Computer monitor 6

Color misregistration

With exceptions of correctly aligned video projectors and stacked LEDs, most display technologies, especially LCD, have an inherent misregistration of the color channels, that is, the centers of the red, green, and blue dots do not line up perfectly. Sub-pixel rendering depends on this misalignment; technologies making use of this include the Apple II from 1976[3], and more recently Microsoft (ClearType, 1998) and XFree86 (X Rendering Extension).

Incomplete spectrum

RGB displays produce most of the visible color spectrum, but not all. This can be a problem where good color matching to non-RGB images is needed. This issue is common to all monitor technologies that use the RGB model. Recently, Sharp introduced a four-color TV (red, green, blue, and yellow) to improve on this.

Display interfaces

Computer terminals

Early CRT-based VDUs (Visual Display Units) such as the DEC VT05 without graphics capabilities gained the label glass teletypes, because of the functional similarity to their electromechanical predecessors.

Some historic computers had no screen display, using a teletype, modified electric typewriter, or printer instead.

Composite signal

Early home computers such as the Apple II and the Commodore 64 used a composite signal output to drive a TV or color composite monitor (a TV with no tuner). This resulted in degraded resolution due to compromises in the broadcast TV standards used. This method is still used with video game consoles. The Commodore monitor had S-Video input to improve resolution, but this was not common on televisions until the advent of HDTV.

Digital displays

Early digital monitors are sometimes known as TTLs because the voltages on the red, green, and blue inputs are compatible with TTL logic chips. Later digital monitors support LVDS, or TMDS protocols.

Computer monitor 5

Burn-in is most commonly seen in the following applications:

    * Point-of-service applications

    * Arcade games

    * Security monitors

Screen savers were developed as a means to avoid burn-in, which was a widespread problem on IBM Personal Computer monochrome monitors in the 1980s. Monochrome displays are generally more vulnerable to burn-in because the phosphor is directly exposed to the electron beam while in color displays, the shadow mask provides some protection. Although still found on newer computers, screen savers are not necessary on LCD monitors.

Phosphor burn-in can be "fixed" by running a CRT with the brightness at 100% for several hours, but this merely hides the damage by burning all the phosphor evenly. CRT rebuilders can repair monochrome displays by cutting the front of the picture tube off, scraping out the damaged phosphor, replacing it, and resealing the tube. Color displays can theoretically be repaired, but it is a difficult, expensive process and is normally only done on professional broadcasting monitors (which can cost up to $10,000).

Plasma burn-in

Burn-in re-emerged as an issue with early plasma displays, which are more vulnerable to this than CRTs. Screen savers with moving images may be used with these to minimize localized burn. Periodic change of the color scheme in use also helps.

Glare

Glare is a problem caused by the relationship between lighting and screen or by using monitors in bright sunlight. Matte finish LCDs and flat screen CRTs are less prone to reflected glare than conventional curved CRTs or glossy LCDs, and aperture grille CRTs, which are curved on one axis only and are less prone to it than other CRTs curved on both axes.

If the problem persists despite moving the monitor or adjusting lighting, a filter using a mesh of very fine black wires may be placed on the screen to reduce glare and improve contrast. These filters were popular in the late 1980s[citation needed]. They do also reduce light output.

A filter above will only work against reflective glare; direct glare (such as sunlight) will completely wash out most monitors' internal lighting, and can only be dealt with by use of a hood or transreflective LCD.

Computer monitor 4

Plasma

Main article: Plasma display

Pros:

    * High contrast ratios (10,000:1 or greater,) excellent color, and low black level.

    * Virtually no response time

    * Near zero color, saturation, contrast or brightness distortion. Excellent viewing angle.

    * No geometric distortion.

    * Softer and less blocky-looking picture than LCDs

    * Highly scalable, with less weight gain per increase in size (from less than 30 in (760 mm) wide to the world's largest at 150 in (3,800 mm)).

Cons:

    * Large pixel pitch, meaning either low resolution or a large screen. As such, color plasma displays are only produced in sizes over 32 inches.

    * Image flicker due to being phosphor-based

    * Heavy weight

    * Glass screen can induce glare and reflections

    * High operating temperature and power consumption

    * Only has one native resolution. Displaying other resolutions requires a video scaler, which degrades image quality at lower resolutions.

    * Fixed bit depth. Plasma cells can only be on or off, resulting in a more limited color range than LCDs or CRTs.

