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The BIG Caption Contest
[an error occurred while processing this directive]Version 2.0
Last update: November 29, 2001
The Sony VPL-VW10HT was created as the successor to the Sony VPL-W400Q -- a 16:9 aspect paneled projector that was never intended for the home theater market, but took off in a big way. While the W400Q was designed for presentation use and was compact (even featuring a built-in carrying handle), the austere case and noisy fan limited sales and Sony ceased production of this popular projector in late 1999. For more information about the Sony VPL-W400Q, visit the Unofficial Sony VPL-W400Q Forum and FAQ.
The VPL-VW10HT is a complete redesign retaining only the native 16:9 aspect LCD panels from the W400Q, though their resolution is greatly improved and represent true HDTV. Gone are the BNC connectors in favor of more consumer-familiar RCA phono connections for most functions. Gone also is the noisy fan, replaced with a forward exhaust two-stage fan that cools depending on the bulb intensity selected. "Cinema Black" mode lowers the output of the UHP bulb from approximately 1000 to 700 ANSI lumens and reduces the fan speed commensurately. For more detailed review and comparison of the VPL-V10HT, see Bill Cushman's article in Issue 30 (May/June 2000) issue of Perfect Vision magazine and read Jeff McNeal's review of the VPL-VW10HT for The BIG Picture here. The VPL-VW10HT comes standard with a 3-year manufacturers warranty, though this extended warranty time period may not extend outside the United States. Be sure to check with your dealer. In either case, an extended warranty on a machine this complex is well-advised.
The Sony VPL-VW10HT was announced as being available to purchase November, 1999. Actual production units in any meaningful numbers weren't shipped until months later, however.
Projection System: 3 LCD Panels, 1 lens
LCD Panels: 1.35 inch polysilicone TFT LCD panels, 1366 x 768 pixels per panel (1,049,088 pixels x 3 panels for a total of 3,147,364 pixels)
Projection Lens: 1.2x zoom lens, f 2.2 to 2.5, f44.6 - 53.6mm
Lamp: 200W UHP
Light Output: 1000 ANSI lumens (16:9 aspect ratio); 750 ANSI lumens (4:3 ratio)
Screen Coverage: 16:9 (1.78:1) aspect ratio: 40" - 300" (viewable area measured diagonally); 4:3 aspect ratio: 34" - 245" (viewable area measured diagonally)
Dimensions: 15 5/8" x 6 5/8" x 16 7/8" (395 x 168 x 427mm)
Weight: 17 lb. 10 oz. (approx 8kg)
Inputs: 
Composite, RCA phono type, 1 Vp-p +/- 2dB, sync negative, 75 ohm;
Y/C IN: Loop-through Mini DIN connector, 4-pin;
Y: 1Vp-p +/- 2dB, sync negative, 75 ohm;
C: Burst 0.286 +/- 2dB (NTSC), 75 ohm; 0.3 Vp-p +/- 2dB (PAL), 75 ohm
Input A/B:
Component/Progressive
Component/Y/PB/PR
Analog RGB: Phono Type
RGB/Component
Color System: NTSC3.58, SECAM, NTSC4.43 (automatically selected) PAL, , PAL-M, PAL-N, PAL60 (automatically selected)
Scanning Frequency: 15 to 80 kHz (horizontal), 50 to 85 Hz (vertical)
Accepted Signals: DTV (480i, 480p, 720p, 1080i), progressive component, 15k component 50/60 Hz and composite video, V/C video, RGB
Computer Formats: RGBHV, RGsB, 640x480, 800x600,1024x768, 1280x1024 (scaled down to 1024x768)
Aspect controls (only in video modes): Full (16x9),Normal (4x3), Zoom, Full Through, Normal Through, Wide Zoom,Subtitle (see below for explanations of modes).
