Review: Panasonic PT-AE4000 LCD Projector

The 4th Generation of full HD

Whereas manufacturers come and go in the field of home cinema, there are only a few companies who constantly bring new projector models onto the market on a yearly basis, realising significant technical improvements every time.

Panasonic is one of these companies. Since the PT-AE1000, the projectors made by the Japanese manufacturer are an established part of the home cinema market. The full HD age was launched with the PT-AE1000 three years ago and has been continually developed since then to become the PT-AE 4000 current version.

What is surprising is that the basic chassis has not changed over the four generations. The 4000 is barely distinguishable from its predecessors in this sense. And yet, Panasonic promises a number of improvements in equipment, service and image. The question is whether these improvements are large enough to justify a new model number? We have investigated this for you...

We will address technology, installation and operation, and the image options as well as provide you with the complete picture test. We wish you many hours of fun reading this test...

We would like to refer to our test criteria in advance. These are described in detail in our Know-how Special: "Projectors / Plasma TV's - Quality Features - The Cine4Home test criteria.

1. Equipment and Technology (Know-how link here)

As mentioned above, neither the shape nor colour of the device has changed. And the manufacturer has maintained the matt black finish which is suitable for a top-quality home cinema projector but does not suit every living room. And as every year, at this stage we assume that there is a white version that would suit the projector and is compatible with any living room.

The dimensions are 460 x 130 x 300mm, so that the projector is big, but this is an absolute must for both silent and reliable ventilation. There is a panel that elegantly conceals the cables on the back as an optional accessory, if required. The appearance of the device is thus improved, especially for ceiling mounting. However, this makes the projector look even bigger.

The connecting cables can be elegantly hidden by a cover

The processing has not changed. All of the materials are of high quality and perfectly fitted. Thanks to the glossy black finish, the plastic look of many other models is not evident here. Overall, the PT-AE4000 conveys visual quality and in this sense is worth its price of about € 2,699.

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1.1 Technology (Know-how link here)

Even if there are no external changes, there should at least be some internal improvements resulting from technical developments. In this chapter, we present the new developments as part of our obligatory “dissection”.

As with almost all projectors, the first thing you see when you open the cover is the signal electronics. At first glance, the big board of the PT-AE4000 does not appear to have been changed.

At second glance however, we discovered the new "More Clarity 3" processor, Panasonic's answer to Epson's "Super Resolution" technology. The high frequency range in particular has been renewed in this new version. In practical terms, this means that the sharpness of small picture elements, close to one-pixel-size, in particular, is emphasized without causing annoying double outlines.

The detail clarity processor is installed diagonally

How does the chip work? The various frequency ranges of an image are determined by an image analysis. This locates stark contrast transitions because they usually represent the edges of sharply defined picture elements.

Once the analysis is complete, the aim is to increase the subjective sharpness for our eyes significantly without disturbing side-effects such as evoking double contours, as is the case with conventional increases in sharpness. A pixel-based gamma-raising is carried out for this purpose. This means that one bright pixel is illuminated a little next to a dark one to create a stronger contrast transition. In this way, contours are emphasized more, making the image sharper.

Ideally, the sharpness is increased without causing undesired side-effects

We will establish further details about the system and the results it produces in our image tests in chapter three.

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The maximum bit-depth was maintained at 16bit. Up to 65,000 greyscale should be possible. Given the limited signal depth (typically 8 bit) and the control of the LCD panels, changes such as these are of a purely theoretical nature and do not produce a serious image improvement.

The dedicated circuit for calculating immediate images is also on the signal board. This was taken over from the predecessor model because of the positive results it produced. Panasonic's proprietary system, "Motion Picture Pro" with "Frame Creation" calculates one to three intermediate steps depending on the input signal with the aim of visibly enhancing movement sharpness.

50/60Hz video material: frame creation with an intermediate image

The above example shows the functionality using a 60Hz video example. The signal electronics automatically analyses and calculates the movement of the airplane in real time and calculates intermediate images. These intermediate images are projected on the canvas together with the original images with 120Hz instead of 60Hz depth. The result is double the image and frequency which is more appealing due to more fluid motion and more motion sharpness. The system works in the same way with conventional PAL video material. The doubling effect here is 50Hz to 100Hz.

The preparation of material recorded using the original cinema frequency at 24 frames per second (24Hz), currently nearly all films, is even more demanding. Every film enthusiast knows the effect. The 24Hz from the cinema are not enough to make fully fluid movements. During horizontal camera pans in particular, the cinema image "shakes" considerably depending on the speed. The smooth film technology also counteracts this film judder effectively.

24p cinema material: frame creation with three intermediate images

Film material with 24 frames per second is the basis. Not just one interpolated intermediate image is inserted between two cinema pictures but three (!). This gives the human eye four times more motion information. The resulting refresh rate is 96Hz with 96 different (!) images.

The system can be activated in different strengths. A new feature of the PT-AE4000 is a particularly "strong" mode which calculates intermediate images even for fast movements, therefore providing for very fluid motion.

If these fluid movements are too “video-like”, one of the weaker modes can be selected. With the weakest mode, not three but only one intermediate image is calculated. The output remains at 96Hz.

In the weakest mode, only one intermediate image is calculated

The PNX5100 is responsible for calculating the intermediate image. This is a special video processor which, in addition to calculating the intermediate images, also controls a complete colour management tool. The colour management option seems to have been used this year. More on this in the next chapter.

The Miracle Chip: NXP's PNX5100

We will examine how well this system works in practice more closely in the picture section as well.

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Three Epson LCDs of the D7 generation still generate the images. A newer version was not brought out this year. The LCDs can be found by removing the signal electronics board and exposing the underlying optical path. This will also expose how generous and modularly constructed the inner dimensions of the chassis are.

The encapsulated optical path can be seen in the picture above. The light well, the beginning of the optical path, is on the lower right. On its left, you can see the light engine with the LCD panels. The power supply is located in the upper left corner next to the optics and lens shift. The new LCDs are located right in the centre, recognisable by the green ribbon cables.

Above: the LCD in the centre of the light path

Below: LCDs and prism block with lens shift mechanism

In the picture above, you see the three individual LCD displays which are permanently mounted on a glass prism.

The prism block from below...

The detail image shows additional filters behind the LCD unit

Panasonic has availed of additional filters in order to make further advances in the native contrast. The use of optical compensation filters behind the LCD displays, called "Pure Contrast Plates” to promote advertising, reduce any unintended diffused light behind the polarisation caused by the LCD units.

Functioning of the Pure Contrast Plates

The Pure Contrast Plates support the light polarisation of the LCD and filter bothersome diffused light, which can lead to a deterioration of the black level. As a result, the black level and thus the native (!) contrast of the projector shows a marked improvement.

Filters were saved in front of the LCDs thereby maintaining light reserves

More disused light screens in the optical path (above) increase the ANSI contrast to over 400:1

One of the rules of thumb for almost all projection technology is as follows: contrast-increasing, optical measures cost light performance. Yet the current trend is for a high light output with correct colours. The engineers have installed two new components in the optical path of the PT-AE4000 to meet these demands. The main feature is the newly developed projection lamp with “Red Rich" properties.

