Originally Posted by jrock99
If you could please share some insight on Mitsubishi I would be very greatful. As always this just your personal opinion and nothing against any brand, they all look great-
Why would the Mitsubishi 65 inch screen with 9 inch guns not be the winner in pic quality? I've asked but never got an answer really on what the raster size is for these guns and if it's possible to tweak them up.
It's possible to tweak up any triple gun CRT, but some are designed with more supertweakup ability than others.
As I mentioned earlier in this thread, the Mits's have the most sophisticated convergence system out there, capable of nailing the convergence virtually all the way out to the edges and beyond, to superb viewing quality. There will still be a little feathering in the last inch or two on each side at some points, but this is unnoticeable without looking for it, which you never do when watching regular viewing material. Reducing the overscan - with its perks of not only revealing lost areas of picture, but also tightening up the resolution because of a denser pixel pack - is worth this slight accommodation/limitation.
Many of the horizontal lines can be completely nailed at each side edge using invisible points outside the viewed area, and others have to be averaged, as on one side they will go up at the end while on the other side they will go down. (No getting rid of that - but as I said above, this is unnoticeable in normal viewing.)
But for an overscan reduction down to 4-4.5%, taken in from the regular 6-7%, there is no RPTV convergence sys out there that can accomplish it better. Some of the newer models can even be sized down to 2% overscan. Both Zenith and the Philips/Marantz 65"ers had 9" guns, but I could never supertweak them all the way out to the edges.
I have not had the pleasure of supertweaking a Mit with 9" guns, only to play with one in one area of the screen at a store, so I have not seen the end result of supertweaking one. But I am sure it is fantastic.
The built-in red push can be all but eliminated with their new PerfectColor in user, which not only includes the 3 primaries, but also the 3 corrolary colors, for silky smooth color decoding. Not quite perfect, but definitely head and shoulders above not having anything there at all, and in most viewing instances every bit as good and true to life as perfection would have delivered.
In the first 2 Mit models of HDready, they had registers which could completely nail 100% linear color response, delivering 100% true to life color. In the 3rd year, the x7 series, all those juicy registers were gone, never to return on a universal basis, tho the ones with built in HD tuners continued to have at least the color decoder regs in there for another few years. The color isolators in the Video Chroma menu tho - which made linearizing the color decoding a fairly straightforward process, the first 2 years - went the big sayonora forever, in the x7 series, never to return. The convergence sm had color isolators that have stayed around, but that meant bouncing back and forth between the Video Chroma sm and the convergence sm, for your constant double-checks, from then on. Doable, just a lot more convoluted than straightforward.
After that, in the year of the x7 series - spurred on by the still persistent practice of Mit to install red push in their sets on all scanrates with no thought of how it at all times translated irrevocably into blue/green diminish when fleshtones were prioritized - intrepid computer guys who know much more about computers than I ever will, successfully hacked the I2C interface and started taking control of the programming of the eeproms WITHOUT service menu access. We again had control of our color decoding and could re-linearize out the blue/green diminish.
Mit was not happy. I had a conversation with George Palmer at CES a year or 2 later, where they and other brands had supplied big screens for the Sports Bar attraction, and it became pretty heated. He told me in no uncertain terms how pissed off Mit was that we had invaded their I2C bus, tho he was a gentleman enough not to use those exact words. But he was steamin'.
I finally told him that he was leaving the videophile out of the equation. That the only reason we did that was because Mits's are such damn fine sets, that we videophiles don't WANT our pictures trashed by red push.
He heard how fine we thought their sets were, and I think he finally started listening. We shook hands and parted company, both of us still steaming, but changes started to happen. The next time I talked with someone from Mit, they had brought PerfectColor out of just being in SD - where Joe Sixpack didn't even know about red push and could have cared less - and into 480p and HD, for us videophiles.
They also had come up with a de-interlacer for 480i that was Faroudja quality, and the new 65" with the 9" guns.
9" guns on a 65" screen give you just a slightly more spacious staging of the video material, more depth in the picture. Probably akin to hearing a slightly more spacious soundstage when listening to Mark Levinson audio compared to MacIntosh audio. Both superb, the one just a little more lifelike and spacious.
I saw this in both the Zenith and the Philips, but only in the center of the pic. As you got out to the edges, you'd start to lose it because of their limited convergence systems. My working with a small area of a 9" guns equipped 65" in a store really didn't impress me. Can't wait to see the full monty on a Mit, where it can be dialed in out past the edges of a 4-4.5% overscan.
9" guns on a 65" screen also give you 9/7 more light potential than 7" guns will.
Their electronics are also great. Not QUITE as good as Panny's, but still incredible.