Power Requirements: A/C100-240 volts 50/60Hz
Power Consumption: 300w (maximum); 6w (standby)
Heat Dissipation: 1023.7 BTU
Operating Temperature: 32 to 104 Farenheit; 0 to 40 Celsius
Operating Humidity: 35% to 85%
Control S: Stereo mini-jack; 5Vp-p, Plug-in power DC 5v
Trigger: Mini-jack, DC 12v, output impedance 4.7 kilo ohms
Supplied Accessories: RM-PJVW10 Remote Commander Control Unit (backlit), 2 AA bateries, Air Filter and Operation manual
The Sony VPL-VW10HT can be found through most presentation dealers and most high-end Sony authorized home theater dealers. This projector will typically not be found through normal consumer channels but there are a few exceptions. The BIG Picture highly recommends mail order, as a way to save hundreds of dollars in sales tax. Medical Video Systems, www.medicalvideosystems.comis our vendor of choice. They have a no-questions-asked return policy, highly competetive pricing and terrific, customer-friendly service. They also support TheBIGPictureDVD.com, so any home theater purchases made through MVS helps to support this website (and we appreciate your support!)
The MSRP started at $6,999, and once Sony realized the demand (created largely through this website) soon raised the MSRP to $7,999. Supply and demand are dictating potential future price increases, which appear likely. The demand for this unit has been high while the supply has been insufferably low. Although we cannot confirm it, we suspect production supply and specification problems for Sony's sluggish response to the demand and consider the price hike unfortunate. It should be noted that in this price range, there are other LCD or D-ILA projectors worthy of consideration, but few can match the overall ease of use and "bang for the buck" provided by the consumer-friendly VPL VW10HT.
There are four main problem area that have been most commonly reported:brightness uniformity, dust in the LCD assembly, defective pixels, and miscalibration of colors. Two of these problems can usually be mitigated by the consumer -- dust and color calibration. The removal of dust by the consumer places your warranty at risk, however, so proceed with caution.
The brightness uniformity issue has been generally blown out of proportion and is usually only noticed when there is no signal present. The condition manifests itself by an undefined, brighter spot in the image area, usually towards the center of the screen and no brighter than 2-5% of the surrounding areas at its most intense focal point (see simulated example on left). So long as this brightness uniformity is not so great as to cause distraction when viewing actual source material, it is unlikely that Sony will attempt to correct this (usually minor) flaw, which seems inherent in all of Sony's LCD-based projectors. If the brightness non-uniformity can be shown to cause meaningful distraction, Sony may be prevailed upon to correct the problem. Be reasonable in your assessment, but persistent if the problem is genuinely a concern.
Dust trapped withinthe optical path can sometimes pose a distraction that manifests itself in what appear to be color "blobs" on the screen and are typically quite small. So long as the dust cannot be seen when the projector is in focus, this is nothing to be concerned with. However, if the dust particles come into focus with the rest of your image on the screen, then you can have your projector cleaned under warranty or attempt the do-it-yourself method using compressed air. Be forwarned however, that if misused (as in tilted incorrectly), compressed air cannisters can produce a liquid spray that will destroy not only the optics of your projector, but your warranty as well.
Defective pixels are manifested in two ways: Open or closed. If open, you'll notice bright pinpoints of light in dark scenes. If stuck closed, you'll notice dark pinpoints in brighter scenes, though these are harder to notice and are typically less distracting. Fortunately, the sheer volume of pixels mean that even a few defective pixels may not pose a meaningful distraction, depending on their placement and your programming source. Questions have been raised as to whether service procedures can allow you to selectively turn off defective pixels that are stuck open. The answer is no.
Sony's position is that a few defective pixels are within spec and therefore not addressable under your warranty. However, in our experience, some flexibility is afforded if the defective pixels are in the primary viewing area of the picture and pose a notable distraction.
Here at The BIG Picture, we consider Sony's general policy towards pixel defects unfortunate. Be certain that you purchase your projector from an authorized Sony dealer that will accept your return of the unit for an exchange or refund should more than a few pixels be defective "out of the box". We recommend that you have a clear understanding of your merchant's return and exchange policies before handing over your cash or credit card number.