    * Can suffer image burn-in. This was a severe problem on early plasma displays, but much less on newer ones

    * Cannot be used with light guns/pens

    * Dead pixels are possible during manufacturing

Problems

Phosphor burn-in

Phosphor burn-in is localized aging of the phosphor layer of a CRT screen where it has displayed a static image for long periods of time. This results in a faint permanent image on the screen, even when turned off. In severe cases, it can even be possible to read some of the text, though this only occurs where the displayed text remained the same for years.

Computer monitor 3

Cons:

    * Large size and weight, especially for bigger screens (a 20-inch unit weighs about 50 lb (23 kg))

    * High power consumption

    * Generates a considerable amount of heat when running

    * Geometric distortion caused by variable beam travel distances

    * Can suffer screen burn-in

    * Produces noticeable flicker at low refresh rates

    * Normally only produced in 4:3 aspect ratio (though some widescreen ones, notably Sony's FW900, do exist)

    * Hazardous to repair/service

    * Effective vertical resolution limited to 1024 scan lines.

    * Color displays cannot be made in sizes smaller than 7 inches (5 inches for monochrome). Maximum size is around 24 inches (for computer monitors; televisions run up to 40 inches).

LCD

Pros:

    * Very compact and light

    * Low power consumption

    * No geometric distortion

    * Little or no flicker depending on backlight technology

    * Not affected by screen burn-in

    * No high voltage or other hazards present during repair/service

    * More reliable than CRTs

    * Can be made in almost any size or shape

    * No theoretical resolution limit

Cons:

    * Limited viewing angle, causing color, saturation, contrast and brightness to vary, even within the intended viewing angle, by variations in posture.

    * Bleeding and uneven backlighting in some monitors, causing brightness distortion, especially toward the edges.

    * Slow response times, which cause smearing and ghosting artifacts. However, this is mainly a problem with passive-matrix displays. Current generation active-matrix LCDs have response times of 6 ms for TFT panels and 8 ms for S-IPS.

    * Only one native resolution. Displaying resolutions either requires a video scaler, lowering perceptual quality, or display at 1:1 pixel mapping, in which images will be physically too large or won't fill the whole screen.

    * Fixed bit depth, many cheaper LCDs are only able to display 262,000 colors. 8-bit S-IPS panels can display 16 million colors and have significantly better black level, but are expensive and have slower response time

    * Input lag

    * Dead pixels may occur either during manufacturing or through use.

    * In a constant on situation, thermalization may occur, which is when only part of the screen has overheated and therefore looks discolored compared to the rest of the screen.

    * Not all LCD displays are designed to allow easy replacement of the backlight

    * Cannot be used with light guns/pens

Computer monitor 2

Performance measurements

The performance of a monitor is measured by the following parameters:

    * Luminance is measured in candelas per square meter (cd/m2 also called a Nit).

    * Viewable image size is measured diagonally. For CRTs, the viewable size is typically 1 in (25 mm) smaller than the tube itself.

    * Aspect ratios is the ratio of the horizontal length to the vertical length. 4:3 is the standard aspect ratio, for example, so that a screen with a width of 1024 pixels will have a height of 768 pixels. If a widescreen display has an aspect ratio of 16:9, a display that is 1024 pixels wide will have a height of 576 pixels.

    * Display resolution is the number of distinct pixels in each dimension that can be displayed. Maximum resolution is limited by dot pitch.

    * Dot pitch is the distance between subpixels of the same color in millimeters. In general, the smaller the dot pitch, the sharper the picture will appear.

    * Refresh rate is the number of times in a second that a display is illuminated. Maximum refresh rate is limited by response time.

    * Response time is the time a pixel in a monitor takes to go from active (black) to inactive (white) and back to active (black) again, measured in milliseconds. Lower numbers mean faster transitions and therefore fewer visible image artifacts.

    * Contrast ratio is the ratio of the luminosity of the brightest color (white) to that of the darkest color (black) that the monitor is capable of producing.

    * Power consumption is measured in watts.

    * Viewing angle is the maximum angle at which images on the monitor can be viewed, without excessive degradation to the image. It is measured in degrees horizontally and vertically.

Comparison

CRT

Pros:

    * High dynamic range (up to around 15,000:1),excellent color, wide gamut and low black level. The color range of CRTs is unmatched by any display type except OLED.

    * Can display natively in almost any resolution and refresh rate

    * No input lag

    * Sub-millisecond response times

    * Near zero color, saturation, contrast or brightness distortion. Excellent viewing angle.

