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Marantz VP-12S3

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tion of the film-to-video transfer. The inverse-

telecine film-mode processing handled a

wide range of DVD movies without any visi-

ble deinterlacing artifacts, and had no prob-

lems when jumping between DVD chapters.

The Cinema mode must be enabled to use

the film-mode deinterlacing. It will then auto-

matically switch between inverse-telecine dein-

terlacing for film sources, and motion-adaptive

deinterlacing (with or without DCDi) for original

interlaced-video sources. The automatic

switching worked seamlessly without any

glitches or combing artifacts on the Video

Essentials “Montage Of Images,” which cuts

back and forth between segments transferred

from film and original interlaced video.

The DCDi processing uses directional

interpolation to reduce jaggies along edges.

The DCDi mode can be turned off in the

Miscellaneous menu, and then the video

mode deinterlacing uses only motion-adaptive

deinterlacing. The VCR mode turns off the

motion-adaptive deinterlacing for particular

poor sources, and uses a field-based vertical

interpolation algorithm regardless of video

content. That creates a substantial loss of

vertical resolution, and shouldn’t be used

unless you find other deinterlacing artifacts

with poor sources particularly objectionable.

It is much more difficult to deinterlace

original interlaced video sources than it is to

deinterlace video from film sources. There

are no ideal methods for video source dein-

terlacing, and regardless of the technique

there are always tradeoffs between line twit-

ter, jaggies (static or moving stair-steps on

edges), and a loss of picture resolution. The

video segments of the Video Essentials

“Montage” provide good sequences for

comparing deinterlacers. Unlike many other

deinterlacers, the DCDi processing com-

pletely eliminates jaggies on the bobbing

frozen branch and the stripes of the rippling

American flag. But the Faroudja processing

appears to produce some color bleed

between the red and white stripes of the

flag. There is also more line twitter with ver-

tical movement across horizontal lines in the

train yard and during the zoom-out of the city.

The DCDi processing does a good job

of minimizing jaggies on most standard-def-

inition broadcast programming, but it was

less effective with fast motion sports. Jaggies

and line twitter were bothersome on basket-

ball broadcasts as the camera panned

across lines and logos on the court, but they

were much worse with the DCDi disabled.

DVD Movies

I used the analog YPbPr and DVI digital

video inputs to evaluate picture quality with

DVD sources. All of my viewing was done in

the F5.0 (highest) contrast mode with Low

Lamp brightness. I was most impressed by

with the superior image clarity, dark blacks,

and vivid, accurate color.

At least two factors are responsible for

the exceptional clarity of the DVD images.

The analog 480i and digital 480p scaling

have minimal edge outlining, and the

Minolta lens has superior focus and little

vanishing chromatic aberration over the

entire screen. Chromatic aberration pro-

duces color fringing on gray or white lines,

similar to the effect of misconvergence on a

CRT projector. Projectors in this price range

are prone to have some chromatic aberra-

tion, which gets progressively worse toward

the edges of the picture. But test patterns

revealed that the VP-12S3L maintains sharply

focused lines with virtually no color fringing

out to the edges of the screen. That quality

of performance is normally only found on

much more expensive projectors that have

a larger, more costly lens. (I did not have a

VP-12S3 with the short throw lens to test.)

It is hard to overstate the improvements

that the HD2+ DMD

™

(Digital Micromirror

Device

™

), 7-segment color wheel, and new

iris technology have brought to this genera-

tion of DLP projectors. The much lower

black level lifts a hazy veil that had been a

shroud over predominantly dark films, such

as The Game or Dark City. Moreover, almost

every movie contains some scenes that had

previously been partially obscured by the

black level of earlier generation projectors.

There is also a similar improvement in intra-

field contrast, which enhances dark detail

recognition and image depth in scenes with

extremely bright objects. Back To The Future

and The Usual Suspects contain notable

examples. In addition, those troublesome

scenes are also free of visible contouring

artifacts (discrete brightness steps in pat-

terns resembling a topological map sur-

rounding bright objects).

The projector produces brilliant, vivid

colors with accurate hues. But because the

primaries are a little more saturated than the

Rec. 601 standard-definition primaries, I

slightly reduced the Color control for films

with highly saturated reds or deep skin

tones, such as The Thomas Crown Affair

(1999) and Indiana Jones And The Last

Crusade. The hues remain accurate and the

colors are still vivid with a small reduction in

color saturation (color depth). Many other

films look glorious without any color adjust-

ments. I especially like the warm, natural

colors in Runaway Jury. The on-location

images looked especially realistic, far sur-

passing the believability of the script. But

the exchanges between Gene Hackman

and Dustin Hoffman are wonderfully enter-

taining, and the DVD transfer has excellent

detail that is superbly delineated by the pro-

jector (check out Hoffman’s sport coat).

The unusually low gamma values can be

seductive because they make the darkest

image areas brighter and expose more

shadow detail. But they also make dark

interiors and exterior night scenes brighter

than expected. I selected the ‘c’ gamma

curve because it was the setting that pro-

duced the darkest shadow regions without

compressing the brightest whites. I found it

pleasing for the widest range of movies. It

provided the most natural contrast for cruis-

ing the late-night streets of American Graffiti,

and was the most convincing gamma for

the lunar excavation and Discovery’s trip to

Jupiter in 2001: A Space Odyssey. However,

I wanted a higher, more conventional

gamma for classic black and white films

such as The Philadelphia Story, which

appeared rather flat with insufficient contrast.

I preferred a 480p or 720p DVI connec-

tion for the most highly detailed film-to-

video transfers. The digital video path pro-

vides a noticeable advantage in image defi-

nition compared to a 480i YPbPr analog

connection, which must include an addition-

al digital-to-analog and analog-to-digital

conversion. But the advantage was less sig-

nificant on DVDs with only average detail. In

fact, the 480i analog path was advanta-

geous on transfers with softer images

because the luma and chroma enhance-

ment processing, which is not available for

Equipment

Review

Widescreen Review • Issue 84 • May 2004

Page 6/7

#84 Master Pages 26-49 3/22/04 4:32 PM Page 46

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