Color calibration is often an issue with new projectors. Fortunately, this area can be addressed with a little careful experimentation in the service menu of your projector. The service menu should not be confused with the consumer set up menus. The service menu is generally reserved for use by authorized repair personnel with test equipment. However, adjusting parameters by the consumer will not damage your projector nor void its warranty. You should be cautioned however, to WRITE YOUR DEFAULT SETTING DOWN before attempting to change ANY parameters. The wrong inadvertent adjustment could wreak havoc with your picture quality and there is no magic "reset" button. Resetting to factory defaults will not produce satisfactory results, since each projector is individually tuned and calibrated before leaving the factory. More details are found in the service menu section.
There are three known brands of ceiling mounts available commercially:
Sony. PSS-610. This is the standard mount, sold by Sony(manufactured by Progressive Marketing). It features a triangular plate that mounts to the ceiling, with a column that extends from 5" to 11" to the player.Several people are using it with good results.
Peerless. PJRL-SNY1. The Peerless mount (sans accessories), mounts to the ceiling and drops 3" to the projector and features tilt and left/right adjustments. To drop the projector any lower requires additional accessories -- a ceiling plate and extension (the latter of which can be purchased as an accessory or fashioned yourself from threaded pipe.
Chief. RPA-020. Differing from the Sony and Peerless products, the Chief allows for near flush projector-to-ceiling installation, though care should be given to allow adequate ventilation around the entire enclosure. Standard threaded pipe can be used to raise or lower the vertical plane of the projector. Setscrews allow for multiple angle adjustments, and once aimed, the projector may be removed and reinstalled for service or maintenance without having to recalibrate the mounting hardware.
A home made ceiling mount using materials from your local hardware store. Three 5 millimeter bolts can be used with the corresponding matching threads on the underside of the projector. Of course, you can set the VW10HT on a table top or coffee table surface -- or even hang the projector from the bottom side of a shelf. Others have even placed the projector upside down on the top of a high shelf and used foam rubber or a pillow to provide a stable environment for the projector, which clearly wasn't designed for this creative option, given the curvature of the casing. If you live in earthquake country, you would be well advised to secure the unit to the shelf in some way.
The VPL-VW10HT can also be used as a rear projector using optical mirrors and appropriate rear screen materials, though this option may not make a lot of sense for most users, since it would defeat the "home cinema" experience afforded by large front projection setups.
Full – This is 16x9 mode, used for 16x9 enhanced(anamorphic) DVDs. This takes the source programming and stretches it to fit the full width of the 16:9 LCD panels, though black horizontal borders will appear at the top and bottom of the image if the source material is in "scop" or 2.35:1 or greater aspect ratio.
Normal – This is 4x3 mode, used for regular TVprogramming (1.33:1 aspect ration) and 4x3 (full screen open matte) DVDs, Laserdiscs, and VHS source material. This puts the 4x3picture in the middle of the 16x9 screen, with verticle black bars oneach side.
Zoom – Use this setting for letterboxed, (that is, non-anamorphic or not 16 x 9 enhanced), DVDs, Laserdiscs, Videotapes, etc. This setting zooms a 4x3 image so that the entire screen is filled, but the top and bottom of the available picture is cropped. When viewing widescreen material, image content will appear across the entire width of the screen though some black horizontal borders will appear at the top and bottom of the image if the source material is in "scope: or 2.35:1 or greater aspect ratio.
Wide Zoom – This setting is best reserved perhaps for the use of video games, where correct proportions are not as important as filling the entire 16:9 screen. Wide zoom stretches 4:3 (1.33:1) aspect material horizontally to fill the entire screen, but image distortion is unavoidable.
Subtitle– A mode for zooming letterboxed materialwhile keeping the lower portion of the image so you can read thesubtitles. Occasionally useful for subtitled widescreen laserdiscs orDVDs where the bottom of the subtitles would be cut off in Zoommode.
