Samsung DLP -N- series tweaks thread - Page 25 - AVS Forum
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post #721 of 1753 Old 04-04-2004, 07:55 PM
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hi guys.....one complaint, i can only use the pip window in the lower right on component 3......this covers up the score bug when i am watching sports......any way to move it on component 3?

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post #722 of 1753 Old 04-04-2004, 08:18 PM
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Hello,

Can anyone tell me how to get into this menu that allows you to change gamma settings. I saw the technician do it but forgot. My problem is with the hlm617w, and crazy digital artifacts. They occur mostly during dark images, like digital shadows. The technician stated this is a problem pleging all 61's. Anyone else having this prblem, and is there a fix? Also the tech replaced the bulb,board and some other board, to no avail.


your help is appreciated
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post #723 of 1753 Old 04-05-2004, 07:01 AM
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Originally posted by gattaca
sorry.. had to delete the attachment from my post above..my bad. I put an older copy up there with some minor differences and tried to edit/replace the attachment. However, for some reason the Forum tool it said it had replaced the file and changed the name... but actually when I downloaded it, it brought down the older version. So here's the 20040327 version..

Does anyone have this in Excel format? I need to update the settings for my 467W.
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post #724 of 1753 Old 04-05-2004, 11:11 PM
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Clyde,

I have been appreciating your posts especially because I have an HLN567W with 309 FW. I have the green push problem where all blonds look like they have been swimming in a chlorinated pool especially in darker scenes. I have had some success with the user menu by pushing up the blue using the color temp (COOL2) and removing green using tint (63/37). Of course this only works for the S-Video inputs and I have the problem on all inputs.

I would like to apply your tweaks but instead of just copying them in, I would like to understand them. I liked your explanation in your post about the effect of the gamma correction; very concise and at the right technical level so that I can comprehend what is actually happening. Would you be so kind as to give a similar level of explanation about the effect of R/G/&B offset inputs and their relationship to the R/G/&B gain controls? I'm sure that it would be appreciated by many members of the forum.

Thanks,
Stephan
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post #725 of 1753 Old 04-05-2004, 11:29 PM
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Quote:


Originally posted by macd23
hi guys.....one complaint, i can only use the pip window in the lower right on component 3......this covers up the score bug when i am watching sports......any way to move it on component 3?

Are you saying that the Locate button does not move the picture? I don't think that split screen is supported when using Component but my TV allows the PIP to be moved to any corner with Locate when the primary image is Component.
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post #726 of 1753 Old 04-06-2004, 04:53 AM
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Originally posted by schunacher
Clyde,

I have been appreciating your posts especially because I have an HLN567W with 309 FW. I have the green push problem where all blonds look like they have been swimming in a chlorinated pool especially in darker scenes. I have had some success with the user menu by pushing up the blue using the color temp (COOL2) and removing green using tint (63/37). Of course this only works for the S-Video inputs and I have the problem on all inputs.

I would like to apply your tweaks but instead of just copying them in, I would like to understand them. I liked your explanation in your post about the effect of the gamma correction; very concise and at the right technical level so that I can comprehend what is actually happening. Would you be so kind as to give a similar level of explanation about the effect of R/G/&B offset inputs and their relationship to the R/G/&B gain controls? I'm sure that it would be appreciated by many members of the forum.

Thanks,
Stephan

OK, I'll give it a shot:

We don't know the physical response of the mirrors in the DLP chip, but we do know that they are preceded by a Gamma lookup table that makes them APPEAR to have the control characteristics of the 3 grids of an RGB CRT, in digitized format. Once we have selected Gamma, the video vs. light response curve (Gamma 0 is most like a CRT on the HLNs), what remains is to process each of our three Primaries to apply to these "grids".

All of the controls have close CRT counterparts:

SubContrast is like a Master Screen Grid control, acting as a gain multiplier on all three colors;
SubBrightness is like a Master Bias, setting the cutoff voltage source from which the individual Biases will be derived, and hence moving all three together.

