About the Eye
The picture of this eye is an actual screenshot from a CSI Miami episode. It was recorded and played back on the Dish VIP 622 DVR in its current-gen MPEG4 format. A shot from HD DVD or BluRay would of course be even better because
of lots less compression needed in either of the HD disc formats than broadcast HD inherently needs to use because of bandwidth considerations. But my aim in this picture is to show how dazzling a picture component-connected 1080i – no HDMI has yet been hooked up to this TV at all, at the time of this writing – can deliver on the incredible – and IMHO under-respected – format of CRT-RPTV. Hopefully while there are still many of them out there ready to be kept going, producing extremely lifelike pictures like this one, and minus any of the digital artifacts inherent in lots of the fixed pixel formats that are currently taking the place of CRT-RPTV out there.
The slight rainbowing you may notice was not there in the episode itself, nor on the display itself. Completely a camera/storage/computer artifact, due to shooting while slo-mo was going on, to avoid pause symbols from the DVR. I have since learned how to freeze frame without pause symbols on that DVR, thanks to fellow ISF'r Glen Carter. Thanks, Glen! I still liked this picture best, which is why I'm using it for my cover shot.
Shot with a 3.2 MP Toshiba PDR M700 digital camera with 10x Canon optics, at about 11', slightly zoomed to fill the screen. Ideal viewing distance at that time was 10' away, with the unit tilted down a bit to allow the set's "sweet spot" to hit the proper view-from-couch-height by use of a simple 2x4 under the rear of the unit. Glare screen has never been installed on this unit and never will be, at least by its present owner.
This is a photo of a fully calibrated triple gun 73" Mitsubishi CRT-RPTV, including extensive "from scratch" image structure work – and ISF work as well – done by me, personally. It has 9" guns, but a virtually identical screenshot to this one could have been produced by a well calibrated 7" gun unit as well. Color rendition was accomplished via dialing in of PerfectColor, in User mode. It took several hours using industry standard color bars test patterns generated by my Accupel HDG 3000 to rid the set of the red push placed there by the factory and inherent in all out-of-box Mitsubishi CRT HD-ready technology, and restore clear and linear color decoding again via the PerfectColor user option. This is the only way left by Mit to do it these days, tho on older Mit models it can be done much more easily. Finally resulting in scintillatingly accurate color rendition, where sizzlingly accurate flesh tones – different and individual for each face in any given scene – can co-exist with peacock feathers, and both sets of colors be vivid like they should be.
This was of course after the ISF work, where the grayscale had been taken away from the common pinkish color temp also designed into most Mit CRT tech out of box, and realigned to the industry standard of D6500K. Color rendition is, of course, dependent on being based on fully aligned grayscale, but after that color rendition is a separate animal, and color rendition is not covered in the ISF training. It is referred to, but trainees are not trained in how to realign it. Nor is image structure work covered by ISF, on CRT triple gun technology. While critically important, ISF training is not all it takes to deliver the kind of picture a fully calibrated CRT-RPTV can deliver. There is more.
The set was later modified by shimming its CRT array forward by 1.5" closer to the mirror/screen. This took care of eliminating the ever-present overscan inherent in ALL CRT-RPTV tech – not just that of Mitsubishi, and NOT found in front projection CRT tech, thankfully – by reducing its overscan mechanically. This has the added perk of revealing more of the faces of the actual CRT's than Mit designs its CRT-RPTV units to do, out of box. It allows for greater pixel density getting to what you actually SEE on your viewscreen than originally designed for, delivering markedly and very noticeably increased image structure performance.
Then of course the set needed to be recalibrated on image structure again. But worth it.
The ideal viewing distance was 10', eyes to screen, at the time this picture was taken a few months ago, before the shimming mod. At this writing, it is now 8' away, eyes to screen, from the 73"/6'1" diagonal measure set, delivering a dazzlingly huge picture to actually be able to watch, with full coherence and resultantly hypnotic suspension of disbelief. Further shimming of the CRT array – moving it even closer to the mirror/screen – and thus new image structure work, is presently being contemplated, along with replacement of the mylar mirror with a front/first surface glass one.
This is not quite "sitting your width", as can be done with front projection CRT tech, like Cliff's incredible G90 front projection double-stack, in Indiana. Cliff's front row is 10' away from his 10' screen, eyes to screen, and is totally coherent. All credit for that display belongs to master front projection calibrator Ken Whitcomb, full stem to stern dial-in'r of that incredible display, and Cliff's rapt attention to how Ken fully dialed in that pic, so that as owner he could keep it that way. No, can't say I sit my width, unfortunately.
But my viewing distance is markedly closer than any other CRT-RPTV I have ever seen in my many years as a calibrator, rendering what is considered a HUGE picture among CRT-RPTV lovers. And mine DOES deliver a picture so lifelike that I can sit there and study the grain of the film used to shoot the film-based movies I view. So, of course, can anybody watching with me.
At present, some viewers who have experienced my display are saying "Mr. Bob has his own personal IMAX!"...
I myself say that, of course, about Cliff's...
I have a friend named Tyndall on whose home renovation business card it reads, "Let me make something beautiful for you."
I say the same thing about your big screen display, whether it�s front projection, rear projection or direct view:
Let me turn your presently challenged and possibly very mundane video viewing experience into something effortless, lifelike and really beautiful. Something you just can�t get enough of.