Full Through – A 16x9 mode, the same asfull mode, except the resulting image is reduced to a 853x480 areain the center of the screen. Mapping the 480 lines of NTSCvideo 1:1 on the screen, there is no scaling taking place, which in most cases makes the picture somewhat sharper. It also makes itsmaller, which for many, offsets the gains of any perceived improvement under most viewing circumstances. Using this mode can also tend to lower the perceived contrast ratio because of the dark gray borders that surround the image, as opposed to the matte black surface that typically surrounds the screen.
Normal Through – Same as Full Through, but thepicture is in a 640x480 (4x3) area. This is actually a usefulmode for watching lower-resolution video, like VHS tapes. Thesmaller window helps hide the artifacts and inherent flaws of low resolution output,but is still larger than most direct view monitors.
Standard RG59 cable will work fine for most applications when viewing in composite mode.
For S-Video, there is much debate over the length of cable that can be used before image quality deterioration is evident. TBP suggests that in general, you try and keep your S-Video cable runs to 30' or less, but your mileage may vary. It should be noted that the S-Video port on the 10HT features greater bandwidth than its predecessor, the W400Q (thanks Bill Cushman for this tidbit), which means that although component cables will still provide slightly better output than S-Video, the gains are less dramatic than what was attained on the older projector. In other words, if S-Video is the best you can do, don't sweat it. You'll still enjoy the show.
For component mode viewing, use three standard RG59 video cables of equal length, or as an alternative, purchase specially packaged component cable sets, which aremerely three video cables of the same length tied together andcolor coded. You can achieve this same color coding using bands of colored electrical tape on the ends of each cable.
For computer output, you'll need a VGA to 5 RCA phono male cable. You can also buy a VGA to 5 BNC cable from computer cable suppliers, then attach 5 BNC to RCA male adapters available from Radipo Shack.
To order quality, custom-length, shielded video cables from various manufacturers best suited to your needs and budget, call Dennis at Medical Video Systems for a free quote: 800-323-2522. Cables need not be overly expensive. Some videophiles will swear that you have to purchase $500 cables -- but don't believe 'em.
Rather do it yourself? ChrisWhite's DIY cable page, will show you how. But be prepared to invest some serious bucks in the special tools required to do a good job.
If the deck is VHS, the composite connection is best, and ifit’s SVHS, the S-Video connector is best, though you mightwant to connect both S-Video and composite, so you can usecomposite for watching regular VHS, which is a composite format.
Use the composite input, if possible. The10HT has an exceptional comb filter, and Laserdiscs are an analog device. S-Video will also work, but it’slikely that the 10HT has a better internal comb filter than your laserdiscplayer does.
The referred connection is component, which maximizes the colorbandwidth by seperating the signals, producing richer colors with more distinct borders. It uses 3 RCA video cables.These can be connected to the Sony on either input A or B, usingthe first three RCA jacks on those inputs. The other two RCAjacks on the Sony are left open.
A close second choice is S-Video, which is improved in the VW10HT over previous modls. If your DVD player does not have component outputs then S-Video is your best choice.
Your third option (and last resort) would be composite video, but using this input with DVD would result in significant picture degradation.
Note: Some receivers, such as the new Kenwood 4900 allow you to mix and match inputs and outputs allowing you to connect a player via S-Video for instance, which is then upconverted to compontent output for your projector.
Generally a progressive scan DVD player will have component (YPbPr)outputs, which are three RCA connectors. These can be connectedto the Sony on either input A or B, using the first three RCAjacks on those inputs. The other two RCA jacks on the Sony areleft open.
Some high-end progressive players use a VGA-style connector,and will require a VGA->5RCA cable (see the section on cables,above). Depending on the player, it may still output component,or RGsB (sync on green), in which case you will just use three ofthe cables, or it may output RGBS, which will use 4 of the 5cables, or it may output RGBHV, which uses all five. It may alsobe switchable between two or more of these formats. Given thechoice, you will probably want to use component, and select astandard HDTV resolution.