So how will each of the colors be processed to drive these digital pseudo-grids:

Well, you take the input and separate it into its RGB components, and you have a signal that in analog space would look like a graph of one color's level vs. time. Each Primary is now MULTIPLIED by its Gain value, where 128 can be inferred to be "1", and other levels are proportionally above or below. This is effectively a multiplier on the Y axis of our analog video vs. time graph. The next task is to decide where zero is -- at what level should our "CRT" reach cutoff? The offset controls provide this function -- they move the baseline to where we think zero should be; think of the signals as coming in, being multiplied by Gain, and then all three get 128 subtracted from their adjusted instantaneous value to normalize them, then each of the three get its own Offset value added. Zero for each channel, after this sum, is Cutoff for that Grid, where positive numbers are above Cutoff and negative below. We now have a final value for each of the three primaries, which will now drive the three "Grids" that have been processed by the Sub and Gamma selections to emulate a CRT with appropriate transfer characteristics. The numbers we enter are mostly arbitrary, so long as we stay in the range where the math will not over or underflow, and we don't run out of our weakest Primary:


Like a CRT one color will run out of steam first at the bright end -- this is a fundamental limit, unless by accident you could make a good, bright source that was exactly 6500K, so all three primaries would "hit the wall" together. But our DLP's are again like a CRT -- Red is shortest in supply. So if we fix the Red processing curve, say by arbitrarily assigning Gain and Offset values of 128 to Red, then there will come a point where there is simply no more Red to be had if SubContrast is further advanced, attempting to make the picture brighter. I have suggested we identify that point, and set SubContrast just below it, so that Red will be able to trace the Gamma curve we have selected, without truncating the top end (which would cause a sudden shift toward Blue/Green at the top end, when Red hit the wall). Since there is some small interaction with SubBrightness, we want to recheck this max Red condition when we are able to make a final setting of correct Black level.

Color Temperature adjustment will now consist of adjusting the Gain and Offset of the other two Primaries to track with Red, and produce the same White temp at all IRE levels. But note that each is non-linearly processed by Gamma, and each has one additional multiplier: the color output of the lamp at that Primary. Green, for instance is stronger that Red, Blue stronger yet (compared to what is required for 6500K). So when all three grid-like curves are set for the same Gain and Offset, they would start together, but Green would reach a higher level than Red, and Blue the highest. Since the curves are non-linear, as soon as we adjust the Green and Blue Gain to place the max levels at the right amount -- the curves mis-track at lower levels. So we must iteratively adjust both Gain and Offset for Green and Blue to stay as close to Red over the WHOLE range as the quirks of their curvature allow. And there is the subjective factor that variations in Blue are less critical, because they change Temperature more than Tint, which is less noticed, whereas variations in Red-Green balance are readily perceived as Tint shift.

After all of these machinations, I wound up the these settings on my HLN467W, with 309 Firmware:

Red Gain: 128
Green Gain: 113
Blue Gain: 97
Red Offset: 128
Green Offset: 130
Blue Offset: 134
SubBrightness: 242
SubContrast: 116

Clyde Washburn
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post #727 of 1753 Old 04-06-2004, 07:23 AM
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Clyde,

Excellent write-up. I also have a new (1 week old) 467W with about 45 hours on the lamp. There are some definite changes I need to make once the lamp stabilizes, especially the green tones. I watch quite a bit of golf, and the grass is almost a neon green.

Also, most SD material with dark backgrounds have green tints along the edges of faces, etc. Once I plug the defaults into my updated SM spreadsheet, I will start off with your settings and go from there.

I appreciate your efforts and sharing of information.
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post #728 of 1753 Old 04-06-2004, 07:45 AM
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Quote:


Originally posted by whsbuss
Clyde,

Excellent write-up. I also have a new (1 week old) 467W with about 45 hours on the lamp. There are some definite changes I need to make once the lamp stabilizes, especially the green tones. I watch quite a bit of golf, and the grass is almost a neon green.

Also, most SD material with dark backgrounds have green tints along the edges of faces, etc. Once I plug the defaults into my updated SM spreadsheet, I will start off with your settings and go from there.

I appreciate your efforts and sharing of information.

I just edited my post -- it became clear looking at the numbers that the R/G/B Gain multiplication is done before the Offset is applied, and so I modified the text to reflect that order.