    * Usually much cheaper than LCD or Plasma screens.

    * Allows the use of light guns/pens

Computer monitor 1

Computer monitor

A monitor or display (sometimes called a visual display unit) is an electronic visual display for computers. The monitor comprises the display device, circuitry, and an enclosure. The display device in modern monitors is typically a thin film transistor liquid crystal display (TFT-LCD) thin panel, while older monitors use a cathode ray tube about as deep as the screen size.Originally computer monitors were used for data processing and television receivers  for entertainment; increasingly computers are being used both for data processing and entertainment. Displays exclusively for data use tend to have an aspect ratio of 4:3; those used also (or solely) for entertainment are usually 16:9 widescreen, Sometimes a compromise is used, e.g. 16:10[1].

Screen size

For any rectangular section on a round tube, the diagonal measurement is also the diameter of the tube

The area of displays with identical diagonal measurements can vary substantially.

The size of an approximately rectangular display is usually given as the distance between two opposite screen corners, that is, the diagonal of the rectangle. One problem with this method is that it does not take into account the display aspect ratio, so that for example a 16:9 21 in (53 cm) widescreen display is far less high, and has less area, than a 21 in (53 cm) 4:3 screen. The 4:3 screen has dimensions of 16.8 × 12.6 in (43 × 32 cm) and area 211 sq in (1,360 cm2), while the widescreen is 18.3 × 10.3 in (46 × 26 cm), 188 sq in (1,210 cm2). For many purposes the height of the display is the main parameter; a 16:9 display needs a diagonal 22% larger than a 4:3 display for the same height.

This method of measurement is inherited from the method used for the first generation of CRT television, when picture tubes with circular faces were in common use. Being circular, only their diameter was needed to describe their size. Since these circular tubes were used to display rectangular images, the diagonal measurement of the rectangle was equivalent to the diameter of the tube's face. This method continued even when cathode ray tubes were manufactured as rounded rectangles; it had the advantage of being a single number specifying the size, and was not confusing when the aspect ratio was universally 4:3.

A problematic practice was the use of the size of a monitor's imaging element, rather than the size of its viewable image, when describing its size in publicity and advertising materials. On CRT displays a substantial portion of the CRT's screen is concealed behind the case's bezel or shroud in order to hide areas outside the monitor's "safe area" due to overscan. These practices were seen as deceptive, and widespread consumer objection and lawsuits eventually forced most manufacturers to instead measure viewable size.

History of Widescreen 4

The technical drawbacks of Cinerama are discussed in its own article. Only two narrative feature films, The Wonderful World of the Brothers Grimm and How the West Was Won, were filmed in three-camera Cinerama, and several sequences from the latter were actually filmed in Ultra-Panavision. With the exception of a few films created sporadically for use in specialty Cinerama theaters, the format is essentially dead.

A non-Cinerama, three-projector process was famously pioneered for the final reel of Abel Gance's epic film Napoléon (1927) The process, called Polyvision by Gance, consisted of three 1.33 images side by side, so that the total aspect ratio of the image is 4:1. The technical difficulties in mounting a full screening of the film, however, make most theaters unwilling or unable to show it in this format.

Between 1956 and 1957 the Soviets developed Kinopanorama, which is identical in most respects to the original three-camera Cinerama.

Anamorphic 70 mm. 70 mm with anamorphic lenses, popularly known as "Ultra Panavision" or "MGM Camera 65", creates an even wider high-quality picture. This camera process was most famously used in the 1959 version of Ben-Hur, resulting in an aspect ratio of 2.76:1, one of the widest projected images ever used for a feature film. 70 mm anamorphic was not commonly used, due to the very high production costs, although it was favored for epic films such as Ben-Hur in order to capture wide panoramic landscapes and high-budget scenes with thousands of extras and enormous sets. This system is obsolete, despite its ease in setting up.

Television

This section is written like a personal reflection or essay and may require cleanup. Please help improve it by rewriting it in an encyclopedic style. (August 2010)

The original screen ratio for television broadcasts was 4:3 (1.33:1). When preparing a film that was originally intended to be displayed in widescreen for television broadcast the material was often edited with the sides truncated, using a technique called pan and scan. Sometimes, in the case of Super35, the full film negative was shown unmasked on TV i.e. with the hard matte removed, however this causes the 4:3 image to not be what the Director intended people to see - and sometimes boom mikes can be visible. Modern widescreen televisions feature a 16:9 aspect ratio, allowing them to display both 16:9 and 4:3 formats.

