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Mini comparative W7500 TW9200 BenQ vs Epson

O each of W7500 and TW9200 represents more than just a different technology. Represents a school, school has orkismenoys fans orkismenoys and other enemies.

What has been said about these two technologies and how many fights have not evolved in worldwide AV forums around the world without ever having to leave a clear conclusion on whether some overrides the other.

But let’s make a short and succinct analysis of two technologies before moving to the “main dish”.

DLP

DLP technology makes use of a panel consisting of millions of small mirrors in order to send the light on our cloth creating image.

The advantages of this technology are the very good management of light when it must co-exist in our picture with several dark spots, the so-called ansi contrast, the infinitesimal gap between a pixel and does not need to be running some kind of circuits between them, and the enormous resistance in time.

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The disadvantages of the other is specific and three in number. First the necessary use of color wheel to create the palette, secondly the mishandling of light in dark scenes (measure black and on/off contrast) and the stagnation of many years development of the chip from the company that invented (texas instruments).

LCD

This technology makes use of the classic LCD liquid crystal panels that we all know from our televisions and monitors. The difference is that it has no “back” so as transparent allows light to pass through creating image there that will culminate, as very simple description in the beginning.

The advantages of this technology is good management of light in dark scenes (unlike DLP best black so and on/off contrast) and non-use color wheel or any other moving part for the creation of colors.

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The disadvantages of this technology is the large gap between the pixel (electronic circuits are forced to run between pixel occupying space), mismanagement of light when the picture black and white coexist (moderate ansi contrast) and the reduced durability in time.

And now to the Chase …

The W7500 and TW9200 belong to the so-called middle class. In this category belong the headlights that deviate quite upwards from the psychological threshold of 1000 Euro other does not exceed (at least) the next limit of 2000 euro to enter other fields considerably better models.

And both are black, big and handsome without electrical accessories in lenses and with big gun horizontal and vertical lens shift them.

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This benchmark will not be a classic comparison as many might imagine. No, you’re not going to see charts and measurements because I decided to go straight and to analyse how they play these two projectors side-by-side. Information course and two kalimpraristikan before falling in battle with the BenQ gives slightly less brightness than the Epson (without the use of Brilliant color) because he needed to lie somewhere in the 1 meter behind to perform 96 inches frame of our screen.

The BenQ had 300 hours on his back and the 9200 30.

The headlights locked with HDMI splitter which has two outputs and can power two devices with the same signal. For source there was a Laptop Elitebook set from the output display port HDMI signal drove splitter and from there to the headlights.

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Projectors locked and not being under-lit in order to warm up their lamps and comparative started …

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The first impression was that the 9200 in the kalimprarismeno mode was slightly brighter, don’t imagine something important (we did not use the brilliant color of 7500 why would pretty in brightness from the 9200).

The first test was to check the focus and the clarity of their lenses. Here the 9200 showed through his teeth being the most acute and with better focus from edge to edge of the screen. This first impression more carefully controlling the sharpness sliders both headlights have found that the Epson factory seemed to have more pinched the sharpness from the BenQ in factory position.

Following the two photos the BenQ is over and the Epson downstairs. The BenQ is the sharpness of the default location while look what about Epson’s, must go to location-5 to play at the same level with the BenQ from theme images in the corresponding paternaki. (the images you see are much smaller in fact other my camera decided that wasn’t enough and I had to zoom to see better:))

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As you understand when the sharpness slider is from the factory more closely in one of the two projectors you can’t get accurate conclusion because it affects the sense of definition will receive the torch, if I had any other sacrifice to take one, this will was clearly in favour of Epson.

We have i.e. 9200-7500 1:0 with a controversial penalty kick … more famously the score counts …

We put the white tab and there we saw why the DLP are the Kings of white. I will not talk about the color variation that was missing completely from the 7500 and existed in 9200 (unfortunately the lens could not immortalize) more for this white white who will receive from a DLP and that neither imagines any LCD. To describe it as pop gets I would say that the white front 9200 STOU 7500 looks like “fake” white.

Unfortunately as many photos and if I pulled (over 20) could not in any apothanatisw to what I was seeing, something akin to the camera’s sensor mistaken a thing. Push up the best of 20 not any and … (of course she immortalized what really happen in the other cloth can give you an idea)

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Somewhat so we have an equalizer in a 1:1

Let us move on now to the broth, the comparison I expected that and that. Dark scenes and black. Here for good luck the photographic lens recorded exactly what my eyes saw..

Both headlights with Auto Iris disabled (always on the 7500 and under the 9200).

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And here with overexposure to see just the difference of black of two headlamps … of course Pro 9200 … (you may see the faint mpledizon black of 9200)

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The important conclusion that emerged from the comparison of dark scenes is that DLP see fine until I see how this scene plays someone else better spotlight on/off contrast. There you find that many details are not depicted even your projector because he couldn’t reach so low.