Clyde Washburn
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post #729 of 1753 Old 04-06-2004, 08:30 AM
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Originally posted by k2ue
I just edited my post -- it became clear looking at the numbers that the R/G/B Gain multiplication is done before the Offset is applied, and so I modified the text to reflect that order.

I assume the gamma setting is 0, correct?
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post #730 of 1753 Old 04-06-2004, 08:36 AM
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Originally posted by whsbuss
I assume the gamma setting is 0, correct?

Yes, Gamma 0 closer to the desired gamma curve (and thus also more CRT-like) than any of the other choices. I edited the post to note that.

Clyde Washburn
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post #731 of 1753 Old 04-06-2004, 08:48 AM
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Quote:


Originally posted by k2ue
I just edited my post -- it became clear looking at the numbers that the R/G/B Gain multiplication is done before the Offset is applied, and so I modified the text to reflect that order.

I assume the gamma setting is 0, correct?
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post #732 of 1753 Old 04-07-2004, 02:09 AM
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Clyde,

Thanks for that fantastic summary, it was exactly what I was looking for.

I am a little bit confused when you use the term 'cutoff voltage'. Are you referring to 0 IRE or what I have heard called 'blanking level' of the signal and the mapping of that signal to a base output level that produces zero light output to the display?

Also I have tried to reread the paragraph specifically describing gain and offset and I still cannot understand the part about the signals getting "128 subtracted from their adjusted instantaneous value to normalize them". How does the number 128 relate to the signal level or for that matter to the offset value from the signal level? (I think I understand your explanation of 128 as representing 1 with regard to the gain value; that would make 144, for example, a multiplier of 1.125, correct?). Following the CRT analogy, is it correct to think of the video signal as a relative voltage between 0 and 1? Perhaps I am being too literal with regard to the numbers.

Your strategy for setting the color by basing the adjustment on max red output seems very logical for acheiving maximum brightness. When you set up the adjustments how many points along the range of gray levels are you checking, or is there a way to see a continuous output curve for each color using your tools?

Anyway, thanks for the video lesson. I have applied your settings to my DVI input and the picture is great. On Monday Amazon is delivering a Samsung DVD-HD931 along with the Avia DVD so I can mess around with all the inputs. Would you say that your DVI gain and offset settings would work (or be pretty close) on the component and s-video inputs if I adjust the sub-brightness and sub-contrast for each input? Although I also have the Samsung SIR-TS360 I hesitate to use it as a video gateway. Next I have to look at the DVI switches!

Forum contributors like yourself make this digital TV thing a lot more fun.

Stephan
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post #733 of 1753 Old 04-07-2004, 02:20 AM
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Quote:
Originally posted by whsbuss
Clyde,

Excellent write-up. I also have a new (1 week old) 467W with about 45 hours on the lamp. There are some definite changes I need to make once the lamp stabilizes, especially the green tones. I watch quite a bit of golf, and the grass is almost a neon green.

Also, most SD material with dark backgrounds have green tints along the edges of faces, etc. Once I plug the defaults into my updated SM spreadsheet, I will start off with your settings and go from there.

I appreciate your efforts and sharing of information.

Your description of the green problem is exactly what my experience has been especially the correlation to SD material and the appearance of green halos on heads and faces. I still don't understand why Samsung would ship the TV's that way when adjustments such as those shared by Clyde make the picture what it should be.
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post #734 of 1753 Old 04-07-2004, 04:09 AM
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Quote:
Originally posted by schunacher
I am a little bit confused when you use the term 'cutoff voltage'. Are you referring to 0 IRE or what I have heard called 'blanking level' of the signal and the mapping of that signal to a base output level that produces zero light output to the display?

Also I have tried to reread the paragraph specifically describing gain and offset and I still cannot understand the part about the signals getting "128 subtracted from their adjusted instantaneous value to normalize them". How does the number 128 relate to the signal level or for that matter to the offset value from the signal level? (I think I understand your explanation of 128 as representing 1 with regard to the gain value; that would make 144, for example, a multiplier of 1.125, correct?). Following the CRT analogy, is it correct to think of the video signal as a relative voltage between 0 and 1? Perhaps I am being too literal with regard to the numbers.

