SONY 3D- EX720:جدیدترین 3ledبعدی sony
مدل جدید 3بعدی سونی 40-EX720 باگارانتی و قیمت 1990که جایگزین مدل NX710 در سال 2011 شده است به بازار آمد و MOTION Flow آن از 100hz به 200hz نسبت به NX710 ارتقا یافته است .
کد:
http://www.hdtvtest.co.uk/news/sony-kdl40ex723-kdl32ex723-201105121145.htm
Sony KDL40EX723 3D LED LCD TV Review
By David Mackenzie • Thursday, 12 May 2011, 5:05 pm BST • Typical price: £950
Last September, we had a look at one of Sony’s first-generation 3D LED LCD televisions, and were mostly impressed with what we saw. For the last few weeks, we’ve been living with one of the company’s 2011 3D TV displays, the KDL40EX723. This is a 40-inch LED edge-lit LCD HDTV with a 1920x1080p LCD panel (which is capable of Stereoscopic tri-dimensional display), 4 HDMI inputs, a Freeview HD (----T2) tuner, and Sony’s Motionflow XR 200 system for keeping the dreaded “LCD motion blur” at bay. It’s also one of the first HDTVs from the Japanese manufacturer to feature the new X-Reality video processing engine instead of the “BRAVIA ENGINE” branding that’s been present since 2006.
Unlike Sony’s first-generation 3D displays, a separate 3D transmitter module is no longer required (who knows what the company was thinking before?) The only additional expenditure required to unlock the KDL-40EX723′s 3D potential is a pair of 3D active shutter glasses, which unfortunately still cost around £100. It’s been a while since we had the opportunity to check out a Sony LCD TV, so let’s get stuck in…
Note: The specific model we tested was the Sony KDL40EX723BU, denoting the 3-pin-plug British version. While we did not review the 32-inch KDL32EX723 on this occasion, they should perform similarly bar the immersiveness of 3D viewing due to different screen sizes.
Jump To: Operation • Calibration • Picture Performance • Conclusion
Design
The Sony EX723 is quite plainly designed, and is a far cry from the distinctive flat-screen TVs Sony was releasing just a few years ago. The 40″ LCD panel is surrounded by a glossy black bezel, the redeeming feature of which is its thinness. The strip just below the panel features a silver Sony logo, and has an almost invisible brushed steel effect.
Connections
The KDL40EX723 features 4 HDMI inputs, which are divided between the back of the display and the recessed side-panel. Provision for Component, SCART, and PC “VGA” interfaces is also included. There are also appropriate connectors for the digital/analogue hybrid TV tuner, and an Ethernet port for hooking the television up to the web.
Rear: 4 x HDMI, VGA, component, SCART, aerial, ethernet & audio outs
Operation
Sony has redesigned its on-screen menu this year. The Xross Media Bar (XMB) interface is still featured, but it no longer appears over the TV picture. Instead, the current video feed is shrunk into a box in the top-left of the screen (like the Sharp Quattron TVs), with categories arranged horizontally across the bottom of the panel, and menu options arranged vertically on the right.
Strangely, sub-menus are displayed in the same way as before, meaning that the design of the menus isn’t consistent (only the “front end” has changed). However inconsistent they may be, the menus are easy enough to use, although they are not as responsive as we’d ideally like.
XMB Menu
[Picture] menu
The [Display] menu provides access to [Picture] and [Screen] sub-menus. The former contains basic, familiar controls, as well as some new options which we’ve not seen on previous Sony HDTV displays. [Dot Noise Reduction] instructs the 40EX723′s video processor to detect and remove dot crawl, which is the “crawling ants” effect that often appears around the edges of coloured transitions in old Composite video material (Composite video is/was the system for including colour in a video signal that was also backwards compatible with Black and White TVs). Dot crawl filtering isn’t unusual in HDTVs, but typically it only operates when Composite video signals are input to the display in their original Composite format (such as through the yellow RCA-type plug). Sony’s [Dot Noise Reduction] works on all types of input signals, which is beneficial, since there are some Composite-sourced programmes broadcast on Digital TV that benefit from in-television filtering.
The [Motionflow] system can also be set to “Smooth”, “Standard”, “Clear”, “Clear Plus”, or turned Off entirely (we’ll investigate the settings later in the review). There’s also a [Film Mode] setting which can be disabled entirely, or set to “Auto1″ or “Auto2″.