History of Widescreen 3

Conversion

For word processing and office type applications, vertical measurement can be more important than diagonal measurement when determining size requirements. When monitors are sold the quoted size is the diagonal measurement of the display area. Because of the different ratio, a 16:10 monitor will have a smaller vertical size than a 4:3 monitor of the same advertised size. To find the diagonal measurement of widescreen monitor that would have the same vertical measurement as a known 4:3 monitor, you must multiply the diagonal measurement of the 4:3 monitor by 1.132. Via a similar calculation, to convert between the diagonal measurement of a 5:4 monitor to the diagonal measurement of a 16:9 monitor having the same vertical measurement, one would multiply by 1.274.

For example to have the same vertical height as a 4:3 19" monitor, a 16:10 widescreen monitor would need to be (19" x 1.132 ) = 21.508". Furthermore, to have the same vertical height as a 5:4 17" monitor, a 16:9 widescreen monitor would need to be (17" x 1.274) = 21.658". 

Types

Masked (or flat). Introduced in April 1953. The negative is shot exposing the Academy Ratio using spherical lenses, but the top and bottom of the picture are hidden or masked off a metal aperture plate, cut to specifications of the theater's screen, in the projector. Alternatively, a hard matte in the printing or shooting stages may be used to mask off those areas while filming for composition purposes, but an aperture plate is still used to block off the appropriate areas in the theater. A detriment is that the film grain size is thus increased because only part of the image is being expanded to full height. Films are designed to be shown in cinemas in masked widescreen format but the full unmasked frame is sometimes used for television. In such an instance, a photographer will compose for widescreen, but "protect" the full image from things such as microphones and other filming equipment.

Super gauges The full negative frame, including the area traditionally reserved for the sound track, is filmed using a wider gate. The print is then shrunk and/or cropped in order to fit it back onto release prints. The aspect ratio for Super 35, for example, can be set to virtually any projection standard.

Large gauge A 70 mm film frame is not only twice as wide as a standard frame but also has greater height. Shooting and projecting a film in 70 mm therefore gives more than twice the image area of non-anamorphic 35 mm film with no loss of quality. Few major dramatic narrative films have been filmed entirely on this format since the 1970s; the two most recent are Ron Howard's Far and Away and Kenneth Branagh's Hamlet. For many years, large budget pictures shot anamorphically used reserve stocks of 70mm film for SFX shots involving CGI or blue-screen compositing as the anamorphic format creates problems with said effects. It has also been used to sometimes strike 70 mm blow-up prints for "roadshow" tours in select cities from the 35 mm camera negative in order to capitalize on the extra sound channels provided. The introduction of digital sound systems and diminishing number of installed 70 mm projectors has made a 70 mm release largely obsolete. However, blowups from 35 mm formats to IMAX has recently become popular for a limited number of blockbuster films.

Paramount's VistaVision was a larger gauge precursor to 70 mm film. Introduced in 1954, it ran standard 35 mm film through the camera horizontally to achieve a widescreen effect using greater negative area, in order to create a finer-grained 35 mm prints in an era where standard monopack stock could not produce finer results. Frames were eight perforations wide. Eight-perf photography is sometimes used for shooting special effects in order to produce a finer grained matte that can be used in optical printing without image degradation, and is notable for its use in Lucasfilm's original three Star Wars films, among others.

Multiple cameras/projectors The Cinerama system originally involved shooting with three synchronized cameras locked together side by side, and projecting the three resulting films on a curved screen with three synchronized projectors, resuting in an ultra wide aspect ratio of 2.89. Later Cinerama movies were shot in 70 mm anamorphic (see below), and the resultant widescreen image was divided into three by optical printers to produce the final threefold prints.

History of Widescreen 2

Computer displays

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (August 2010)

Computer displays with aspect ratios wider than 4:3 are also called widescreen. Widescreen computer displays are mainly intended for computers used, at least sometimes, to display entertainment; data processing tends to use 4:3. Widescreen computer displays are typically of the 1.6 (8:5, typically written as 16:10) aspect ratio. "True" widescreen (16:9) monitors can be found in resolutions of 1024x576, 1152x648, 1280x720, 1600x900, and 1920x1080. Apple's 27" iMac introduced a new 16:9 resolution: 2560x1440 in late 2009.

By 2010, many manufacturers had practically abandoned the older 4:3 format[citation needed], instead opting to manufacture 16:10 models, and lately, even shorter 16:9 displays.