If you connect a progressive DVD player with the composite orS-Video connections, you lose the progressive output.
You need a VGA to 5 RCA phono cable. See the cable section above fordetails.
The biggest problem with using a computer to play DVDs is thatthe Sony locks into 4x3 mode when it detects any of the standardcomputer resolutions, and you can’t select "Full"mode to fill up the screen. If you use a card that can handle non-standardresolutions (the Nvidia GeForce and the Matrox G200 & G400),and create a 1366x768 resolution, the Sony will effectively scaleit to 1024x768 and still lock to 4x3. There is some hope thatSony will change this with a new firmware revision, but for nowthere is no way to drive the whole panel at 1366x768.
However, if you have one of the above-mentioned cards, you cancreate an 1184x666 resolution, with the appropriate front/backporch settings so that the Sony will recognize it as 720p HDTV.You will need either the Matrox Powerdesk software, or a programcalled PowerStrip which allows custom resolutions on supportedcards. The Powerdesk program can be downloaded from matrox (www.matrox.com) if it wasn’tincluded with your install disks, and PowerStrip can be purchasedfrom Entech at http://www.entechtaiwan.com/ps.htm
Here are the numbers you need to create the custom resolution:
720p50Hz 720p60HzPixel rate 64500000 74520000Visible pixels 1184 1184Front porch/H 138 138Sync pulse/H 56 56Back porch/H 342 278Visible lines 666 666Front porch/V 31 31Sync pulse/V 6 6Back porch/V 47 47Return to Index
You will need a VGA->5RCA cable. See the cables section fordetails. One difficulty at this time is that with the 1.03 ROMversion on the 10HT, you must manually switch between DTV GBR andComputer when moving from Hi Def channels to Standard Definitionchannels. Apparently, with the earlier, 1.01 ROM, you could justleave the 10HT in Computer mode, but Sony "fixed" it.
Since moving from DTV GBR to Computer mode on the 10HT takessome time, as the Sony tries (and fails) to "lock"every time you move the menu, you can instead switch to aninactive input (like S-Video or Composite), switch Input A toComputer or DTV GBR, then switch to input A.
You can also make a macro on the Pronto remote that willquickly do the switch, and possibly with other remotes as well.
Some people prefer to just switch to S-Video output whenwatching normal channels, 
because it’s an easier switch thanto do the Computer/DTV change, and you don’t really losemuch watching normal channels through the S-Video output. For more information, be sure to visit The BIG Picture's RCA DTC100 Forum.
This uses a normal component output (subject to verification). Usecomponent cables, as detailed above in the "cables"section. You will want to leave this unit in the "passthrough HDTV signals unchanged" mode, as the Sony can handleany of the formats, including 720p.
This unit uses a normal component output. Use componentcables, as detailed above in the "cables" section. Youwill want to leave this unit in the "pass through HDTVsignals unchanged" mode, as the Sony can handle any of theformats, including 720p.
The service menu is accessed by pressing on the remote (enter)(enter)(up)(down)(enter),then (up) when it asks "do you want to enter the servicemode?"
The factory menu is accessed by pressing on the remote (enter)(enter)(left)(enter),then (up) when it asks "do you want to enter the factorymode?"
Once in either of these modes, hit the menu button, and newmenus and new items on old menus will appear. The factory menuhas all of the service menus as well, plus a bunch of settingsthat are pretty much best left alone unless you are a servicetechnician or really want to risk messing up your projector badly.
The first rule when changing anything in the Service or (especially)Factory modes is: write down the original numbers!
This cannot be overemphasised: write down the original parameter values!
There is no way to get back the original factory settingswithout sending it to a service center. All of these projectorshave different numbers in almost every setting, because of thenatural variability of LCD panels. So don’t change a numberuntil you’ve written it down first.
The Service mode allows you to adjust white balance (Gain andBias) check the ROM version, and a few other useful bits andpieces.