The [Advanced Settings] screen features largely redundant video processing adjustments (there’s an option to exaggerate colours, one which clips shadow details from the picture, and another which adds a blue tint to whites), but also useful [Gamma] and [White Balance] adjustments, which we’ll make use of these during the Calibration section.
[Detail Enhancer] strengthens the highest frequencies in the image after upscaling to HD, meaning that it can give the impression of additional detail for standard-def images without creating large and unsightly ringing around edges. The effects are similar to Toshiba’s “Resolution+” feature. On a similar note, there’s also the [Edge Enhancer], which produces a very selective and artificial-looking edge sharpening effect which we don’t recommend anyone uses.
Finally, [Screen] houses options for 4:3 aspect ratio display and Overscan (called “Display Area”). We were glad to see that, as usual for Sony TVs, Overscan was shut off by default for 1080i/1080p material, allowing the highest quality image without unnecessary cropping and scaling. We lessened Overscan as much as we could for SD material, since at least here in the UK, broadcasters are fairly responsible when it comes to not cluttering the edges of the picture with unwanted noise, meaning there’s no reason to lose precious resolution by cropping the edges of the image.
The menus also grant access to “Widgets”. At the time of writing, only clients for Facebook and Twitter are provided, both of which show recent posts from the respective sites. There are “Applications” as well (the difference seems to be that “Widgets” sit alongside the TV picture, whereas Applications occupy the entire screen), one of which is a web browser. There’s also “Qriocity”, Sony’s entertainment service which is unavailable at the time of writing, and yet another category called “Internet Content”, which displays internet-quality video and audio from various online services.
The most useful internet-related function is surely the Gracenote TrackID service. Apparently, users can press the “TrackID” button on the remote if they hear a song they like the sound of on TV, and the EX723 will connect to the web and identify the mystery tune. Unfortunately, every time we tried this during the review process, we were met with a “Server error” message.
2D Calibration
Note: Our Sony KDL40EX723 review sample was calibrated using Calman Professional, the industry-leading video calibration software.
2D Mode Greyscale
Pre-calibration RGB tracking and delta errors (dEs)
Although it’s not the best out-of-the-box result we’ve seen from the company, the KDL-40EX723 did a decent job of producing accurately coloured grey tones, once we set it to its “Cinema1″ picture mode. Sony’s approach to picture modes is a little confusing: first of all, there is the top-level adjustment, called “SCENE”. The idea appears to be that the user will choose a different set of picture settings relative to the genre of the programme being viewed, but since we’re interested in accurately coloured video, we selected the “Cinema” mode from this menu (the out-of-the-box mode that came closest to accuracy) and left the TV in this mode at all times – except for when we played console games, because the “Game” and “Graphics” modes cut down on input lag. The “Cinema” mode, in turn, has two [Picture Mode] options: Cinema1 and Cinema2, which could be repurposed by an ISF Calibrator to provide separate “Day” and “Night” memories, if required. We used the “Cinema1″ mode as our starting point.
The above Greyscale measurements reveal a common LCD issue: a slight excess of blue in darker areas (the left of the chart shows this contamination in darker shades). Errors in brighter areas were generally not visible.
Post-calibration RGB tracking and dEs in [Cinema 1] mode
We had to fight with the low-end controls on the EX723 to correct the blue tinting. The [White Balance] menu on this display is of the standard 2-point type, meaning that we adjusted the controls based on measurements from 80% and 20% test patterns, and hoped that the points inbetween would fall into place (as you can see from the chart, they did). Our advice on calibrating the KDL40EX723′s Greyscale tracking is to persevere. Originally, adjustments to the incredibly coarse low-end controls would simply produce Green-tinted blacks instead of Blue-tinted ones, but we eventually found a combination which produced mostly even Greyscale mixing in shadowed areas.
With this said, it’s worth pointing out that the source of the blue tinting appears to be the panel itself, meaning that while we could adjust shadowed areas of the video signal to compensate, a fully black screen still revealed the LCD’s own purple-ish hue.
Gamma curve in [Cinema 1] mode Corresponding gamma tracking
Gamma tracking was superbly accurate on the KDL-40EX723 after calibration (we disabled the [Adv. Contrast Enhancer] system to avoid fluctuations). This is an area in which LCD-based HDTVs demonstrate a consistent advantage over consumer Plasma televisions, which can often shift their light output in unpredictable ways. The lack of any considerable spikes or dips in the chart results in a tonally smooth image, without any unwanted contouring or exaggerated shadows.