Your strategy for setting the color by basing the adjustment on max red output seems very logical for achieving maximum brightness. When you set up the adjustments how many points along the range of gray levels are you checking, or is there a way to see a continuous output curve for each color using your tools?

Would you say that your DVI gain and offset settings would work (or be pretty close) on the component and s-video inputs if I adjust the sub-brightness and sub-contrast for each input?

Cutoff voltage on a CRT would be Black Level -- where the beam current, and hence light output, hits zero. Blanking Level is below Black, and is there to be sure scanned displays like CRTs don't paint the screen while retracing during the Blanking Interval. The video signal input, in the case of the HLN, is probably best viewed as a digital signal with a range of 0-255, corresponding to 0 to 1V analog.

The normalization I described is just a way to account for the Offset always being a large positive number -- subtracting off the reference (Red = 128) offset size makes it clearer what is being done to the lowest signal level when the big Offset numbers are added: i.e. if we subtract 128 and add 130 we have added 2; if we subtract 128 and add 126 we have subtracted two. You have the multiplying right 144/128 would be a multiplication of 1.125.

Setting max Red is easy with any sort of light meter. Take a test pattern with 100 IRE White, turn the Green and Blue Gains down to 0, and step SubContrast while measuring Peak Red -- there is a point where further upward steps do not give more red, and the last step below where it stops moving in the place to stop. If you switch to Grayscale, you will then see a perfect Red Scale -- add we advanced SubContrast further the top Red levels would begin to merge.

I really almost never use the non-DVI inputs, so I haven'y spent any time on their control functions. Since their Brightness, Contrast, Color and Tint can be separately set at the User Menu level I haven't seen a need to change their Service Menu settings, other than using the same SubBrightness and SubContrast as for DVI.

Clyde Washburn
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post #735 of 1753 Old 04-07-2004, 09:49 AM
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Clyde, thanks for the clarification. I feel pretty good about my understanding now; enough to get myself in trouble anyway. I can't help but think of all the people doing searches and coming up on that information; they'll be hitting the jackpot!

Stephan
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post #736 of 1753 Old 04-07-2004, 10:47 AM
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Quote:
Originally posted by schunacher
Your description of the green problem is exactly what my experience has been especially the correlation to SD material and the appearance of green halos on heads and faces. I still don't understand why Samsung would ship the TV's that way when adjustments such as those shared by Clyde make the picture what it should be.

The short answer to this question is that displays in the showroom that are brighter and have color temperatures way above 6500K sell better. Also displays in the showroom that show bright green grass sell better to sport fans. The end result is for our OOTB Sammys are color temperatures around 9000K and red maxing out around 80 to 90 IRE and greens being over emphasized. It is unfortunate that a 100% pulse of red on the DLP is just not as bright as a 100%pulse of green or blue. Remember that a DLP controls brightness by pulsing the light. 100% red equals on during the whole red frame. Samsung knows that they can brag about having higher contrast ratios by pushing past the red limit.

In the future, if enough of us complained then maybe Sammys will come with a sanity mode (near 6500K flat curve, no top end blue bubble). This would not be as good as a fully calibrated system that takes into account your video sources but it would be a giant step in the right direction.
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post #737 of 1753 Old 04-07-2004, 05:01 PM
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I have read with great interest the information posted by Clyde Washburn, alias "k2ue." Thanks to Clyde and all who have particiapted in the related discussion. I have an HLN617W with the 306 firmware. Clyde's discussion assumes the 309 firmware. Is it possible for me to upgrade my firmware? How? Thanks in advance for the answer.

I have the same complaints others have noted, including green push and problems with rendering shadow detail. I'm going to have an ISF calibration done in a couple of weeks. From what Clyde has said, I can expect big improvements. But it remains to be seen whether the guy adheres to a flat 6500K or allows the slight deviations Clyde recommends in order to get the right tint.