The Factory mode gives you access to everything, includedcryptic settings that adjust all kinds of video decodingparameters, the 3D gamma settings, and more. The chances that youwill need to adjust anything in this menu are essentially nil.
Go into the Service or Factory mode, and look on the projectorinfo menu. Known ROMs are 1.01, 1.02, and 1.03. The currentlyshipping ROM (as of 8/11/2000) is 1.03.
First off, you really can’t "calibrate" thesewithout a color analyzer, and furthermore a color analyzer thatcan handle LCD displays. Apparently most color analyzers aredesigned for CRT displays, which use slightly different R, G, andB shades. So don’t expect to be able to do an ISFcalibration by yourself.
That said, given that the Sony has 6 different memory settingsfor color balance, why not use one of them for your own settings?What could it hurt? :-)
Gain is used to set the highest brightness that the Sony willdisplay for the highest reasonable video signal amplitude itrecognizes. So if the Red Gain was 127 (half of 255), the Sonywould display red at 50% of the projector’s physical maximumlimit when it got a red video signal at maximum amplitude.
Bias sets the minimum video amplitude that will be recognizedas black (with the brightness control at 50). It is not,apparently, exactly mapped from 0 being zero amplitude to 255being maximum amplitude, so the numbers are in arbitrary units.Generally, unless you have a video analyzer, you shouldn’tfiddle much (if at all) with bias.
The goal is to get a gray step pattern from the Avia or VideoEssentials disc to display a nice, even gradation from full whiteto full black, with no color shifts on either end or in themiddle.
First, go into the Service menu and write down the Gain andBias settings for all 6 memory settings. There are 6 numbers:Gain and Bias for R, G, and B. When you’re done, you shouldhave a grid with 36 numbers from 0 to 255 on them. Stash thispaper someplace safe.
Now, turn out the lights and make the room as dark as possible.Put up the vertical gray steps pattern in Avia. Put the Sony inthe Low color temperature setting, which is generally the closestto 6500K. You should see nice even steps. You may see the graysare slightly yellowish, or sepia. This is normal.
Now look at the Custom 1 setting. This is much brighter, withmore contrast, but it also is shifted more into the blue. Thewhite may look whiter, but flesh tones will suffer in this mode.
What you're looking for is a bright, high-contrast color tempthat has approximately the same color as the Low temp.
Now go into the service menu and start adjusting the Custom 1mode (did you write down the settings?). Crank the Red Gain allthe way up to 255. This will maximize your potential contrast, asyou will be maximizing the range of red levels the Sony candisplay, from full red to full black. Unfortunately, given theslightly off-white color of the bulb and a few other technicalfactors that you need a degree in color theory to understand, youcan’t crank the Blue and Green to 255. Well, you can, butthe picture will look pretty nasty. Instead, take them up toapproximately halfway between the numbers you wrote down for Lowand the ones for Custom 2.
Now switch back and forth between Low and Custom 1, using thegray steps pattern. Adjust the green and blue levels so Custom 1looks like a somewhat brighter version of Low, but retains thesame basic color. When it seems about right, write down thenumbers and take a look at something with some flesh tones, likeShakespeare in Love. Switch back and forth between Low and Custom1. If the picture is getting brighter, but not shifting radicallyin hue, you’ve done about as well as you’re going to doby eye.
Again, keep in mind that this seat-of-the pants adjustment isno substitute for a good calibration by someone who has ananalyzer and knows what they’re doing, but it shouldincrease your contrast and be no worse than any of the otherCustom settings. If you find it to be an improvement, then that’swhat’s important.
For what it’s worth, (remember that all 10HT’s havevery different settings for Gain and Bias) here are the Gain andBias settings for Don Munsil's Custom 1, after this procedure:
Gain (R,G,B): 255, 198, 172. Bias (R,G,B): 90, 99, 93
And here are some others:
Bill Cushman: 255, 136, 159, 36, 22, 48
Steve Smallcombe: 255, 230, 220, 94, 62, 86
David Barrett: 255, 120, 151, 44, 38, 47
As you can see, the numbers are all over the map. Only BillCushman’s represents the results of a real calibration, butgiven the huge variability of the starting numbers, you reallycan’t use any of these as a starting point.
