Sharp XV-Z20000

Introduction

I just purchased the Sharp XV-Z20000. This front projector is one of the first true 1920x1080 DLP units, and I am very impressed with its performance.

Throw and Lens Shift

The Z20000 is a relatively long throw projector 1.85-2.5/1 screen width. It has a very flexible vertical lens shift of 1 screen height, which means that it is equally well-suited for a ceiling or a shelf installation. By default, the lens aligns with the bottom of the screen for a shelf mount and at the top of the screen for a ceiling mount. Use lens shift to adjust from there. Lens shift works like a charm, but it does reduce light output and contrast, so I’d use as little of it as is practical for your installation.

Brightness and Contrast

Measuring brightness is not simple with the projector because it has so many different modes. Like the Z12000, the lamp has a Bright and a Eco + Quiet mode and it has an Iris with 3 settings, High Brightness, High Contrast, and Medium. It also has 5 Gamma presets and several Picture Modes. The default gamma setting is Standard, and since this measured a nearly perfect 2.28 I left it there. I did all my watching in the Bright lamp mode, a mode with somewhat higher fan noise, but I never found it bothersome. The Eco mode gives less fan noise , but at the expense of about 20% less light output.

All measurements are post-calibration in the Standard Picture mode with about 6" of lens shift.

ANSI contrast: 416:1

The Medium Iris setting was my preferred setup. It offers a good compromise between brightness and contrast.

Color Performance

The Sharp XV-Z20000 displayed the best color performance out of the box that I have ever measured. By default, the color temperature is set at 7500k. I changed this to 6500k and then measured the grayscale.

As you can see, the default gray scale is very good. I entered the custom Gamma mode and tightened the grayscale up somewhat and achieved virtually perfect performance. I did run across one problem during this. The gray scale controls for the low end of the scale did not work. The controls are there and they respond to input, but they have no effect on measured performance. Fortunately, the performance was so good to begin with, I wasn’t too concerned with this. I expect Sharp to fix this with a subsequent firmware update, and the service menu control may work. I haven’t had a chance to try this yet.

Sharp includes a Color Management System that allows calibrators to adjust the primaries and secondaries. By default, the Sharp showed a familiar color profile: oversaturated red and very oversaturated and somewhat yellowish green.

After making adjustments in the CMS system, I was able to get a nearly perfect color gamut.

This is a must-have feature for obsessive tweakers. It was particularly gratifying to get accurate green for a change. I don’t think I’ve ever worked on a digital display that didn’t exaggerate green. Sharp’s color management system works exactly as advertised, and I was much more impressed with it than I was with a similar system provided by Optoma’s HD-3000 external processor (the HD81 uses this). I did have some issues with the CMS results, but I’ll not post those until I’ve had time to investigate further.

The Sharp offers adjustments for color decoding in the CMS, but the color decoding was perfect out of the box (no red push here), so this was not missed.

Here are some before/after screenshots that show what the CMS can accomplish. The original is on top. The CMS processed image is on the bottom.

Optics

This projector also has the best optics I have ever encountered. There is ZERO color fringing even at the extreme corners of the screen, as shown in this image of the upper right hand corner of my screen.

In addition to vertical shift, the lens has manual zoom and focus. For convenience I would have preferred a motorized system, but on the other hand the lens assembly has a very solid and well-engineered feel. Sharp obviously devoted a lot of resources to the optical system.

White field uniformity was also very good. The brightness varies by no more than 10% across the entire screen. I measured color temperature at about 150k lower on the right side of the screen. This is a measurable difference but not one that’s visible to the naked eye (at least not to mine), even when looking at a uniformly white 80IRE field.

Problems

I ran across a few problems.

• As I mentioned above, the RGB Bias adjustments for tweaking the low end of the gray scale seemed not to function. As it turns out, they do work, it is just that they work on only 10 IRE or below signals. This is a very strange—in my experience unique—implementation of a gray scale control that I fear will confuse a lot of owners and calibrators. Fortunately, you can use the RGB All Colors adjustment instead to adjust the gray scale in the 20-40 IRE range.
• Page 40 of the User Manual, the page in which these controls are discussed, is reproduced in French! This is obviously a printing error.
• The fan noise was a little higher than I would have liked and the light output was a little lower than I would have liked.
• Some have reported seeing more rainbows on the Z20000 than they see on other high-end single-chip DLPs, but since I am insensitive to RBE, I cannot evaluate this.