What I mean ….

For example, if you set the values 10 to white and 0 black, the DLP has white 10 for other 3 for black, so any detail written by the camera that filmed the movie from 3 and down the evens in absolute black can render (3) and disappear! While the LCD with the clearly better on/off contrast has like 10 other white for black 1, so it can and returns the details found in 2 and 3 just fine. See the pictures below and you’ll understand (in light overexposure from the photo) …

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And here with more overexposed than the photoshop this time to see that 0 7500 has reached the limits of before the 9200 and has “leveled” all the details on the right of the image you have about below the bottom black you can perform.

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Here to enlarge the 7500 to understand this “crash” of black, the black bar at the bottom is the lower black that can perform the headlight and above we see that at that point of the scene has leveled all the details because I have reached in this black, within the limits of IE …

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As you will see here the black bar down continues and in the picture (on the sea) in the case of 7500 sample that the projector has reached the limits of black level theme while the 9200 underneath has a lower level in the bar and may and returns more detail within the image during the difficult dark spots.

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Notice the detail in the mountain right missing from the 7500.

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However in parentheses will say that ONLY by putting the two projectors to play side by side you can spot these differences in viewing dark scenes, if you do a comparison of failed memory..

Solution however is to see these details on a DLP and is to squeeze our gamma by clicking the below 2.2 low IRE. Then the spotlight will render these details other than the feeling of famous “veil” will grow more (this is the trap). Unfortunately there is no other way to see these details on a projector that has a high black level.

In other words with gamma curve adjustment against BT. 1886 and not with the classic system Power force spotlights with low black level in order to see these dark details.

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Of course, if the projector has a good dynamic IRIS as the 7500 then with the Bay the low gamma low and with the help of dynamic IRIS we come very close to the result of 9200.

With the dynamic Iris (which is not at all aggressive in any of the two models) headlights come very close, I would say extremely close, and if we put in the equation and the highest ansi contrast of 7500 then the scales and balances in scenes like these, almost takes precedence and the DLP …

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So black and dark scenes have 9200-7500 2:1 with goals from the locker room indeed ….

Next stop motion …

Here the 7500 swallows whole the 9200 everywhere and always. Locked and the two headlights in 1080p24 o BenQ passed various camera smoothly clearly panarismata from Epson in every scene that I tried.

Activating the frame interpolation in both the low position the difference simply grew up. Although the couple in very difficult scenes such as when a large object (50% of the screen and above) passed from one side to the other of the image had submitted (psiloskalwmata), 9200 was clearly quite worse of 7500.

The same was true in the presence of various artifacts that portray 9200 some unlike the 7500 that I fought and we saw nothing.

So loose traffic sector calls the 7500 in 2:2 and go endgame thriller …

Bright scenes

Here the DLP plays at its headquarters will say more has to face a worthy opponent. The smallest gap in pixel, high contrast ansi and zero dissimilarity turn these scenes in a real pleasure. On the other hand the 9200 with any variety of panels, with the clearly smaller ansi contrast and longer distance of pixel between them … follows very close amazingly!!

(The truth is that in the theme settings in 9200 had done a very good job while the 7500 encountered as “come more, DLP’s, fine will play” and is not involved in the detailed setup it as a footnote).

The 9200 has excellent color behavior in skin tones which I pointed out in the review and other the BenQ as purebred DLP this asset has anyway so the battle is almost ambivalent.

Frankly the headlights is very close and in a side by side comparison to the point that you think it is the same projector (if you exclude a characteristic light “yellowness” of 9200 that is characteristic of LCD technology and realize only putting him next to a DLP). See the scenes below and you’ll understand …

Always the BenQ over

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If you want a good score and de in this comparison of luminous scenes will give a goal on each projector with the BenQ to score first other Epson calls to him directly.

The truth of course is that the clear color behavior of 7500 and this ultimate and striking white in bright scenes with other more excited I couldn’t give him a clear lead with such small differences in favour of and when the opponent follows really within walking distance.

So we have as a final score of 3:3 after extra time would say ….

Screenshots

In the screenshots you’ll see I had a little dilemma. To leave the spotlight to play with the sliders of the sharpness in their default numbers knowing that Epson is already factory pinched or set in accordance with the reference paternakia; After thought I decided to leave the sliders to their default values because on the one hand so probably would play from an average user and pinched his sharpness Epson factory did not produce any annoying side effect in the picture (avatars) in viewing scenes.

