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KP53HS10 Calibration

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Tip from Michael TLV:  "Just some observations from a recent calibration session with the Sony KP 53HS10 unit. While nothing out of the ordinary about this session, I did note and confirm a few other things about these sets that should be passed along for what it's worth.

Purely functional is what I categorize this set as. The precalibration grayscale at the NTSC STD setting was actually pretty close. The 100 ire and the 30 ire ends were pegged at 6250K and 6800K respectively although the blacks looked green. Someone missed the D6500K point by a bit. The main problem with the existing grayscale was that it looked good from 100 to 80 ire, then the grayscale peaked quickly to 7100K and stayed there until the 30 ire point where it began to come back down a bit.  

Post-calibration was better by the numbers. The 100 ire end was 6270K and the 30 ire end was 6380K. The big difference this time was that the peak was lowered to 6790K with most of the grayscale now tracking +/- 250K from the D6500K point. The improvement is real, but it was probably doubtful that the differences could be decerned by eye. The only striking difference was that blacks were now much closer to being black as opposed to green tinted. In the grand scheme of things, I have seen better grayscale tracking and I have seen worse. This one gets a "B" for grayscale tracking. I gave the Sony KW 34HD1 16:9 tube set a "C" for grayscale tracking, whereas the KV 36XBR400 gets a solid "A."

In the set's 16:9 mode, the test plate used was the title 20 16:9 enhanced frames from the Video Essentials DVD. The circles did not look right. They were too flat. The aspect ratio measured was in the range of 1.90:1 instead of 1.78:1. What this meant was that the images were too fat in this mode. The aspect ratio was wrong. No wonder the geometry did not look correct. Increasing the vertical height is the solution. Many others have also noted this same geometry goof in this set. 

An item that I have touched upon before regarding the colour temperature change between the 4:3 mode and the 16:9 mode in the TV. Previously on a KP 53XBR300, I measured a spike in the colour temperature of 2500K when going to 16:9 mode from 4:3 mode. Colour Temperature readings that were 6500K would jump to 9000K. This also ocurred on the KV 36XBR400 unit I looked at. 

Well, I am pleased to say that this isn't nearly as widespread a problem as I thought. The change to 16:9 on this set marginally pushed the grayscale up by only 200K. This was good news and told me that this was less of a concern than I originally thought it could be. I expect to still have to check how each individual set behaves, but your mileage will definitely vary. The crackerjack surprise in each box is different. 

Taking some initial readings off the screen in preparation for Guy Kuo's Lens Striping technique, I found that the screen colour was more homogenous than most RPTV's. Grayscale on the left side ranged from 7100K on the edge to 8000K in the corners. Blue to be sure, but I have seen worse. On the right side of the screen, the readings were 6700K on the edge and 6300K in the corners. A fairly consistent image and Lens Striping would only be needed on the blue CRT. (The procedure was not performed though as the owner decided to wait until my next visit six months hence.) 

There was only a marginal amount of red push from the colour decoder so bringing the colour saturation down one notch in the service menu was all that was needed."