The new Red Rich lamp of the PT-AE4000

What does "Red Rich" mean? As most experienced home cinema enthusiasts and especially regular readers of Cine4Home know, it is mainly the UHP lamp technology that affects maximum contrast and maximum light output with correctly set colours. It produces a too cold light as a result of a defect in the red range which can only be rectified by a difficult filter correction or by calibrating to the colour temperature of 6500K / D65 required by video film. A special gas mixture in the lamp is supposed to have been able to increase the red output of the lamp by 50%, thereby guaranteeing more light reserves after calibration.

The improved range of the Red Rich lamp

In the diagram above, we see the spectral properties of the new lamp in comparison to its predecessors. The red peak is now 50% higher, providing a 50% light increase in the cinema modes. The internal pure colour filter has been adapted to this new range.

The new internal colour filter of the PT-AE4000

Consequentially, the new version is now called "Pure Colour Filter Pro". It does not have to be as red as its predecessor thanks to the new lamp range. We show if the system really does provide more brightness during the course of the image test. ("Contrast" chapter).

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At this point, we would like to answer the question that might have spontaneously popped into the minds of lots of Panasonic fans. No, the lamp is unfortunately not compatible with the previous models. The engineers say that a belated "upgrade" is not possible. However, this is no surprise in light of the new filter.

The average lamp life is still 2,000 hours. This is equivalent to far more than 1,000 feature films and guarantees “peace” for years even if you use the device every day. Should a change be necessary, this can be done simply without having to remove the projector from the ceiling.  You fold down the cover of the projector, open the lamp tray and remove the lamp which is secured by screws.

Lamp replacement from the ceiling mount

Below: the lamp tray

The range of dynamics of the projector is enhanced by an adaptive light aperture. This has been working in real time of up to 60x/ sec. since the first generation (PT-AE700), performing its job without irritating side-effects. Regular readers of Cine4Home will know that we discussed the functioning of special adaptive apertures and examined the quality of different systems in a dedicated Know-how Special. The Panasonic version was the most technically advanced, achieving first place in the rankings.

The operation of the aperture in slow motion

Depending on the image content, the aperture controls the luminous flux, making it possible to improve the black level in dark scenes without compromising the maximum brightness in daylight scenes.

Illustration of the functioning of the adaptive aperture

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Another advantage of the engine is that it operates silently and so does not interfere with the film sound. The system was perfected so much in the last few generations that it could be adopted without change to the 4000s.

Adaptive Aperture: closed at the top, open at the bottom

No corrections were needed in the cooling system. It is the same as its predecessor. A dual system ensures completely separate cooling paths for lamp and optical unit.

The cooling paths of the PT-AE1000 / 2000 / 3000 / 4000

The two air paths of the Panasonic projector can be seen in the picture above. The cooling path of the lamp is direct. The air is sucked in at the back of the unit, immediately led through  the lamp well and blown directly out of the projector on the front right (yellow arrows). Our special thermo pictures show how the lamp heats the air and the device around it.

Thermo picture diagonally from the rear. The lamp is located on the right of the projector

The heated air is blown out directly in front of the unit and has a temperature of just over 50°C. Thus, the PT-AE4000 is also like a good "fan heater".

The front of the projector

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The cooling air, on the other hand, takes an entirely different route. It is sucked in on the back left, directed down through a tower of fans and thus passes the LCDs and the glass prism from below (light blue arrows in the picture above).

The two manifolds are far apart

Here too, thermo pictures indicate how effectively the cooling keeps the LCDs at a lower temperature, thereby keeping them within their work ranges.

The picture above shows the main board which is heated to above 40°C. You can see the three LCDs with a prism block in the foreground. You can see how effectively the ventilation keeps it at temperatures of around 30°C.

The LCDs with a prism block

Good cooling, as implemented in the PT-AE4000, is essential for the long life of the LCDs and polarisation filter. Panasonic’s cooling system gives a solid performance. By the way, not only the lamp provides great heat, but also a variety of electronic components such as the high-performance signal processors.

The picture above shows, for example, that the main processor heats up to over 50°C. But don’t worry! These processors are designed to endure such temperatures without suffering any damage.

The clear separation of the two airways is a first step to minimizing the dust problem. A fine dust filter through which the cooling air from the optical block is drawn is necessary to make a projector largely insensitive to dust. For years, Panasonic has been relying on a sandwich system made of a foam layer and a microfibre layer.

The foam layer already filters out 90% of the dust. But if very fine dust does find its way through the foam, it reaches the second layer which consists of an electrostatic fibre (picture above). This filter attracts the tiny specks of dust like a magnet. Thus, suction protection is doubled. This system has been used for many years in Panasonic models and has proved itself in practice. From regular discussions with dealers, we know that there are few complaints about Panasonic projectors with respect to dust.

The third important aspect of protection against dust incidentally involves the user. You should check the dust filter approximately ever 100 hours and clean it if necessary in order to ensure smooth functioning. This is easy in the case of the PT-AE4000 as the filter can be removed from the device sideways.

Side filter change

The conservative approach of the Panasonic engineers to continuously improve the existing chassis over four generations has paid off. It is now close to perfection in the current version of the 4000s. The technical innovations such as Clarity Detail 3 processor, new interframe mode, lamp with a stronger red output (Red Rich) and accordingly adapted colour filters are promising improvements in image quality in particular. Everything else was well-engineered in the 3000s meaning that no improvements were necessary.

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1.2 Connections / signal types (Know-how link here)

A look at the connections brings more changes to light. One of the two analogue component inputs is gone.

It has made room for two trigger connections. The engineers have given the PT-AE4000 both a trigger exit and input to enable easy integration into automated home cinema systems.

Thus, it is now possible to activate both screen and the projector yourself with conventional pulse signals. Complex programming via the RS-232 interface is not required.

Version 1.3 is used in all three HDMI inputs. This supports both the standard xvYCC and "Deep Colour”. In the same way, all new and old standards / resolutions in types of signal are processed.

525i (480i), 525p (480p), 625i (576i),

625p (576p), 750 (720) / 50p,

750 (720) / 60p, 1.125 (1.080) / 24p,

1.125 (1.080) / 50i, 1.125 (1.080) / 50p,

1.125 (1.080) / 60i, 1.125 (1.080) / 60p

1.3 Installation (Know-how link here)

The exemplary installation features are identical to those of the predecessor. The optics, consisting of numerous glass elements, provide maximum contrast yield with minimum optical distortion thanks to a special surface coating.

Aspheric lenses are fitted in the optics

The setup features are characterized by a double zoom with 40% horizontal and 100% vertical lens shift leeway.

Large lens shift and zoom allow for flexible installation

The combination of a large zoom range and flexible lens shift allows for smooth installation (table or ceiling) in nearly every home cinema. The distance table shows that large image sizes can be realised even in smaller rooms.

Distance table: Panasonic PT-AE4000

In this way, the common width of 2.5 meters starting at a distance of just over 3m can be reached while a range of up to more than 6m distance is possible. A major luxury feature was also not dispensed with - the zoom and the focus can be conveniently adjusted by remote control. The individual levels are fine and precise so that the image appears optimally aligned and sharply on the screen in just a few minutes.

The small motors inside

Unfortunately, the same level of luxury is not provided for the lens shift as for the zoom and focus. It still has to be manually adjusted at the top of the unit by means of rotating wheels.

The lens shift gears on the top of the housing

Below: the mechanics inside

The mechanics work with precision so that the image can be accurately adjusted without any jumps. The positioning on the top side also simplifies the adjustment of the ceiling mount.

One of the most outstanding unique features of the Panasonic full HD models is the "lens memory" function which was specially designed for the use of cinemascope screens.