Suitability for applications

* Since many modern DVDs and some TV shows are in a widescreen format, widescreen displays are optimal for their playback on a computer. 16:9 material on a 16:10 display will be letterboxed, but only slightly. However, when screen width is not an issue, as in data processing or viewing 4:3 entertainment material such as older films and digital photographs, the sides of the widescreen image may be wasted, although it can be useful to display two or more windows side-by-side[3].

However, for data processing (including word processing) many computer programs often have many toolbars and other information such as status bars, headers, and tabs, which require vertical space. In such cases the additional width is unwanted; on a computer used only for data-processing the additional screen area is better dedicated to a larger 4:3 screen.

* When displaying a document or ebook, two pages can be displayed side by side on a wide screen, or two documents compared. If a desktop monitor supports it, a whole single page of a book or document can be displayed on a rotated "portrait"-oriented screen, with two snags: printed pages are most commonly displayed in 16:11 aspect ratio on readers such as Kindle-DX, the aspect ratio, in fact closer to 4:3 than to 16:9, and second TN panels have notoriously poor vertical viewing angles.

* A very few computer games, including the first few Command & Conquer games, run at a native 640x400 resolution, making them exceptionally well-suited to 8:5 monitors. A slightly larger number, including Doom 3, can be set to either widescreen or fullscreen (4:3), with the widescreen options offering wider horizontal fields of view without sacrificing vertical FOV. However, most computer games are not designed for optimum effect on a widescreen display, being stretched unnaturally, not filling the screen, or letterboxed.

* Older laptop computers with a pointing device that did not take up space such as a pointing stick (Trackpoint) or trackball attached to the side of the machine could accommodate a keyboard which matched a 16:9 screen well. The use of touchpads, which require a lot of space below the keyboard, and the removal of keys such as the Numeric keypad more accurately matches the 4:3 ratio of a screen found on smaller netbooks and laptops.

History of Widescreen 1

Widescreen images are a variety of aspect ratios used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than the standard 1.37:1 Academy aspect ratio provided by 35mm film.

For television, the original screen ratio for broadcasts was 4:3 (1.33:1). In the 2000s, 16:9 (1.78:1) TV displays have come into wide use. They are typically used in conjunction with Digital, High-Definition Television (HDTV) receivers, or Standard-Definition (SD) DVD players and other digital television sources.

With computer displays, aspect ratios wider than 4:3 are also called widescreen. Widescreen computer displays are typically of 16:10 aspect ratio. Widescreen 16:9 computer monitors are also available.

History

Widescreen was first widely used in the late 1920s in some short films and newsreels, including Abel Gance's film Napoleon (1927) which had a final widescreen sequence in what Gance called Polyvision. Paramount Pictures released Old Ironsides (1927) in a widescreen process called Magnascope, and MGM released Trail of '98 (1928) in a widescreen process called Fanthom Screen.

On May 26, 1929, Fox Film Corporation released Fox Grandeur News and Fox Movietone Follies of 1929 in New York City in the Fox Grandeur process. Other films shot in widescreen were the musical Happy Days (1929) which premiered at the Roxy Theater, New York City, on February 13, 1930, starring Janet Gaynor and Charles Farrell and a 12 year old Betty Grable as a chorus girl; Song o’ My Heart, a musical feature starring Irish tenor John McCormack and directed by Frank Borzage (Seventh Heaven, A Farewell to Arms), which was shipped from the labs on March 17, 1930, but never released and may no longer survive, according to film historian Miles Kreuger (the 35mm version, however, debuted in New York on March 11, 1930); and the western The Big Trail (1930) starring John Wayne and Tyrone Power, Sr. which premiered at Grauman's Chinese Theatre in Hollywood on October 2, 1930[1], all of which were also made in the 70mm Fox Grandeur process.

RKO Radio Pictures released Danger Lights with Jean Arthur, Louis Wolheim, and Robert Armstrong on August 21, 1930 in a 65mm widescreen process known as NaturalVision, invented by film pioneer George K. Spoor. United Artists released The Bat Whispers directed by Roland West on November 13, 1930 in a 70mm widescreen process known as Magnafilm. Warner Brothers released Song of the Flame and Kismet (both 1930) in a widescreen process they called Vitascope. Metro-Goldwyn-Mayer, after experimenting with the system called Fanthom Screen for The Trail of '98 (1928), came out with a system called Realife in 1930. MGM filmed The Great Meadow (1930) in Realife—however, it's unclear if it was ever released in the widescreen process due to declining interest of the movie-going public.