Eric Stewart
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Eric Stewart
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post #738 of 1753 Old 04-07-2004, 06:23 PM
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Quote:
Originally posted by epstewart
I have read with great interest the information posted by Clyde Washburn, alias "k2ue." Thanks to Clyde and all who have particiapted in the related discussion. I have an HLN617W with the 306 firmware. Clyde's discussion assumes the 309 firmware. Is it possible for me to upgrade my firmware? How? Thanks in advance for the answer.

I have the same complaints others have noted, including green push and problems with rendering shadow detail. I'm going to have an ISF calibration done in a couple of weeks. From what Clyde has said, I can expect big improvements. But it remains to be seen whether the guy adheres to a flat 6500K or allows the slight deviations Clyde recommends in order to get the right tint.

Eric Stewart
Catonsville, MD

Actually there is nothing about my post that is unique to 309 firmware except the final values I wound up with -- the method would be the same for any firmware -- other versions probably have different weighting factors built-in for the Primary Gains and Offsets, but the same sequence should yield the same visual result. K2UE is my Ham call, BTW.

Clyde Washburn
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post #739 of 1753 Old 04-07-2004, 07:47 PM
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Quote:
Originally posted by epstewart

I have the same complaints others have noted, including green push and problems with rendering shadow detail. I'm going to have an ISF calibration done in a couple of weeks.
Eric Stewart
Catonsville, MD

I think it is a fact that all these Samsungs have green push problems out of the box. I'll look at one from across the room at BB or CC and tell which one is the Sammy because it's a little greener than its competitors. Fortunately it is easily remedied as I have tweaked the SM myself and I'm no expert. It's a shame Samsung doesn't make them comparable to their competitors OOTB, but it looks like the HLP series has addressed these issues when they discuss an extra green color wheel and improved contrast

Be sure to post again after your calibration as to whether the difference was worth it...
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post #740 of 1753 Old 04-08-2004, 11:46 AM
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Sea Ray,

I'll be sure to post my ISF calibration results. I expect the calibration will happen Saturday 4/24/04.

Eric

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K2UE,

I notice you say your calibration intentionally did not obtain 6500K on mid-IRE-level test patterns, so as to eliminate perceptible tint errors in actual material. Your original calibration had a 10% hump in color temp in the middle range. On your later calibration, the one where you tweaked Sub-Contrast and Sub-Brightness and used a different methodology to obtain higher-output Peak White, did the same thing happen? I.e., did you again have something on the order of a 10% hump in the grayscale at various levels of luminance?

If so, do you now see any apparent tint on black & white material?

Eric

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post #742 of 1753 Old 04-08-2004, 12:18 PM
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Quote:
Originally posted by epstewart
K2UE,

I notice you say your calibration intentionally did not obtain 6500K on mid-IRE-level test patterns, so as to eliminate perceptible tint errors in actual material. Your original calibration had a 10% hump in color temp in the middle range. On your later calibration, the one where you tweaked Sub-Contrast and Sub-Brightness and used a different methodology to obtain higher-output Peak White, did the same thing happen? I.e., did you again have something on the order of a 10% hump in the grayscale at various levels of luminance?

If so, do you now see any apparent tint on black & white material?

Eric

The first calibration was before I determined that I wasn't going to get really good results without addressing the Red limit. I also later adopted the technique of adjusting to keep a constant difference between x any y, which keeps you on the 45 degree zero tint slope, while also adjusting the Green and Blue Gain and Offset to let the temp wander back and forth thru 6500K on the IRE scale. At present its holding temp within +/- 4%, which looks pretty good on B&W material -- no perceptible tint and no noticeable warmth difference at any particular gray level vs. any other.

Clyde Washburn
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post #743 of 1753 Old 04-08-2004, 03:14 PM
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K2UE,

Thanks for the info. It is good to hear that your maximum deviation from 6500K is just +/- 4% and there is no perceptible tint in B&W.

Can you explain what you mean by "adjusting to keep a constant difference between x and y, which keeps you on the 45 degree zero tint slope"? I gather this may have something to do with the x and y axes of CIE color space, right? I know there is a curved line through this space upon which lie all the various color temperatures that are perceived as "white," including 6500K. But how does "the 45 degree zero tint slope" relate to this?

Thanks again.