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Cinemascope

The vast majority of films are not shot in a conventional 16:9 format but in the extra wide screen format of 21:9 (2.35:1), also called "cinemascope". The advantage of this format is a better utilization of the human visual field so that even more reality can be generated at very short distances and thus the movie-goers are drawn even more under the spell of the film.

If the cinemascope format is so much closer to the cinema than the "compromise format" 16:9, why should the real cinema fan not use the matching "widescreen"? A growing number of home cinema fans are starting to recognise the benefits of the "real" screen size. In many cases however, installation is hampered by several obstacles.

The main problem lies in the different picture formats. You have optimum utilisation if you project a cinemascope film full frame on a 21:9 screen. But if you then want to project a conventional 16:9 or even 4:3 picture, you have to zoom the image smaller so that the image height fits into the cinemascope screen again. Every time you change the format you have to adjust the zoom, focus and lens shift. Even with the luxury of the “motor”, this will become irritating in time. For this reason, the owners of many home cinema installations opt for a conventional 16:9 screen. With it, you do not use the full size potential of cinemascope films (black bars at the top and bottom), but you don’t have the bother of having to optically adjust the projector for different image formats.

Cinemascope film on 16:9 screen. The unused areas of the screen are also illuminated by the projector and appear irritatingly grey in dark scenes.

The engineers implemented an ingenious and simple idea with the predecessor, the PT-AE3000. If you already have a motor-driven zoom and focus, why not simply save different settings so that they can be retrieved on demand by remote control and the projector is automatically adjusted to the respective preset? That is what the Panasonic projector provides with the "lens memory" technology.

Setting the "Lens Memory 2" system of the 4000 is the same as the 3000. The first step is to set the zoom and focus of a 16:9 screen by remote control so that the image height of the cinemascope screen is filled. The unused portions of the screen remain illuminated and are therefore completely black and do not interfere with dark picture scenes like a 16:9 screen.

16:9 material on cinemascope screen. Although the side areas of the screen are not used, they do not appear grey because the projector does not illuminate the fields.

If the image is perfectly aligned, you save this setting in the projector and “stumble” on the first improvement. Instead of three memory banks, the PT-AE4000 now provides six, making it possible to save intermediate formats such as 1.66:1, Vista Vision, etc.

The next step is feeding the projector with frame-filling cinemascope material and setting the zoom and focus perfectly on the canvas. In other words, you zoom the picture up (and regulate the sharpness) until if fills the image height and width of the screen. You have both adapted the cinemascope format to the screen and can save the setting in another memory bank in a few simple steps.

High-quality cinemascope screens (e.g. Davision) provide maximum film format in full size

The projector is fully configured within a few minutes. When subsequently operating the device on an everyday basis, it will suffice to select the desired image format (16:9 / cinemascope / etc.) per remote control and the projector will adjust itself automatically via its electric zoom, focus and lens shift. The PT-AE4000 now also offers an automatic mode for “comfortable” users.

The user can activate an “image detection” of various formats separately in the "Auto Switching" menu. It means that the projector automatically determines the image formats based on the black bars and, as if by magic, adapts the projection lens on the canvas accordingly. In practice, this detection proved to be very reliable and convincing. It should be noted that a detection awareness delay of several seconds was built in to avoid a disruptive change in short format changes. Only when the format changes permanently do you activate the automatic adjustment. Automatic detection can, of course, be fully switched off.

The picture shows the induction sensors that “detect” the current position of the optics

The prerequisite for such a system is a reliable mechanical running of the optics with low ranges. After all, the picture should always be sharp and perfectly aligned to the edges of the screen even with frequent changes of format. The automated system was realized with "hi-precision" induction sensors to this end. The engineers told us that the range on the screen is in the millimetre area, which we checked. And indeed, the projector adjusted the image reliably with every format change. There were also no losses reported in sharpness after repeated changes.

This multi-format system that Panasonic aptly names "Lens Memory 2" is a simple and cleverly designed unique feature that finally makes cinemascope screens suitable for everyday use. Even automatic anamorphic optics have not been able to provide such comfort to date, especially since these systems would not be in the same price category as the PT-AE4000. For this reason, we would like to praise the Panasonic approach and animate other manufacturers to do the same right away with future generations of equipment. Because such a comfortable lens-memory system promotes the great benefit of cinemascope screens at last!

We at Cine4Home have demonstrated in various specials that 21:9 screens should be the first choice for every home cinema enthusiast if you want the perfect cinema feeling at home. Cinemascope screens enable you to use ceiling height and width considerably more effectively than with 16:9. Thanks to lens memory, the image is displayed without any scaling with HD playback. Grey bars are a thing of the past, just like in a real cinema.

We have already carried out a detailed performance comparison between a cinemascope projection through this lens memory function and the use of additional anamorphic optics, and documented this in detail in the Special "Panasonic PT-AE3000: The true cinemascope projection – Lens memory vs. anamorphic optics.” Worth reading!

Overall, we are really impressed with the installation flexibility of the Panasonic projector year after year. A large zoom and lens shift in conjunction with motorised settings make the model easily usable in every living room. With the "Lens Memory 2" feature, Panasonic is also thinking of the "true" cinemascope projection and makes the use of 21:9 screens much easier. No other projector on the market, at least not in this price range, offers a feature like this. A great compliment to the engineers who further optimized it even more in this second version.

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2. Operation (Know-how link here)

We have been criticizing the adequate but in no way abundant functional variety of setting parameters in the operating system of nearly all Panasonic projectors for years. And finally our wishes were heard. Based on the operating concept of the predecessor, the 4000 was enhanced with several different functions.

2.1 Remote control

The compact remote control of the predecessor designed to support fast and intuitive use has remained almost unchanged.

The infrared sensor is comfortable to hold and, due to its large, non-slip buttons, can be used blindly in dark rooms. If required, an electric lighting can be activated. The signals reach the projector safely even in larger rooms so that operation is quick and without frustration.  The only thing that would be desirable is input selector buttons to be able to quickly toggle between different signal sources.

The implementation of the "Viera link" is new. This is mainly an advantage for hardcore Panasonic fans who, for example, use a DVD or Blu-ray player of the same make. With the digital HDMI link, it is possible to control the other components of the home cinema via the VIERA link with the projector remote control.

To do this, go into the specially designed connection menu (screenshot above) and activate the automatic device detection. A Blu-ray player, for example, and projector now communicate with each other and exchange the remote control commands. Additional symbol inserts show the functions assigned to the projector remote control.

The approach may be innovative and the goal of controlling all devices with one remote control is worthwhile, but it fails in this version because of the sparseness of the PT-AE 4000 remote control. As can be seen in the keypad layout above, there is not even a chapter jump for the DVD or Blu-ray playback. The former approach of the PT-AE2000 with its universal remote control and many buttons as well as LCD display seems to be better to us, but unfortunately it was done away with in the 3000s. But the Viera link system is still new and we will certainly get to see more powerful solutions in the next few generations. At the moment, it is still at least a “gimmick” in the PT-AE4000.

But the projector can still be used even without the remote control. For this purpose, the main function buttons are located on the side of the device, discreetly hidden behind a flap.

Side control buttons on the device

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2.2 Menus

Generally speaking, the existing menu concept was continued. Simply structured, all of the options are presented in several major categories.

The “Picture” menu can be seen in the screenshot above. The top level in the PT-AE4000 has remained unchanged compared to its predecessor. The functions provided are largely limited to the absolutely necessary (contrast, brightness, colour, etc…).

