continued to intensify by higher luminous intensity. We were particularly impressed thereby by a 25p hp with cut of a Robbie Williams Concerts, "Let ME entertain you". Above screen SHOT becomes the live-erlebnis with the Sony4K projector unfortunately in keinster way fair. Were offered to the eyes an absolutely natural image definition, a three-dimensionality and a color splendour the their-same search. Straight one with this high-quality material showed the projector also opposite the Qualia again easy increases in naturalness and detail representation, and here it concerns only HDTV material! In order to win at least a distant impression, how the projector looks when native 4K control, we availed ourselves trick: By the Quad mode we projected, in each case the outstanding hp material four times at the same time on the canvas in scaling suitor direct control. If one concentrated now on the detail representation of the picture, then it became fast clear that with approximately 1.2 fachem viewing distance to the total width the dissolution gain of the projector precipitates very clearly. The picture appears in such a manner sharply that it already is itself because of the limit of the perception ability. If one imagines an overall view with the detail sharpness of the picture quarters, then one recognizes the enormous Potenzial, which offers the 4K dissolution for cinemas. By disturbing convergence shifts was not hardly to be recognized by the way also in the finely dissolved pictures to nothing at all! Rarely we had lately such an "Wow experience". 5. Result To the mad beginning of the SXRD technology within the home cinema range Sony points in impressive way that this recent technology sets new yardsticks also within the professional range in record time in things image quality and possible dissolution, which are reached at present by no other digital technology. Digital artifacts are absolutely strange to the projector, whereby it its intended purpose, which becomes fair future replacement of Zelluloid projectors. It underlines this furthermore with its cinema something similar large color area and its high contrast. With the SRX-R110 an image quality is possible, which is ordered at present by as good as no public cinema with the often only moderate film copies. If it should once actually replace the similar projection, then this will be noticeable to no cinema Gaenger, at the most positively. Safe dust shield of the optics after getaner work Despite these outstanding achievements it remains however questionable whether the projector will become generally accepted in foreseeable time within the professional range. This has above all reasons in the aufwaendigen installation. Since the equipment with its high native resolution at present its time very far ahead is, above all the passing on possibilities limp afterwards. A highly soluble 4K-Bild is at present only possible by feed four separate HD-2K of signals. Beside the expensive input boards this makes a whole system from passing on periphery, which overhauls the projector (nevertheless round?120,000 necessary) in the price easily to be silent from existing 4k-Bildmaterial completely. Thus the question, which oriented commercially prospective customer from enthusiasm or quality consciousness is ready for so an investment, arises finally must professional equipment, as the name already says, also pay. But also a technical Limitation limits the R110 at present still clearly. The light achievement, which is recommended with 10,000 Ansi lumens only for display widths to 12m, is meant. This corresponds to only medium sized cinemas, full canvas sizes still lies in far distance. In addition come the enormous running costs of the Lampenduos, which likewise lies over those similar projectors. Also with two lamps in the light achievement limits Thus in the course of the time will only be it shown, how the technology is accepted from tomorrow in form of the SRX-R110 already now commercially. We remain in large hope and best future desires, because one showed us the projector on two vergnueglichen test days: It is to an image quality able, about which even experienced Kinogaenger can only dream at present. Within the home cinema range we wait still for the hp standard as the quality from tomorrow, but the Sony R110 is already a step further, in the 4K-Welt from the day after tomorrow, with still more sharpness, still fewer artifacts and above all by far better colors. The last domains of the analog world begin to crumble... We thank you here again cordially Mr. Wolfgang Mayer (picture left above, with Uli long one of Cine4Home), this "test vent" only made possible and us hospitably and forestalling always helping to the side. Likewise Videocation thanks for the supply of the test equipment to the Sony Professional partner. www.Videocation.de 1. February 2006, corner-hard Schmitt 6.
Technical data (manufacturer data!) SXRD DEVICE Main Specifications

- display DEVICE: SXRD (silicone x-valley Reflective display)
- Size: 1.55"across diagonal
- resolution: 4096(H) X 2160(V) of pixel
- Reflectivity: 72%
- Contrast (as DEVICES): More than 4000: 1
- pixel pitch: 8.5?m - Width (between pixel): 0.35?m
- Response speed: 5msec (tr + tf)
- liquid crystal mode: Vertically Aligned mode
- Alignment more layer: Inorganic Thin film
- baking tarpaulin process: 0.35? m MOS Process
- liquid crystal cell gap: Less than 2? m Optical
- Projection system: 3-SXRD panel, prism color integrated system
- Imaging DEVICE: SXRD, 1.55-inch (diagonal), 4096(H) x 2160(V) of pixel on each chip - Lamp: 2kW xenon lamp x 2 (SRX-R110);1kW xenon lamp x 2 (SRX-R105)
- screen coverage: 14 feet tons of 51 feet (Approx. 4,5 m tons of 15,5 m)
- Light output: 10.000 ANSI of lumen ±10% (SRX-R110); 5.000 ANSI of lumen ±10% (SRX-R105) General
- White reference: Xenon white reference
- Contrast: more than 1800:1
- resolution: 600 TV LINES (SDI input/SMPTE-259M); 1920 x 1080 of pixel (HP-SDI input, SMPTE-292M); 4096 x 2160 of pixel (RGB)
- signal specifications: Video: Component (Y? Cb? CR), hp (G? B? R/Y? Pb? Pr); Computer: XGA, SXGA, UXGA
- power requirement: AC 200 tons of 240 V, 50/60 cycles per second (SRX-R110);AC 100 tons of 240 V, 50/60 cycles per second (of SRX-R105)
- operating temperature: +5ºC ton of +35ºC (+41ºF ton of +90ºF) - STORAGE temperature: -20ºC ton of +60ºC (12ºF ton of +140ºF) - operating humidity: 35% ton of 85% (without condensation)
- STORAGE humidity: 10% ton of 90% - dimension (W x H x D): Approx. 740 x 500 x 1330mm - measure: Approx. 110 kg (242 lb 8oz)

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