The instructions in Avia are pretty good. Here are someadditional notes.
For Avia, you want to adjust the black level (brightness) onthe pattern that is all black with moving bars, such that you canjust barely see the left bar, and the right bar is still visible.
White balance is set using the needle pulse pattern. You wantto adjust the contrast so that both white bars are visible, andyou don’t get any color shift in the white area of thepattern, just under the black area. Numbers between 85 and 95 arepretty normal for this setting.
Keep in mind that normal NTSC sources use 7.5IRE as black,while HDTV, most progressive DVD players, and PAL sources use 0IRE. The upshot is that if you watch both normal NTSC and aprogressive DVD player, you will need to calibrate twice. Thebrightness will be about 30 for normal NTSC (7.5IRE) sources, andabout 50 for PAL/HDTV/ProgressiveDVD (0IRE) sources.
I use Video 1, 2, and 3 for Full, Normal, and Zoom, calibratedfor 0 IRE for my progressive DVD player. I use Video 4 for NormalThrough, calibrated for 7.5 IRE, for VHS tapes and cable. And Iuse Video 5 for Normal, 7.5 IRE, for when I want to watch alaserdisc or something full size, and Video 6 for Zoom, 7.5 IREfor letterboxed laserdiscs.
The 10HT produces plenty of light, so generally a screen withgain is not a requirement unless you want to use it in a fairlybright room. However, screens with gain tend to enhance contrastby reducing the effects of off-axis light. When you use a mattewhite screen, the light reflecting off the screen is thenreflecting off your walls, and back onto the screen, washingeverything out slightly. With a higher gain screen, reflectionsfrom the walls are first minimized by the directional nature ofthe screen, and then secondary reflections are reflected eitherback at the walls (for retro-reflective screens) or onto theopposite wall (for angular reflective screens).
Overall, people have gotten good results from everything fromMatte White to High Power. However, there are three screens thathave had the most positive feedback:
Both the High Power and the Studiotek will increase thecontrast of your image by reducing the effects of ambient washout.If you have a high ambient situation, the High Power is arguably the better choice, but if you have total light control (as you should with a front projection setup for the best results), then the Stewart screen might offer a greater overall viewing experience. All else being equal, video expert Bill Cushman highly recommends the Da-Lite High Power, while The BIG Picture's editor Jeff McNeal prefers the lower gain finish.
In short, there is really no finite "right or wrong" answer here. The screen material you ultimately choose will depend on your room size, seating configuration, projector installation, ambient light issues and finally, personal preferences. Any of the three above referenced screens are highly recommended, depending on your application.
If you wish to create your own screen, with a gain factor of approx .95 to 1.0, you can do so with ultra flat white paint (000), a perfectly flat surface, lightly sanded between two or three coats of paint applied by a fine-textured paint roller. Trim the new screen area in black velvet-covered 2x4's (material pulled taught and stapled in the back) with mitered corners for a professional, finished look. Perform a search back on the forum for more detailed instructions and recommended paint manufacturers.
First off, check the lamp time. If it’s near 1000 hours,you might want to factor in the cost of a new bulb.
Second, get the room completely dark, wait for it to warm up,then mute the picture. Look for overall large washes of color orbright spots. If there are some, try aiming the projector at thewall to see if perhaps the screen is part of the problem. Ifthere are uniformity problems, watch a dark movie or a spacescene to see if the problem is distracting in normal viewing. Ifit is, take a pass on that unit, as it is difficult to get Sonyto fix this problem unless it is really obviously bad (andsometimes not even then). If it doesn’t have this problemwhen you buy it, it is unlikely to develop later.