The "split setting” enables you to mirror part of the screen content as required and display all the changes you perform via image menu (colour, sharpness, etc.) as a preview in direct comparison to the original settings. This feature is of limited value for professionals, but it makes it considerably easier for beginners to understand the relationships between parameters and changes in the image.

Before and after at a glance...

Panasonic's own waveform monitor is behind the “Input signal indicator” function. This is a useful tool for calibrating the projector. The functional explanation of this system is beyond the scope of this test. For a detailed explanation, please refer to our large special: "Optimum picture settings through the waveform monitor".

You make all of the settings on the basis of a certain "preset" that represents one factory setting. There are seven of them in number: "Cinema 1 -3", "Colour 1 / 2", "Normal" and "Dynamic." We go into the individual presets in more detail during the course of the image test.

The subcategory of "Advanced Menu" in the image section has some pleasant surprises where the PT-AE4000 is concerned.

The familiar image from the predecessor is visible in the "Easy" mode. In addition to the usual contrast and brightness controls for red, green and blue, there are three gamma parameters that allow only rough influence on the brightness distribution. In addition to these basic parameters, the user can activate image improvers to activate digital noise reduction from signal sources and MPEG artefacts.

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The adaptive sharpness control "Detail Clarity" can be regulated in seven stages as required, or disabled. The interframe calculation 120Hz is behind "Frame Creation". It can now be influenced in four stages, "Off, Mode 1 / 2 / 3". We go into this in more detail in the image test.

It is interesting and new if you activate the "advanced" gamma setting. This opens further options for the user.

In addition to the traditional system, an equalizer is now available that can be regulated separately in up to nine contact points.

At last, a complete gamma equalizer with the PT-AE4000!

Using this equalizer, it is now possible to program the output brightness specifically in relation to the input signal. The special feature of the new Panasonic system is that the x-axis, i.e. the set points of the signal strength, are not fixed but are also variable.

And that’s not all. The entire gamma-optimisation can be carried out for each primary colour if needed.

Thus, it is possible to use the gamma-equalizer for the calibration of colour temperature. This is very good news for perfectionists with appropriate measuring instruments.

You also have the choice between the old and new system when it comes to colour management. In the "Normal" colour management, the desired colour is marked directly in the image with the help of a crosshair and then adjusted accordingly in brightness and colour. Any adjustments can then be saved in several colour profiles.

Application of the colour management may be complex and powerful, but it misses the point in practical calibration. Unfortunately, correction of the primary influences does not directly influence all of the affected combination colours as should really be the case in colour management. Therefore, the application can only be recommended with reservations.

But fortunately the PT-AE4000 now offers "new" colour management for the first time, which allows you to customize all primary and secondary colours.

You simply select the adjustment mode "RGBCMY" and select the colour you would like to have recalibrated. A submenu with three basic parameters opens.

With "Colour", you control the colour intensity of the respective shade, with "Tint", the tint (red, for example, towards yellow or magenta), and with "Brightness", the actual brightness. The system was convincing in our test. All controls behaved as planned and there were no unexpected interactions.

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The menu provides 16 different memory banks to save your own settings, all of which you can rename individually. Thus, it is possible to calibrate the perfect set-up for each calibration and then recover it again too.

The second main "Position" category provides several parameters for image geometry. The position of the image, the image format and the trapezoidal compensation (for tilt of the projector) can be adjusted.

We skip the self-explanatory heading "Language" and come to the main heading "Objective setting" with which one can secure no less than six (twice as many as the PT-AE3000) different zoom and focus settings.

It is easy to use. You adapt the image to the desired screen format with "zoom / focus". In the case of cinemascope projection, you can also move the image digitally up and down with "Vert. position". Then you simply save the setting you have made with "Save optical data" and can retrieve it whenever you like. You (de)activate the automatic format adjustment with "Auto image". The masking function which allows you to digitally crop the edge and thereby actively support the overscan is also new to the PT-AE4000.

You can allocate any function to the programmable key on the remote control in the "Function menu" category. We recommend retrieving the individual lens memory settings.

A separate heading for this isolated function seems to be somewhat exaggerated

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The last main “Option” category offers many parameters for adjusting the on-screen display, projection type and the signal level.

The Options menu

This is where you also determine whether you want to operate the projector either in the more economical but darker "Eco mode" or with full lamp power. The trigger settings (for the new trigger outlets), the connection settings for the Viera link and a test image generator are new to the PT-AE4000.

2.3 Operation summary

Due to the numerous improvements in the functions provided and the additional (though not perfect) luxury of networking equipment, the Panasonic system is one of the best user interfaces in home cinema projectors.

It is characterised by a reliable and ergonomic infrared sensor and a clear menu structure which makes operation fast and intuitive to learn. The options offered shine through innovative systems from the predecessors such as the waveform monitor which is provided in no other model on the market. The RGB equalizer and the fully-fledged colour management are also an enhancement for every calibration “pro” to trim the projector perfectly to the desired video standards.

In short: there is nothing to criticize about the system. The manufacturer has succeeded in producing many useful image parameters. It could hardly be better...

3. Image Test

Now we come to the comprehensive picture test. Here is some background information before we start. For generations, Panasonic has been offering projectors with seven different settings ex works, each tuned for different purposes and tastes. For this reason, different modes have to be examined within the framework of an objective test in order to demonstrate the diverse capabilities of a projector. The preliminary overview of the main presets and their applications follows.

- Cinema 1: this mode is based on specifications of the Hollywood Colour Timer David Bernstein. Here, the projector should be as close to the original film as a designated expert can imagine.

- Colour 1: in this mode, colour temperature and primary colours are matched to the video standard. Theoretically, this mode should be most neutral in colour.

- Normal: the all-round mode that should be universally usable including for watching TV.

- Dynamic: with dynamic, all the light reserves are exhausted regardless of colour accuracy. Therefore, this mode is useful if you want to project in bright rooms without darkening.

The selection makes the projector universally applicable without the user having to be familiar with imaging parameters.

Note:

We want to mention at this point that these Cine4Home test results are based on the examination of numerous standard series devices, not on a single "review-sample," as is the case with most other publications. In Cine4Home, you really find out what performance devices sold in the shops are able to achieve WITHOUT having to seek out the best for a test! The results are averages of all the realistic standard series devices we examined.

3.1 Screen door / Grid (Know-how link here)

The issue of screen door has faded into the background and hardly bothers anyone since full HD with around two million image pixels. The reason for this is quite simple. The individual pixels and their respective distances are so small in normal home cinema widths that they can barely be perceived with the naked eye. And yet, Panasonic continues to remain loyal to "Smooth Screen" technology and has continued to develop it further in the case of full HD projectors. The edges of the individual pixels are blurred so that black holes virtually disappear thanks to special optics.

Pixel structure up close. The black lines are completely closed, but the pixels are still cleanly separated from each other.

The technology has the advantage that it can shrink the viewing distance to the image with no visible pixel structure. This pays off with a cinemascope screen in particular, which, thanks to lens memory in the case of the PT-AE4000, is a very recommendable option. Even with 3m-wide projections, you do not have to struggle with interfering image pixels with good visual acuity. Moreover, the image is more homogeneous and appears more analogue, more cinematic.

We cannot confirm the loss of sharpness often criticized with this technology. The PT-AE4000 is as sharp as most other full HD projectors. More on this in the Sharpness chapter.