2D Mode Colour
Sony’s home TV displays have never featured any sort of Colour Management menus (although we wouldn’t be surprised if they change this next year to keep up with the competition). This means that we are limited to using only the [Colour] and [Tint] controls to adjust the EX723′s colour output.
We adjusted the [Colour] control – which largely affects Luminance levels – around Red. The end result is suitably accurate, without any glaringly obvious Saturation, Hue or Brightness errors. As we often see on LED-sidelit displays, blue wasn’t fully saturated, and appeared as a subtly more purple shade when compared side by side with a more accurate display. We ended up not adjusting the [Hue] control at all.
Sony also includes a [Live Colour] feature, which makes some seemingly arbitrary changes to Luminance levels, and sometimes also Hue. We left the feature off because it did nothing to improve colour accuracy.
Post-calibration CIE chart with reference to HD Rec.709
Post-calibration colour luminance (coloured bars = targets; black bars = measured values)
3D Calibration
We placed a pair of Sony TDG-BR100 3D active-shutter glasses in front of our Klein K-10 colorimeter in order to assess the Greyscale and Colour accuracy that will be seen by the viewer in 3D mode. These 3D glasses are heavy to hold, but ultimately very comfortable to wear, and they successfully block light sneaking into the viewer’s eyes from the edges.
3D Mode Greyscale
3D Pre-calibration RGB tracking and delta errors (dEs)
The last Sony LED-based 3DTV we reviewed produced superbly accurate Greyscale tracking in its 3-dimensional mode, which was a welcome change from first-generation 3D Plasmas such as the Panasonic TX-P50VT20, which produced an incredibly red-tinted image. Sony’s displays have never had any issues at all with poor Greyscale tracking in 3D, which the company should be commended for. The same excellent performance was seen with the KDL40EX723, which, once again, produces more accurate Grey shades in its uncalibrated 3D mode compared to 2D.
3D Post-calibration RGB tracking and dEs in [Cinema 1] mode
As with the aforementioned 2010 first-generation Sony 3D LED LCD television, there really wasn’t a lot of improvement gained from our calibration attempts. Based on the consistently excellent 3D Greyscale performance seen from randomly picked TV and glasses combinations, it would appear that the manufacturer has the colour tint of its active shutter glasses under control. Both of the Sony 3D displays we’ve reviewed have been retail units (not specially picked review samples), and both have performed very well in this area without needing calibration work. This is a real bonus, because 3D calibration is very rare at this time of writing.
3D Mode Colour
For colour, the story was much the same in 3D as it was in 2D. There are no huge chromaticity or luminance errors, and little we would be able to do to correct any that did appear.
3D Post-calibration CIE chart with reference to HD Rec.709
3D Post-calibration colour luminance (coloured bars = targets; black bars = measured values)
Calibrated Settings
The 2D and 3D settings on our Sony KDL40EX723 review sample following calibration have been uploaded to our Facebook page.
Benchmark Test ResultsDead pixels None
Screen uniformity Good for an edge LED LCD
Overscanning on HDMI 0% by default with 1080p signal
Blacker than black Passed
Calibrated black level (black screen) 0.05 cd/m2
Calibrated black level (ANSI checkerboard) 0.05 cd/m2
Black level retention Stable
Primary chromaticity Very Good
Scaling Excellent
Video mode deinterlacing Very effective jaggies reduction
Film mode deinterlacing Passed 2-2 PAL and 3-2 NTSC tests
Viewing angle Good for an LCD TV
Motion resolution 1080 with [Motionflow] “Clear”
Digital noise reduction Present, optional
Sharpness Defeatable edge enhancement
Luma/Chroma bandwidth (2D Blu-ray) Full Luma, slightly blurred Chroma except in “Game” or “Graphics” modes
1080p/24 capability No judder in 2D or 3D
Input lag 21ms compared to lag-free CRT
Full 4:4:4 reproduction (PC) Yes, in “Game” and “Graphics” modes
Power ConsumptionDefault [General] mode (2D) 62 watts
Default [General] mode (3D) 91 watts
Calibrated [Cinema 1] mode (2D) 79 watts
Calibrated [Cinema 1] mode (3D) 91 watts
Standby 1 watt