Third, in pic mute, look at the whole screen for small blobs.If you see any, defocus the projector and see if they are dust.If there is dust in the projector, see if the dealer will cleanit before you buy it. If they won’t, it’s not a deal-breaker.Sony can clean it under warranty, and you can clean it yourselfit you’re handy. (See below).
Fourth, also in pic mute mode, get close to the screen andscan for bright (stuck "on") pixels. If you find any,stand back to normal viewing distance and see if they stand out.Perhaps watch some normal video. If the pixels are distracting,again, you may want to take a pass, as there is no guarantee Sonywill fix them.
Forum member Jeff Lederman details a procedure that he used to successfully remove the internal dust particles in this informative post. This procedure may void your warranty however and you therefore proceed at your own risk.
Originally, service for these projectors was provided in Cypress, California at the Sony service facility, but now units must be shipped to Norcross, Georgia.
You will need a null modem cable, Sony’s protocol manual,and software to send the codes, available at http://www.sonydisplaysystems.com/display/downloads.html.
You can also download Niklas Eriksson’s VPLControlsoftware, available at http://www.neriks.com.
The BIG Picture is not only host to The VPL-VW10 Forum and FAQ, but our DVD ratings and reviews are the most discerning you will find on the Internet. Here are the titles that are guaranteed to provide a sizzling display on your projector that will impress all who experience it.
Be certain to visit our Premium Picks page to search for the ultimate in DVD image and sound quality.
In the meantime, here are the latest reviews we're featuring this week, written by Jeff McNeal and Bob Banka, whose work has been praised by film critic Joel Morgenstern of The Wall Street Journal and film restoration expert Robert A. Harris.
Edited versions of these reviews are at your newsstand in Schwann's DVD Advance magazine!
This week's featured DVD reviews:
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Recently, one of our readers experienced some warranty-related problems with his projector's UHP lamp. When he inquired about the ratings and longevity of the UHP lamps in actual use, here was the reply from a representative from Sony. We think this is information every VW10HT owner (or prospective owner) should know:
"The ratings of all bulbs at best are arbitrary because of a host of envirnmentals that can effect them. When a bulb manufacturer lists a 2000 hour or 1000 hour rating for a UHP lamp, it is based upon laboratory conditions and does not take into consideration things like how many times the bulb is turned on and off, the devises power supply draw, dust buildup on the filter (please make sure you are cleaning this at reccomended intervals), room temp. etc. Most important, is that the rating itself means that at 1000 or 2000 hours the UHP lamp will be @ 90 % of its brightness, IT IS NOT A LIFETIME RATING!! Many people confuse this specification! In short There are too many unknowns,making it difficult to determine how long any one bulb will last. The 90 day warranty reflects the fact that most bulb defects will show up in the first hours of operations."
The following people directly or indirectly helped with thisFAQ, by posting informative info on one or more forums:
David Barrett
Dan Baugh
Per-Fredrik Boman
Christopher Crim
Bill Cushman
Rod Eason
Niklas Eriksson
Robert A. Fowkes
Turo Heikkinen
Jeff Lederman
Allen Monroe
Jeff McNeal
Don Munsil
Dennis Shepherd
Shelly Schachter
Steve Smallcombe
Don Stewart
Looking for additional in-depth information? Check out Don Munsil's excellent VW10HT FAQ. Dons' original FAQ was the genesis for this page and we gratefully acknowledge his contributions. If you haven't found it here -- we're confident you'll find it over there.
Noted video expert Bill Cushman has been a strong contributor toThe BIG Picture projector forums for some time. Another ambitious forum member thought it would be nice to compile most of Mr. Cushman's post into a single document that will answer most of the toughest questions that have been raised. Click here to download the "Collective Wisdom" of video guru Bill Cushman from various posts -- compiled by forum member Allen Monroe.
See the official Sony VPL-VW10HT brochure in a .PDF file (Adobe Acrobat required)
Dowload the latest version of PJCalc! created by Sony to aid with the installation of your projector and screen!
Have we missed anything? Please let us know!
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