Black uniformity was good on the preproduction sample I had. We saw no bright corners there. But I think not every unit will be that good here.
For me thats not a problem anyway. Normally you need some time to adapt to the dark screen before you see the bright corners. Most movies do not have totally black scenes for such a long time. Except 2001..
What concerned me more was the shading in grey pictures with that unit, it was blue-ish in the middle and reddish at the sides. I hope this will be better with the serial production units. However it was not visible in the movie scenes I watched.
I only measured the lumen output in 3D (uncorrected ~1064 at near shortest throw)
You measured this without the glasses I suppose?
@sarangiman: Those diagrams of the manufacturers for how the sequential 3D works usually refer to 60p material.
When you count 1/240, 3/240, 5/240 and so on, you get 120 Hz, this is for both eyes, so 60 Hz for one eye.
normally with 24p 3D material there is no pulldown, therefore the frequency per eye has to be an "integer multiple" (don't know if thats the right word) of 24 per eye.
Since those projectors can only show 120 different pictures per second, only 2*24 per eye is possible. Otherwise you would have a 24 Hz flicker per eye and this would be unwatchable.
So in my opinion with 24p material (without FI) it looks like this:
L1 - D - R1 - D - L1 - D - R1 - D - L2 - D - R2 - D - L2 - D - ....
(D: Dark, both shutters closed).
With that you have 48 Hz per eye and thats the flicker you see.
In digital cinema with Real D system they show every picture 3 times, known as triple flash, so thats 72 Hz per eye, and most people don't see flicker with that frequency. In total that's 144 Hz for the projector, but the LCOS and LCD home cinema projectors can't do that.
With the Sony a new image will be "drawn" on screen in a 1/240 s. Thats the dark pause and there both shutters must be closed.
Epson and Panasonic (using the Epson Panels) "draw" the new image in 1/480 s, so the dark pause is shorter, but only with this interlaced trick that only half of the lines are drawn in the dark pause and the rest of the image is added when one shutter is open again.
So I think because the dark pause is that short you don't see that much flicker with these LCD-panels.
With JVC it's a different thing. While Sonys SXRD- and the LCD-panels are driven analog, JVCs drives the panels digitally, so they don't have to "draw" a picture line by line but can adress all pixels at one time. At the JVC original glasses both shutters are never closed at the same time. The dark pause is only on screen, by switching all pixels to dark at the same time.
JVC claims that this causes less ghosting but at least until the newest generation the opposit was the case! Also many people saw more flicker with the JVC projectors in 3D than with other projectors.
Now looking again at the FI in 3D with the Sony: It has still 2 modes: low and high.
As I said (or supposed at least), by default every frame is doubled per eye so there is a chance to interpolate one of those frames for the FI. This is then the low-setting I think.
But where is the chance for the high-setting to interpolate more than one image then?
The only solution I find is that then there will be a 3:2 pulldown and each eye will have 60 Hz and the FI in high setting will smooth the judder.
But I'm absolutely not sure about that.
Interesting, you think the flicker in 3D is b/c of 48Hz frame doubled 24p material? In that case, if I turned off 1080/24p mode on my PS3 player itself, would flicker be better with the 60p signal?
I'm not sure if you can turn off 24p mode with 24p framepacked material from a 3D Bluray!?