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3.2 Colour space (Know-how link here)

The most complex issue in terms of home cinema is still colour space or scope. It describes all the displayable colours that the projector can create practically on the screen. Colour potential varies depending on the technology.

The original film with a large variety of colours approximating human vision (large colour space) is the basis. In contrast, the totally outdated video standard whose primary colours look relatively pale can produce only a subset of all the film colours.

Colour spaces: cinema (large triangle) vs. home video (small triangle)

The above chart highlights the differences. The colourful horseshoe shows all the colour nuances the human eye can perceive schematically. The large triangle in it describes all the shades a digital cinema can produce (digital cinema). The small triangle, however, shows the relatively small colour space of our HD standard. As you can see, there is a significant difference to digital cinema. Our video standard is only able to display far less colour nuances than are required by the cinema. Inevitably, all the colour nuances inside the large triangle but outside the small one (white arrows) are lost. This means that very strong cinema colours are never reproduced as strongly in home cinemas, at least not if you adhere strictly to the video standard.

Technically speaking, the latest digital projectors are able to reproduce stronger colours. For this reason, the Panasonic engineers have tried to find a compromise. With the help of the "Pure Colour Filter", a very large colour space is filtered from the range of the projection lamp, coming very close to the original film. This extended colour space pays off in “Cinema1” mode in Panasonic projectors.

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3.2.1 Different colour space presets from the factory

Initially, it was interesting to see if the new projection lamp affects the colour display of the projector. To this end, we measured the colour space. We activated the "Cinema" mode in which the new "Pure Colour Filter Pro" is inserted into the optical path.

Colour space "Cinema1"

The result is absolutely identical to that of the predecessor. The cinema modes provide significantly expanded colour space that is ideal for a strong colour, and where appropriate, for future video standards.

The problem with such a large colour space is that our sellable software, that is DVDs and Blu-rays, are not designed for it. For all the combinations of colours in the image are based on the three primary colours (vertices of the triangle), and if we choose strong colour nuances here the image is too strong in many scenes. This oversaturation can be noticeable in face and natural colours in particular. Some compromises in colour accuracy are therefore unavoidable. Help was brought in from Hollywood to balance these trade-offs sensibly. There are highly paid colour experts there, so-called "colour timers", whose job it is to subsequently optimise the colour compositions of cinematographic works. David Bernstein acted as a consultant in giving the PT-AE4000 the largest possible colour space and yet letting the image display seem as natural as possible. But even he can not produce miracles. The Cinema1 mode simply does not produce a perfect colour display. It is designed for those who are more likely to make compromises in the accuracy than in the vibrancy of the colours.

Things are very different again in "Colour1" mode. Here, the colour space of the projector is trimmed very well to our video standard. If you attach great importance to colour display that is suitable for video, the “Colour1” mode from Panasonic offers a clear advantage over many competing devices that are adjusted less accurately ex factory.

Colour space of the Colour1 mode

The above measurement shows that this setting also works perfectly accurately in practice. Every user can get an accurate colour display according to video standard without a great calibration spree. Simply activate the Colour1 mode and all of the colour nuances appear on the screen exactly as they are mixed on the DVD / Blu-ray. The only downer is that the great space of the original film must be surrendered in favour of the exact colours.

As mentioned above, both the Colour1 and the Cinema1 mode use the internal Pure Colour Filter which optically filters exceedingly powerful primary colours from the lamp range. An unpleasant side-effect of this filtering was a disproportionately large loss of light as was the case with the previous models. The filtering of the green-yellow spectrum in particular, while allowing a "cleaner" green, costs about 70% (!) light output, because the filtered spectral components transport a lot of light for our eyes. But a darker picture inevitably looks somewhat paler to our eyes so that one can argue about whether the solution of an internal colour filter, which costs so much light, really is the perfect solution. We will be publishing a dedicated Special on this issue soon.

This does not apply for the PT-AE4000. The new Red Rich lamp and the Pure Colour Filter specially designed for the same cause a much lower light loss in the filtering of the primaries. The projector loses only 25% of its maximum brightness with correct colours. This compromise is regarded as very good and, technically speaking could hardly be made better, at least with the conventional UHP lamp technology. Strong colours and light are no problem for the 4000s.

Thanks to the versatile presets, there are also two picture modes that do without an internal filter completely. Without this, even more light comes on the screen. The colour space does not quite meet the video standard, but is in a good range of tolerance.

Colour space "Normal" mode

The colours red and green are slightly oversaturated so that this mode also has a tendency to look “too colourful”. The Normal mode can thus match the Colour1 mode, but…

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3.2.2 Colour space calibration through the new colour management of the PT-AE4000

We recall that in chapter 2 ("Operation") of this test we established that the PT-AE4000 has classic colour management features for the first time with which you can correct all primary and secondary colours in brightness, saturation and shade.

We invoked the colour management and tried to adjust the colour space of the normal mode more closely to the video standard. It is actually possible to adjust it well. Only a small deviation in green and cyan is incorrigible for most devices (series scatter!) because the native colour range of the UHP lamp is not quite sufficient. Absolute perfection by calibration is possible by calibrating a mode that uses the internal colour filter.

As good as the final results may be, they are not easily achieved in spite of the clear colour management! The reason is partially significant interactions between the different controls. If you reduce the saturation of one of the primary colours, for example, the brightness decreases at the same time. Therefore, you have to increase the latter in parallel. But the brightness control affects the saturation causing it to decrease. You should take care to correct the colour saturation and colour luminance simultaneously and evenly with these two controls.

It is even more complicated with the secondary colours. Here, the colour saturation controls also affect the shade and vice versa. You have to keep “juggling” all three controllers at the same time until all the parameters fit metrologically. For the experienced calibrator, this system is manageable but not the simplest of its kind in any way! In addition, the "Colour1" mode can not be recalibrated because unfortunately the colour management was disabled in the menu.

In terms of colour space, the Panasonic PT-AE4000 has attained almost reference status. It offers presets for very large colour spaces, for colour spaces perfectly matched to the video standard, for a colour space with the highest possible light output and even a fully fledged colour management to top all this off. It leaves little room for criticism as a versatile and well thought out device. Only the interactions of the colour management parameters and of the Colour1 mode that cannot be further corrected can be criticised. Overall, with the continued development of the 4000, Panasonic has caught up with Canon and JVC.

3.3 Colour temperature (Know-how link here)

White balance is essential for accurate colour. All the neutral shades of grey must be matched to the level set by the video standard colour temperature of 6500K / D65 so that the mixing ratio of the basic colours is right.

The included Pure Colour Filter Pro has not only the task of extending the colour space of the projector (see above) but also of optically matching the colour temperature of the projection lamp with the 6500K (D65) required by the video standard. Thus a higher native contrast is combined with an accurate colour temperature. Since the Cinema1 / Colour1 use the internal filter, they show very accurate results.

3.3.1 "Colour 1" mode

The Colour1 mode is designed with its accurate colour space for video purists. Its colour temperature is thus calibrated to the proper colour temperature accordingly. A surprisingly good feat for a factory default:

Colour temperature: 'Colour1'

An excellent approximation to the video standard is evident across all levels of brightness. A small red surplus creeps in only in lighter areas. The ranges of tolerance are generally so small that only an absolute perfectionist would re-adjust here.

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3.3.2 "Cinema1 'mode

In this mode, the colour temperature is also very good. The red surplus here is reversed into a slight lack of red.