(For the record, and just say that if you adjust the sharpness of the two projectors with the corresponding reference paternaki then the BenQ shows slightly eykrinesteros)

Also I didn’t get to take reference photos with projectors to play side by side because the big black one that necessarily take the camera (the images were upside down and created a great height resulting in italics to a large dark space) mperdeye the sensor of repeating white and all attempts have failed. So the screenshots you’ll see coming from a separate view. As clarifications so as to draw your conclusions as objectively as possible.

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And John’s opinion that not only was present throughout the duration of the comparative other already helped decisively in the making.

Let’s say too short since I attended in comparison.
In most certainly knew in advance what I see as the owner in the past both of the earlier epson 9000 and benq w7000-w7500.

light:

Certainly the benq kalimprarismenos 7500 with B. C on will give something extra to light, others that will employ only those who want to open too many inches. The epson has enough light, combined with good contrast, gives an image that nobody will be left unsatisfied. Although in 3d (if what I remember from the 9000, since we have not tested any 3d) then I can say that epson is more bright in 3d from the benq. Both well in light fare. A near tie here for normal viewing conditions.

contrast:

In dark scenes, I don’t think there is anyone who doesn’t know that the epson excels with a difference. From a back saw the familiar black epson’s but has an undercurrent of blue tinge, but the Visual effect is best of benq 7500.
In comparison, as you will see in the photos, details on epson are distinct low ire while the benq lost information, since the bright gray benq’s don’t help their portrayal. (been moments where I wanted to ask Niko did was kalimprarei the epson with a gamma type … 2 below.) Clear winner here the epson.
Regarding the ansi contrast I honestly do not know who was better. Both were very near other I have the impression that the benq passed slightly better these scenes.

Sharpness:

Here was a reversal that I didn’t expect.
Want the very good piece that epson had Nick’s hands by convergence issue, want and that benq had a theme on optical on the sharpness … with the acidity around average in both, the epson looked better. To say here that my personal sense is that epson has very good acidity algorithm. Perhaps this contributes the most “soft” picture of a LCD compared to “boil” that tends to have a dlp. Maybe, but what I saw with my eyes not to envy epson had absolutely nothing from that benq test. On the contrary, with the image processing AIDS, the epson showed … dlp.
When we turned off completely the acidity etc, we saw and the 2 headlamps to be almost identical. Maybe (with reservation) an idea of the benq slightly better. To reiterate, however, that we have in the case. A benq where as specific piece will characterize medium and an epson where had the best convergence and focus that I have seen so far from epson.
The squadron was treating the benq here, other honestly think epson has thrown off the stamp of the vague image now.
Maybe Nick’s experiences with several projectors that have passed through his hands to be able to tell better how the benq stayed a bit behind in sharpness though from very close distance could discern the largest gap of pixels of an epson and the benq there excels.

White variety:

Clear winner the Benq without a second thought. From the first moment, we saw the epson white to blush down right and left turns green. I was the only reason I personally would probably averted to turn to the market an LCD projector one and in all other areas the projector is doing very well.

Motion:

Both headlights showed annoying hook mess-up which always in all mode of frame interpolation. The epson unfortunately showed me a pretty ugly picture in motion. However I had always in off the F.I. in this projector. Since I have not seen another epson 9200 in F.I. movement, I can’t know if this particular piece had trouble or so play all 9200. Maybe Nick again knows ep’aytoy.
The movement of the benq w7500 while passing by on the bloodless annoying hook mess-up which always on point not bothersome, because I’ve seen two same 7500 I can say that so he plays. The oxymoron of the case here, is that as the owner and previously 7000 benq, I’m sure that the predecessor did not make the slightest snagging, in any quick scene, any hours and if you saw had always and everywhere without traffic nor a snagging.
So, mixed feelings for the very good F.I. benq’s. We have from a a F.I. in low to 7500 where it reduces the sensation of binteilas other than the motion regarding the annoying hook mess-up which always/kompiasmata is not perfect like his predecessor.
In my own eyes between epson and benq, benq 7500 remains the winner.

I believe that with two headlights somewhere earning somewhere you lose.
The main disadvantage of the benq … the black.
The epson color uniformity.

To thank Nikos who once again for hosting!

Giannis

Epilogue

The two projectors though differing technology is very close in overall performance. Honestly if I was a prospective buyer will I tinkered around with fortifying several until you eventually choose one of the two models. Personally it is likely to end up in W7500 to have my head quiet from topics such as chromatic dispersion, the resistance of the device at the time or what “bit” will fall (unfortunately this scenario plays in TW9200) other than the other would this best black and huge placement facilities offered by TW9200 to tell the truth.

The final 3:3 in this “fight” However reflects the overall picture that I have gained in this comparison and the only sure thing is that neither of the two is not going to disappoint you if you choose to enjoy your movies.

Finally to thank good friends John and Theophilus for the disposal of two personal projector for the realization of this comparative and not only.

Good views!

Nikos Tswlas

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