Subjective impressions

My first thought upon seeing the image from the projector was: “I need a bigger screen!” The high pixel count really would shine more on something bigger than my 92-inch DaLite matte white screen.

I subsequently upgraded to a 100-inch Stewart StudioTek. I was surprised by the degree of improvement in image quality. First, I was able to get a larger image that did not, because of the true 1.3 gain, sacrifice any brightness. Second, this screen is able to resolve greater detail than the DaLite, so now the Z20000 seemed even sharper and more revealing than before. The DaLite imparted a subtle amount of screen grain to the image that disappeared with the StudioTek. This screen is a great match for this projector. If you wanted to go up to a larger 110" screen I would recommend the Stewart Ultramatte 150. For larger screens still, many users have reported very positive experiences with the DaLite High Power.

I spent a couple of hours looking at DVD, HD DVD, and broadcast (HD and SD). My only recent frame of reference was the SIM2 HT3000. They looked very similar, except that the Sharp seemed a little, well, sharper, a perception that I attribute to its superior optics. After tweaking, the Sharp certainly offered better measured performance. It provides better color performance and higher contrast. In fact, the only area of measurable performance where I thought that the Sharp needed improvement is light output. The High Brightness mode is quite bright, but the black level is unacceptably elevated. The High Contrast mode offers great black level, but it is too dim for my taste. The Medium mode is just about right, but by 670 hours I was getting only 9.5 fL so I had to get a new bulb. I was surprised how little visible change I saw after installing the new bulb, so I think I could have gone until at least 800 hrs. before the lack of brightness really began to impact viewing pleasure.

The biggest improvement of the 1080p pixel count is smoothness, depth, and a difficult-to-describe improvement in realism. The illusion that you are looking through a window viewing actual events is better conveyed with 2,073,600 pixels than it is with 921,600 of the little buggers. There’s clearly more picture information on the screen, which is evident even with standard DVD. However, I think that I was even more impressed by the Sharp’s optics, color, and gamma performance. The CMS system works wonderfully and it really shows on the screen.

There is actually one downside to 1080p projection, at least when combined with a unit with optics as good as the Z20000. As audiophiles have long known, one of the unintended consequences of using a very high-end sound system is that it is ruthlessly revealing of the source material. That is also true with video. The Z20000 did a much better job of revealing differences in quality between a variety of HD broadcast sources, differences that were not as obvious with my Optoma H79. I saw all sorts of flaws in these images that I hadn’t noticed before. However, with clean sources, such as HD DVD, the results are startling.

Despite the advantages of 1080p, resolution is only one measurement of performance and arguably not even the most important one. If the Z20000 had not also provided exemplary colorimetry, optics, and contrast, then the 2 million pixels wouldn’t matter much. Furthermore, to the extent that it does matter you need a large screen to appreciate it. I wonder how much obvious benefit users can expect from 1920x1080 50 and 60” rear projection displays.

Conclusion

In response to market pressures, Sharp has recently reduced the price on the XV-Z20000 to $6999, which is a truly great deal for a projector of this quality. Jason has these units in stock and can quote you a very attractive price, so if you are in the mood to upgrade you should give him a call.

To sum up, the XV-Z20000's strengths are:

• World-class color available with the built-in full-featured CMS.
• Excellent optics with zero convergence and chromatic aberration problems.
• About the highest ANSI contrast available.
• Very good native on/off contrast in the Medium or High Contrast modes.
• Nearly perfect gamma provides excellent shadow detail.
• Very good processing, especially for high definition sources.

Its weaknesses are:

• Relatively low light output in High Contrast and Medium modes limits screen size.
• Potential problems with RBE for those sensitive to this artifact.
• Not appropriate for short-throw installations.
• Lower on/off contrast than what's available from some similarly priced alternatives.
• More fan noise than many competitors in this price range.