Eric

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post #744 of 1753 Old 04-08-2004, 04:38 PM
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Quote:
Originally posted by epstewart
K2UE,

Thanks for the info. It is good to hear that your maximum deviation from 6500K is just +/- 4% and there is no perceptible tint in B&W.

Can you explain what you mean by "adjusting to keep a constant difference between x and y, which keeps you on the 45 degree zero tint slope"? I gather this may have something to do with the x and y axes of CIE color space, right? I know there is a curved line through this space upon which lie all the various color temperatures that are perceived as "white," including 6500K. But how does "the 45 degree zero tint slope" relate to this?

Thanks again.

Eric

Actually the White line on a CIE Chart is straight, and very close to 45 degrees:
Temp x y difference
6000 0.322 0.338 0.016
6500 0.313 0.329 0.016
7000 0.305 0.321 0.016
9000 0.285 0.299 0.014

You can see that the x and y values are roughly equal (i.e. at about 45 degrees from the origin), and that in the vicinity of 6500K they move with constant difference, i.e. straight. Even up at 9000K the difference is close to the same amount. So we are not talking a curved line, for practical purposes the line of White is straight, and runs at roughly 45 degrees on the CIE Chart. So by watching for constant difference I am letting the Temp wander a bit (centered on 6500K), but insuring there is no residual Tint.

Clyde Washburn
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post #745 of 1753 Old 04-08-2004, 05:08 PM
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Quote:
Originally posted by schunacher
Are you saying that the Locate button does not move the picture? I don't think that split screen is supported when using Component but my TV allows the PIP to be moved to any corner with Locate when the primary image is Component.

thanks much! i had no idea!

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post #746 of 1753 Old 04-09-2004, 10:58 AM
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K2UE,

Thanks for explaining the delta x = delta y concept. It makes good sense to me now.

I've been playing with the Avia Gamma Chart. I'm surprised to find that the gamma reading I get from it on the Samsung DLP TV varies inversely with the user Contrast setting! That is, when I lower Contrast, the gamma reading goes up.

This does not happen on my old Sony CRT. The gamma reading stays the same, whatever the Picture (i.e., Contrast or White Level) setting.

Gamma readings that vary with Contrast or White Level on the Samsung suggest that either (a) the Samsung Contrast setting actually does change gamma, or (b) the Avia Gamma Chart does not work properly with the Samsung. I don't know which is correct.

Eric

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post #747 of 1753 Old 04-09-2004, 03:39 PM
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I have a friend who just purchase a HLN-507 and I was going to be setting up his home theater and possibly tweaking his set. I was wondering if somebody might have posted somewhere and Calibration walk-through type thing that shows what service menu adjustments need to be made to make this set shine. I don't own this set so I have not had any chance to really play with it, any help would be appreciated. PM me if necessary.
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post #748 of 1753 Old 04-09-2004, 04:41 PM
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Quote:


Originally posted by epstewart
I've been playing with the Avia Gamma Chart. I'm surprised to find that the gamma reading I get from it on the Samsung DLP TV varies inversely with the user Contrast setting! That is, when I lower Contrast, the gamma reading goes up.

This does not happen on my old Sony CRT. The gamma reading stays the same, whatever the Picture (i.e., Contrast or White Level) setting.

Gamma readings that vary with Contrast or White Level on the Samsung suggest that either (a) the Samsung Contrast setting actually does change gamma, or (b) the Avia Gamma Chart does not work properly with the Samsung. I don't know which is correct.

Eric

I'm going to be away for a few days, but first chance I get I'll take a look and see what might be causing that behavior.

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post #749 of 1753 Old 04-10-2004, 07:00 AM
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leftearlow,

Unfortunately, there is not a single magic-bullet set of service-menu numbers that work for all Samsung DLPs, even if they have the same model number.

You or your friend should consider going through the latter several pages of this thread and picking up on the extensive posts made by "k2ue." He gives a procedure for calibrating the TV using a color analyzer. He also gives a lot of background as to how and why the procedure works, so you don't have to rely on the specific numbers he gives.

Accurate color temperature, gamma, etc., depend in part on what version of firmware came with your TV, for one thing. Differrent owners have different firmware versions. You discover what your version is -- "302," "309," etc. -- by entering the service menu via the button sequence MUTE-1-8-2-POWER from the remote.