Cinema1 mode

Since the Cinema1 mode has a larger colour space than the Colour1 mode, the similar adjusting leads however to different image results when running the film. The colours are generally stronger, which is particularly noticeable in the face and natural colours.

3.3.3 "Cinema2 'mode

In Cinema2 mode, the red level appears approximately 20% reduced in all of its levels of brightness when compared to its reference value.

The lack of red makes the image appear bluish / greenish. The large colour space with emphasis on the basic colour green makes it more difficult so that the Cinema2 mode appears too unnatural.

3.3.4 "Colour2" mode

The Colour2 mode is orientated on digital cinema standards and is calibrated to less than 6500K. This option therefore makes little sense for normal home cinema operation.

Due to the shortage of about 20% blue, the image display looks too yellow which is particularly irritating and noticeable in films.

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3.3.5 "Cinema3" mode

The Cinema3 mode is exactly the opposite. This shows a 20% surplus of blue that makes the image display too cold.

Due to our local viewing habits, a blue excess in the image is not too irritating. However, this mode is also not recommended for accurate colour reproduction.

3.3.6 "Normal" mode

Those who really want a lot of light on the screen should select the Normal mode in which the Pure Colour Pro filter is pushed off the optical path. While this increases the light output, the colour temperature is no longer optically corrected. This is particularly noticeable in the colour temperature.

Colour temperature: Normal

The mode does not claim a right to accurate colours, but the eye forgives the too cool presentation. This is an acceptable compromise for the high level of brightness. The projector can also be calibrated subsequently and still remains relatively bright. It is not unusual that this mode is perceived as being particularly attractive by non-experts, simply because it is very bright.

3.3.7 "Dynamic" mode

The projector is taken to its limits with the dynamic preset. Here, it reaches its maximum brightness and factory specification with respect to lumen.

The inhomogeneous colour gradient together with the great lack of red of more than 30% compromises a very credible picture display considerably. Despite maximum brightness and maximum contrast, this mode is not to be recommended unless you really need all the light reserves.

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3.3.8 Corrective opportunities by RGB controller

And again, we call the much-improved correction capabilities of the PT-AE4000 to mind, even in terms of colour temperature.

While the PT-AE3000 has only the usual RGB sliders for brightness and contrast, the 4000 now offers a full RGB equalizer in which each primary colour can be individually adjusted at nine different points of contact.

Equalizer for the primary colour red

The advantage of this additional system is that you can now correct the colour temperature directly in the medium brightness areas. The uneven colour gradients of Normal or Dynamics can thus be corrected easily. This system is much simpler to understand and in total provides much more precision.

The calibrated final results can also be perfect accordingly. Without exception, every (!) mode from Cinema1/2/3 through Colour 1 / 2 to Normal and Dynamics can be accurately calibrated in all relevant areas of brightness.

The new internal colour filter, the UHP lamp, with improved red output and wide range of settings make the PT-AE4000 extremely flexible and perfect in terms of potential colour reproduction. The user can adjust these to suit any needs or any application. Various presets make this very easy even for beginners. A large number of calibrations leave nothing to be desired even for experts. "Last but not least”, a better colour filter improves light output and thus the image quality of the cinema and colour presets. The Panasonic projector thus achieves the highest marks here.

3.4 Gamma distribution / homogeneity (Know-how link here)

The contrast ratio ensures the highest possible level of brightness that the projector has at its disposal for image representation. The gamma determines how these brightness levels are used in relation to the signal level. Here, too, each preset offers another setting depending on the intended use.

3.4.1 "Colour1" mode

In terms of colour space and temperature, the "Colour1" in Panasonic projectors adheres to the video standard very closely. We can then assume that this will also be the case with the gamma and the 4000.

Gamma distribution: Colour1 mode

This is also confirmed this year. With an increase of 2.24, the Colour1 preset is exactly in line with that defined for current DVDs and Blu-rays. A good deep dimension picture is also guaranteed even in the lower brightness levels. None of the screen content disappears in black.

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3.4.2 "Cinema1" mode

The Cinema1 mode is again a good complement to Colour1. The increase is a little steeper in this case.

This gamma distribution is a certain deviation from the norm, which is characterized by a subjectively higher contrast, but only in optimised cinema rooms. Cinema1 is overall a little more trimmed to effect (like in strong colours).

3.4.3 "Normal" mode

Even the normal preset shows a rise of just over 2.3, however the reproduction appears to be clearly brighter due to the higher light output.

The image looks very appealing in this combination. Only dark scenes suffer from the lighter black level. A small readjustment is therefore recommended (more on this below).

3.4.4 Cinema2, Colour2 and Colour3 mode

The gamma curves of the other presets are even steeper: Since these modes are not recommended for normal film operation, we will not go into further detail here.

"Cinema2": 2.35

"Cinema3": steep and uneven 2.45-gamma curve but close to the PAL standard

"Colour2": with an increase of almost 2.7, too far away from the video standard.

Deep dimension picture is less in darker areas

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3.4.5 "Dynamic" mode

For the sake of completeness, we also show the course of the dynamics of the gamma mode which, despite having a colour-distorted image display, reserves most of the light mobilised.

The brightness increases rapidly but levels off at the top. The picture looks brighter, which may be useful in areas that are not fully darkened. Dark picture elements disappear without correction, and especially so in residual light conditions.

3.4.6 Retroactive gamma correction

The Panasonic PT-AE4000 has also upgraded for subsequent gamma-optimisation. In the “simple” gamma mode of the extended image menu, the classic Panasonic gamma control "High / Medium / Fine" is available. "Fine" affects the dark image areas, "Medium" the middle, and "High" the bright areas.

The system allows a relatively rough but simple optimisation of gamma for the user’s own needs. This system is inadequate for the perfectionist however; something which we have been criticizing for years. A remedy has been found at last. You switch to the "Advanced" mode, and the lower part of the options that allow for separate brightness adjustment but also for each primary colour appear.

After you have selected how fine the further calibration should be, you invoke the relevant gamma manager which allows a specific adjustment of different levels of brightness.

The system looks more complicated than it is at first glance. The setting points are ordered from left to right in shades of brightness. Vertical movement increases or decreases the actual output brightness. If, for example, you want to increase the deep dimensions in darker areas because you have the impression that the picture leaves out details, this can be done with the left-most point of contact (move upwards). All of the other light areas remain unaffected.

The system is even smart enough to move the point of contact horizontally until it hits exactly the signal level you wish to control. It is hardly possible to design a gamma manager better or more clearly. A big compliment to the engineers.

And the PT-AE4000 shows no signs of weakness in this area either. The main picture presets (cinema, colour and normal) have a very well balanced brightness distribution ex works. These can also be trimmed to absolute perfection using the new gamma equalizer. The image result on the screen shows a balanced composition in which neither dark details disappear nor are bright details “out-dazzled”. The native contrast potential is always optimally exhausted.

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3.5 Black level, contrast, brightness (Know-how link here)

As explained in the chapter on Technology, the new Red Rich lamp and the optimized Pure Colour Filter 2 should increase the light yield above all and hence the contrast of the PT-AE4000 significantly compared to its predecessors. At the same time, three other technologies (pure contrast plates, adaptive aperture and adaptive light control) from past generations are also working to maximize image plasticity.

We were dying to see the results and above all to see if improvements, provided there were any, also visually promote the image quality. Let's go...

The maximum light output has not changed. It is still achieved in the Dynamic mode with a clearly too cold colour display. The factory data of 1600 lumens is achieved at maximum zoom and high lamp mode with almost pinpoint accuracy.

