The only accommodation in this regard are two settings to fit an outboard anamorphic lens (1.24x and 1.32x), which is obviously a costly (albeit superior) solution. As before with the VW295ES, there is no ability to store lens memory settings that might allow execution of a constant image height (CIH) installation for a 2.35:1 aspect 'Scope-style screen. You can use the ProjectorCentral VPL-VW325ES throw calculator to see the range of distance for your particular screen size. The projector throws a 100-inch 16:9 image with the lens approximately 10.75 to 22 feet from the screen. Similarly, the VW325ES's lens offers the same motorized 2.06x powered zoom as its predecessor as well as powered focus and generous powered lens shift spec'd at +/-85% Vertical and +/-31% Horizontal. Aspherical lenses are understood to provide better sharpness out at the edges but are expensive to produce, so this is a reasonable measure that Sony says sacrifices little. It is a 14-element lens with glass throughout except for the outer element, which is formed from acrylic material to allow for the benefits of an aspherical design without the enormous cost associated with shaping an aspherical glass element.
But this step-down is by no means a slouch. The same lens is also carried over from the VW295ES, and as before, is shared with all but the top-tier Sony models-those feature the company's high end ARC-F lens. Sony rates the projector for a maximum image size of 200 inches. Much larger screens or those with less gain will naturally be more challenged.
Sony srdx green tint tv#
On my 92-inch, 1.3 gain white reference screen, it provided more than enough punch not only for satisfying HDR but also a decent image for TV viewing in moderate-to-bright ambient light. But in fairness, this projector is clearly designed for a dark-room theater.
Sony srdx green tint full#
It's made even more the worse by the fact that our sample, at least, came up a bit short of hitting its full spec, measuring in at 1,233 ANSI lumens in its brightest mode despite my best efforts to push it. That spec was disappointingly low by the standards of two years ago and is even more so today given a generally stronger propensity for ambient-light viewing and the push for higher peak brightness for HDR. The 1,500 ANSI lumen brightness rating also remains unchanged. At 31 pounds with an 8.1 x 19.50 x 18.25-inch case, it's a substantial and solid-feeling package. The cabinet cosmetics, dimensions and weight are the same, with the exception that the new model is being offered in either black or-for the first time-white. The VW325ES starts out identical in most respects to the VPL-VW295ES I reviewed two years ago. And thus marks the formal end to Sony's long-running claim of offering "4K under $5K." I guess nothing is forever. After holding both prior models to $4,999, Sony has raised the price of the VW325ES to $5,499. The VPL-VW325ES is Sony's new replacement for the VPL-VW295ES, which in turn replaced the VPL-VW285ES back in October 2018 as the company's least expensive native 4K SXRD projector. So, let's start now at the low end of the spectrum and take a close look at the VW325ES. But the VPL-VW325ES and VPL-GTZ380 are most certainly in a special class in terms of engineering and execution. That's something I'll explore in these reviews.
This is not to say that either of these projectors is perfect, or even necessarily a good value-the latter being something we each have to define for ourselves. And, as a reviewer, you know in advance to prepare yourself for a touch of sadness when it's inevitably time to pack the thing up and send it back. If you're like me and you love technology, you get a feeling that is comforting and soul-satisfying. ohhh yeah!" moment that telegraphs you're in the room with an outfit that knows what they're doing and has been at it a long time. I see a lot of projectors these days, and though many of them do a respectable job of delivering a big picture and represent good value to the end user, there is something about the very best projectors that just leaps out when you turn them on. For an AV journalist who has spent decades covering Sony's product introductions across a range of video and audio categories, the dichotomy between these two is a reminder of a culture and commitment to innovation and quality that very few brands have managed to maintain through the years.
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