Well my workaround for the WS 65813 worked just fine and using each set of settings with the proper input became effortless.
While I like to keep the Low color temp settings in place just to show what Mit calls an accurate grayscale - it never is, out of the box, it's always pinkish rather than true gray - I had to use those settings to do the second input. But what I also found was that the color temp setting in User stays with that particular input whenever you change inputs - in his case from cable to bluray, which he didn't own until I got there and is still thinking about whether he wants to change over from regular DVD. I think after a few days, that will come to be a no-brainer...
So we kept the grayscale I did the first night where it was, High
on the Monlink input (DVI/HDMI) and let component take the Low
settings, which I completely ISF'd also in this case. Now when he switches inputs the corresponding color temp settings stay with their assigned inputs. No need to change color temp settings again now at all, no matter how many times you change inputs.
Jim's set turned out awesome too, just like Len's. It had been in mothballs in the basement for 4 years, broken and unfixed, because of life continually getting in the way. No more, he now has an HD picture to die for. He had so little use on the guns that we were able to expand the images out quite a bit from factory, also re-aiming the images to be at the center of each gun - the outer 2 were the typical mis-centered design I have seen in all 9" gun Mit's.
We were going to use 3 of the Toys R Us blocks for the height on the shim mod, but found no bolts that were long enough, so had to stay with 2 of those blocks/corner. It was all good, tho. The expanded raster captured more of the screen face than factory, and captured his overscan reduction as well.
The PerfectColor feature allowed me to go in there and using my Accupel HD signal generator and a red filter plus true color isolation in the convergence mode, I was able to change that color paradigm to true, natural, UNred-pushed color. Fleshtones on faces - and skin in general - stay real now, while green and blue, like in a peacock feather - stay vivid. The blue of the drink in a martini glass was especially prominent afterwards, like the woman with the blue hair highlights was in Pacific Rim
, which Len and I watched the first night. Those blues in her hair would not have shown all that well before the color decoding op that neutralized the red push on both of these sets. Nor would the sparking, transparent blue drink in the martini glass. After the color decoding realignment, both of these images were stunning.
Jim now has a picture to die for, and we could not have been happier watching both Harrison Ford and Benedict Cumberbatch being interviewed later.
Truly 2 HD renditions to die for now, on these 2 Maryland sets.