"Dynamics”. Far too cold colour temperature

What is surprising is the fact that the projector still has a red deficit of over 30% in this dynamic mode, meaning that a higher red output from the new red lamp is not yet evident. The next step is therefore to activate the Cinema mode with the new Pure Colour Filter Pro. And, as already indicated in the last chapter, the promised, significant increase in light is confirmed by our measurement instruments. The PT-AE4000 now achieves up to 700 lumens in series cut in the cinema and colour modes with an internal filter. This is actually about 40% more than the PT-AE3000!

                                 Contrast PT-AE4000

                                    Maximum zoom

            (Maximum image size / smallest possible distance)

The new "Red Rich" lamp allows more effective utilization of the dynamic range in the modes with internal colour filters. It not only increases the brightness, the contrast is increased by the additional reserves. The fact that contrast enhancement is achieved this time by more light and not just by a new "cheat" programming of the adaptive light aperture is encouraging. Nevertheless, the latter has not been dispensed with. The PT-AE4000 only achieves the 100,000:1 mark of the technical data in the Dynamic mode where the aperture closes very far after a long time. It works considerably more moderately in normal cinema operation however, as can be seen from the table above.

The dynamics scope was improved noticeably despite the moderate use of the adaptive aperture. It increases the contrast by a factor of 2 to 3 on average, which stops irritating side-effects such as jumping pictures from the outset. The real-time control and the sophisticated gamma balance mean that the picture doesn’t jump even with fast changes from light → dark.  "Intelligent" use of the aperture like this also ensures that unwanted side-effects such as excessive darkening of light elements for images with a high proportion of black are avoided. Evidently, it was not the aim to create the highest possible contrast at all cost, but to achieve a healthy coordination between native contrast, black level and maximum brightness without irritating side-effects. We would like praise the moderate use of the adaptive aperture at this point, because a sensible increase in the scope of dynamics without side-effects was given priority over marketing values and promoting black level to new reference levels, which at first glance suggest a new picture quality, but at second glance (i.e. at home) show the other ugly side of their face (irritating side-effects). But tastes are sometimes different and so some home cinema fans give priority to a maximum black level. The system would be even more flexible in general if the users could control the aggressiveness of the dynamic aperture themselves, e.g. in different stages. Other manufacturers have been using these options with great success in their projectors for some time (for example, Mitsubishi HC6800 / 7000).

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3.5.1 Effect of the zoom range on light output

A big zoom range like the PT-AE4000 always has a strong effect on the light output. The rule is: the further the projector is away from the screen with the same image size, the darker the image. We achieve thus a light output in Normal mode of about 1200 lumen (approximately 1,000 lumen calibrated), for example, if we exploit the zoom, and the projector is as close as possible to the screen. For the same width, the light output drops to 700 lumens if you maximize the distance between the projector and screen. The brighter you want your image to be, therefore, the closer you should place the projector.

                      Minimum zoom / Maximum distance

Average values of all tested series devices!

3.5.2 Effect of the zoom on the contrast

Precisely the opposite is true for the contrast. The further away the projector is, the higher its contrast, the better its black level. At maximum zoom, the projector still has an average 3000:1 contrast in Normal mode, at minimum zoom and maximum possible distance, 4600:1. The improvement is significant in the Dynamic mode. The PT-AE4000 reaches up to 6700:1 native (!) when it is placed far away from the screen.

3.5.3 Features "Dynamic" mode

As with almost every projector on the market, the PT-AE4000 achieves the most brightness in the Dynamic mode. If you maximise the zoom, it reaches its factory specification of 1600 lumen. This is less at minimum zoom. In addition, however, the high contrast with activated adaptive aperture is noticeable. We observed another phenomenon here.

Basically, the adaptive aperture in the Dynamic mode is programmed so that it ensures a contrast of about 16000:1. If however, you set the lamp mode to "Normal", the contrast is up to approximately 100,000:1 (no measurement error!). The aperture works according to a special principle here.

Under "normal" operation, the aperture closes abruptly in real-time so that 15000:1 are guaranteed even for fast film cuts from bright to dark. After a wait of about three seconds, the aperture continues closing in small steps. It also does this invisibly so that film scenes that have to remain obscure for longer can darken in the following seconds. Thus, an optimum black level is guaranteed in dark passages.

Important note:

In recent months, we have repeatedly encountered the theory that Panasonic projectors in the "HDMI extended" mode show a higher colour-calibrated maximum brightness and a higher contrast than in the "HDMI normal" mode. This is fundamentally wrong. The maximum brightness is influenced by the level control of the LCDs, but not through the HDMI decoding page in the signal processing. (The reason for this false assumption is obviously the "100% characteristic curve" of the waveform monitor. This does not mark the maximum possible brightness of the projector, but only the "whiter than white" - the area of the video standard). With proper calibration, the above measurement is completely independent of the chosen HDMI mode! This also applies to the previous models 1000/2000/3000.

The manufacturer has not promised too much. The new lamp and filters will allow a significantly higher brightness and contrast output after calibration and thus allow greater image depth.

The different picture modes also give the device large diversity in terms of black level, brightness and contrast. Depending on your personal priorities, choose either one of the cinema modes for a combination of good colours and great black level, or the normal mode for a very high brightness. But all the highest values still can not be combined with each other. Thus, a maximum contrast is only possible with a small zoom and with less light, and vice versa. However, these are the current limitations of physics and it is not negative to evaluate them.

The projector lags behind its predecessor noticeably when it comes to vision screening. In the cinema modes, the picture is bright while a good black level ensures that dark images appear spatially deep because there is no grey haze covering them. The high native contrast which is intelligently deflected by the dynamic aperture depending on image content ensures high three-dimensionality. Only "black level fetishists" do not get their money’s worth with the 4000 because the maximum closing range of the adaptive aperture can not be influenced by the user. This is firmly linked to the image mode.

3.6 Sharpness / illumination / convergence (Know-how link here)

Visually, no changes were made compared to the predecessor so that the results with the PT-AE4000 are the same at this point.

The image is consistently sharp with not too strong use of the lens shift over the entire surface. There are no reflections or optical distortion towards the edges.

Where convergence is concerned, the series devices we viewed stayed within good ranges. The screenshot above shows the "worst case" convergence of a series device at the margin. No degradation of image clarity was seen with a colour shift of about half a pixel in red or blue from normal viewing distances.

The illumination is also so even over the entire image that no lucency or shadowing effects can be seen when running the film, even when the dynamic aperture is activated.

We tested the optics and smooth screen technology with individual pixels. Using a special designed test image, we projected the smallest possible picture elements on to the screen.

The results were very good. The optics provoked no large halos, only a minimal red trail can be seen close up. The smooth screen technology does not make the pixels blur so that the detail resolution is fully preserved (see above). The assumption that smooth screen impairs detail display is incorrect. It is only artificially “over-sharpened”!

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3.7 Overscan (Know-how link here)

The system for adjusting the overscan was not changed. The cut off edges can not only be deactivated, but regulated in ten stages. Thus, it is possible to either display the entire image content or hide unwanted edges.

The overscan is adjustable from "off" (above) to "large" (below).

In addition, we have built a blanking function into the PT-AE4000 category "Optics setting". With this, it is possible to clip the four image edges independently. Depending on the installation, this may be very useful for adapting to the screen, especially in relation to the 21:9 usage by means of a lens memory function.