The Samsung service menu's settings vary in terms of their availability and also their specific values depending on which video-input interface is active at the moment and what scan rate it is using (in the case of component video). Anyone who plans to twiddle these values should first record the original factory values -- all of them, for every interface and scan rate. There is no other easy way to restore them if they get totally hashed up. They are not the same from one version of the firmware to the next, so other people in this forum might not be able to help if disaster strikes.

Also, it seems to be the case that the lamp inside the TV varies from one unit to the next in terms of the "color" of white it outputs, how bright it is, etc. The lamp is the starting point of calibration, so calibration should be postponed until the lamp ages a bit, and it probably should be repeated, using a color analyzer, at various points during the lamp's life. This is another reason why there is no one set of magic-bullet numbers.

Good luck.

Eric

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post #750 of 1753 Old 04-12-2004, 11:31 AM
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Assuming the fact that Gamma varies with Contrast on the Samsung HNL-series DLP TV is significant, I wondered if Gamma should be coerced into the normal range of 2.2 to 2.5 for the DLP picture to look most natural - i.e., CRT-like.

First I tried applying my theory to the DVI input - and it worked! In particular, it made the picture on the Seabiscuit DVD, with all of its chiaroscuro and shadowed faces, look phenomenal the best picture I've yet seen from the Samsung DLP. Then I did the same to the Component1/480i input, and it worked again. Then I did the same with S-Video2 and Video2: equally phenomenal.

The specifics:

My HLN617W with firmware version 306 has yet to be ISF calibrated. My service-menu settings are all factory, including service-menu gamma (SMG), which was set to the default value of 4. Using another SMG value might work, too, but (a) I can't guarantee it and (b) it would most likely reduce the output level of reference white, making the picture dimmer than it needs to be.

I turned DNIe on (!), since I have found that it, too, affects Gamma quite noticeably. When DNIe is on for any input, it is on for all, by the way. Specifically, turning DNIe on tends to raise Gamma on the Avia Gamma Chart from under the desired 2.2-2.5 range to the proper range. If DNIe is off, one has to reduce Contrast/White Level a lot more drastically to obtain Gamma 2.2-2.5, again making the picture dimmer than it needs to be. (Note that DNIe is unavailable and unnecessary for DVI. The DVI picture is bright enough without it.)

Cueing up the standard Avia basic patterns, I skipped over the Contrast/White Level adjustment and set Brightness first with the Black Bars + Half Gray test pattern. Note that Brightness also affects Gamma; the higher Brightness is, the lower Gamma is. It's important to set Brightness to get the correct Black Level before twiddling with Contrast to lock in Gamma.

After adjusting Brightness, I brought up the Gamma Chart to adjust Contrast and thereby set both White Level and Gamma. Starting with Contrast at 100, I reduced it until Gamma was roughly 2.4, as indicated by the middle patch on the chart being the same brightness as the background of the chart when looked at through defocused eyes.

After I had Brightness and Contrast (i.e., Black Level, White Level, and Gamma) set to my liking, I skipped Sharpness and set Color and Tint using the Avia Blue Bars pattern and blue filter.

Here's what I got (ignoring Sharpness):

Video2 (DNIe On):
Contrast: 100
Brightness: 35
Color: 50
Tint: 48/52

S-Video2 (DNIe On):
Contrast: 100
Brightness: 35
Color: 48
Tint: 46/54

Component1/480i (DNIe On):
Contrast: 90
Brightness: 43
Color: 43
Tint: 48/52
(Note that I have not tried this yet w/ progressive Component video, only interlaced.)

S-Video 2 (DNIe N/A):
Contrast: 70
Brightness: 65
Color: 50
Tint: N/A

I do not recommend slavishly using these numbers, though. Instead, go through the procedure for each relevant interface. (Of course, you'll have to connect your DVD player to the TV using each interface you want to adjust.) You will surely get somewhat different numbers, but you should get a picture that is just as phenomenal. Good luck!

Eric Stewart
Catonsville, MD

Eric Stewart
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