By 1932, the Great Depression had forced studios to cut back on needless expense and it was not until 1953 that wider aspect ratios were again used in an attempt to stop the fall in attendance due, partially, to the emergence of television in the U.S. However, a few producers and directors, among them Alfred Hitchcock, have been reluctant to use the anamorphic widescreen size featured in such formats as Cinemascope. Hitchcock alternatively used VistaVision, a non-anamorphic widescreen process developed by Paramount Pictures and Technicolor which could be adjusted to present various flat aspect ratios.[2]

In Europe the PAL TV format, with its higher resolution than NTSC format means the quality issues of letterboxed or matted movies on TV is not as severe. There is also an extension to PAL, called PALplus, which allows specially equipped receivers to receive a PAL picture as true 16:9 with a full 576 lines of vertical resolution, provided the station employs the same system. Standard PAL receivers will receive such a broadcast as a 16:9 image letterboxed to 4:3, with a small amount of color noise in the black bars; this "noise" is actually the additional lines which are hidden inside the color signal. This system has no equivalent in analog NTSC broadcasting.

Despite the existence of PALplus and support for widescreen in the DVB-based digital satellite, terrestrial and cable broadcasts in use across Europe, only Belgium, Ireland, the Netherlands, Austria, Germany, Scandinavia and the UK have adopted widescreen on a large scale, with over half of all widescreen channels available by satellite in Europe targeting those areas.

16:9 TV displays have come into wide use. They are typically used in conjunction with Digital, High-Definition Television (HDTV) receivers, or Standard-Definition (SD) DVD players and other digital television sources. Digital material is provided to widescreen TVs either in high-definition format, which is natively 16:9 (1.78:1), or as an anamorphically-compressed standard-definition picture. Typically, devices decoding Digital Standard-Definition pictures can be programmed to provide anamorphic widescreen formatting, for 16:9 sets, and formatting for 4:3 sets. Pan-and-scan mode can be used on 4:3 if the producers of the material have included the necessary panning data; if this data is absent, letterboxing or centre cut-out is used.

HD DVD and Blu-ray disc players were introduced in 2006. Toshiba ceased production of HD DVD players in early 2008 after key defections from the HD DVD camp damaged the viability of the format. As of 2010[update] it still remains to be seen whether Blu-ray will stimulate the sales of HD pre-recorded films on disc, and more HD monitors and tuners. Consumer camcorders are also available in the HD-video format at fairly low prices. These developments will result in more options for viewing widescreen images on television monitors.

LG 32LD350 LCD HDTV

LG 32LD350 32-Inch 720p 60 Hz LCD HDTV

Product Description

A great way to get into high-definition entertainment, the affordable 32-inch LG 32LD350 LCD HDTV offers a 720p HD resolution, multiple AV Modes to optimize the picture depending on what you're watching (Cinema, Sports, or Games), and a 50,000:1 contrast ratio for excellent rendering of colors and deep blacks. Other features include a 4ms (millisecond) response time, stereo speakers with 14 watts of power and Dolby Digital decoding, and three HDMI inputs..

Key Features :

50,000:1 Dynamic Contrast Ratio

No more worrying about dark scenes or dull colors. The dynamic contrast ratio of 50,000:1 delivers more stunning colors and deeper blacks than you can imagine.

ViewSonic PJD5122 SVGA DLP Projecto

ViewSonic PJD5122 SVGA DLP Projector -120Hz/3D Ready, 2500 Lumens, 3000:1 DCR

 

Product Description

ViewSonic's PJD5122 is a great little projector that offers outstanding value and performance. This SVGA resolution projector supports high definition signals and projects 2500 lumens for clear, bright images in most lighting conditions. At only 5.1 pounds, it is light and compact, making it ideal for the mobile presenter.

Texas Instruments’ BrilliantColor™ technology delivers brilliant, true-color and high contrast images for viewing presentations, charts, or video. With extensive connectivity, including two RGB inputs and one RGB output, the ViewSonic's PJD5122 is an excellent multifunctional data/ video projector. Eco-mode reduces fan noise for less distraction during important presentations and even extends the lamp life up to 6000 hours*. For increased security, a PIN lock feature allows you to set a password to prevent unauthorized use. The ViewSonic's PJD5122 is perfect for tabletop, ceiling mounting or taking on the road.