3.8 De-interlacing (Know-how link here)

The Panasonic PT-AE1000 does not reach any reference level in the conversion of half-frames (as was the case with its predecessors). The absence of well-known image processors à la HQV is noticeable.

Video material

Video material (e.g. TV shows, sports broadcasts making-ofs etc.) are recorded with 50 different frames per second. Although each field offers only half the resolution, it provides its own snapshot. The PT-AE4000 produces the same positive results as its predecessor for video footage. According to the “motion adaptive” method, stationary picture elements are merged from two consecutive fields, while moving elements are “interpolated up” by the internal scaling electronics. The method has been implemented well. Video images (e.g. from a satellite receiver) are converted with very good sharpness without major motion artefacts or fraying on the progressive representation. The system is very suitable for watching TV.

Footage

The PT-AE1000 achieved only modest results in film de-interlacing. While a film mode that reconstructs the original film images into video frames can be detected, the signal often gets out of rhythm, resulting in a loss of detail and edge flares. For feature films, you should, if possible, use a good progressive-scan playback device to obtain optimum results.

3.9 Details / scaling / sharpness (Know-how link here)

The detail display of modern digital projectors is subject to increasingly specialised preparation technologies. In addition to conventional signal processing, the PT-AE4000 also has the new Detail Clarity 3 function and Frame Creation interframe on 100/120Hz. We have examined them separately in terms of their respective effectiveness.

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3.9.1 Signal processing

The Panasonic projector as delivered from the factory typically has a certain propensity to show double contours. You can regulate these however with the settings control.

The MPEG noise reduction functions excellently. You can see the undesired compression artefacts around the figures at the top of the picture. This ugly pattern will disappear almost completely if you activate the noise reduction.

Above: compression artefacts from the DVD

Below: they were reduced with the MPEG noise reduction

3.9.2 Horizontal scaling

In the case of a conventional PAL playback, from a DVD for example, this has to be converted to the native full HD resolution by the scaling electronics in the projector. The outstanding results of the predecessor are maintained by the PT-AE4000. The burst test signal is shown on the canvas almost without linearity fluctuations.

Mild interference can be seen only in the habitually difficult resolution range around 6MHz. The missing fall in level is also very beneficial for sharpness. High resolution (right) is shown as bright as lower resolution.

Colour separation and level are guaranteed to the highest resolution even with colour resolution, so that the colour display of details does not come too short.

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3.9.3 Vertical scaling

The vertical scaling on the HD resolution is also excellent. With 1080 lines, it is almost twice as high as that of PALs. This explains the good results.

A scaling is not noticeable, linearity fluctuations are on an imperceptible level, thus benefiting straight vertical camera movements in film and television considerably. Therefore, even fine structures in the film image are spared interference patterns.

3.9.4 Movement sharpness with 100Hz and Frame Creation

Projectors basically show their highest sharpness with static images, with both HD and PAL material. The situation is different with moving picture content. Due to the limited frame rate, signal reduction through compression and switching times, they visibly lose sharpness. This is especially noticeable in horizontal pans, as for example in films or sports broadcasts.

The manufacturers have been using the 120Hz interframe to get on top of the problem since last year. Each one has their own special solution. The solution at Panasonic is called "Frame Creation" and was introduced with the PT-AE3000. The system remained largely unchanged in the 4000, but was supplemented by an additional step.

In the first step, we look at specific test sequences with horizontally moving real images for 60Hz video format. First, the image is static, and then it moves quickly like a horizontally scrolling text. The picture is not as sharp as the static due to the contours being blurred by the movement.

Above: the original maximum sharpness...

If the image moves like a scrolling text, the sharpness is decreased significantly

If you activate the interframe now, it increases the sharpness of the moving part significantly. You see much greater detail than without it.

Enabled interframe sharpness increases and comes close to the static original

These images are not live screenshots, but we have chosen them so that they come very close to the real impression. You will have the same impression from these test sequences, if you decide to view the PT-AE4000 “live” at a retailer.

The next step was to look at television material. This has a somewhat sobering effect. The increase in sharpness can only be as good as the source material allows. And since most broadcasters transmit with such a "sparse" data rate that movements are completely out of focus, the 120Hz-interframe can not work miracles.

There is some gain however with high-quality HD playback in conjunction with sports. In the fast movements of a football match, for example, small details like the advertising boards or the crowd are better displayed in the motion picture than without interframe. But there is no “wow” effect.

For video material playback with 50Hz or 60Hz, the better the quality of playback, the more visible the advantage of frequency doubling. How does it look with film material?

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3.9.5 Frame Creation with film material

Films are not recorded at 50 fields per second, but analogue on celluloid with only 24 frames per second. In the case of PAL DVDs, this original cinema 24Hz frequency is increased to 25 Hz and transferred through a simple image doubling of 50Hz (2:2 pulldown). Modern Blu-ray players, however, retain the original cinema frequency and pass 24Hz (1080/24p) on to the projector.

There is however a great disadvantage in this lower cinema recording frequency. It is only a fraction of the speed at which our eye can actually see, and therefore, there is an irritating jerking or shaking with certain movements (e.g. medium speed panning shots) that affects the naturalness of the image. Panasonic’s Frame Creation takes up action here and calculates up to four interframes to make movements more fluid and, at the same time, more accurate.

So we checked using difficult film scenes with a lot of movement, naturally in HD 1080/24p. The PT-AE4000 now offers three distinct modes for this, one more than its predecessor. A weak mode in which only one interframe image is calculated; a middle mode where three interframes are calculated (96Hz); and a strong mode where as many as four interframes are calculated (120Hz).

For home cinema fans who do not want to do without the classic "film look", we recommend the "weak" mode. The very moderate interframe calculation resulted in a credible film image where the motion sharpness is also increased in our practical test. Again, the electronics work reliably. We did not notice any annoying failures in our vision screening.

The picture becomes realistically more fluid with the medium mode. The projector manages to get a completely molten image free of jerky from the film material with its typical micro stuttering. This enables a much more natural motion reproduction, like a video recording. The increase in sharpness is absolutely perfect in fast motion or panning shots. The "blurring" effect is significantly reduced. Also encouraging is the fact that the electronics never seem to be overloaded and there are thus no failures as with the interframe calculation of many other models. The screen layout is always stable and even as it should be.

In the strong mode, interframes are consistently inserted even with fast movements so that the flow of movements is more liquid. This mode is first choice for sharpness fanatics, but there is not much left of the 24Hz "film look". Even in this new mode which was not included in the AE3000, the interframe works reliably and has as good as no artefacts.

Of course, the technology can be completely switched off if required, so you can watch cinema or TV with the original fed-frequency.

By the way, this system works not only with 24p playback, it also works with PAL DVDs. All modes with the same results are fully usable and even a 60Hz playback (e.g. NTSC or 1080/60) is easily possible because the irritating 3:2 pull-down is separated reliably (reverse pull-down). At 60Hz playback, the system is a must.

The Frame Creation technology is a useful extension that promotes image sharpness. The film look is not affected too much in the weak mode. And with video material such as sports and TV, the technology only offers serious advantages without disadvantages, as it  can visibly increase the motion sharpness of football for example with 100Hz (depending on the quality of the source). The new mode of the 4000s is a useful addition, making the projector more flexible.

3:10 Detail Clarity 3 Processing

With the PT-AE4000, the Detail Clarity Processor is now in a new, third generation. The system has become considerably more complex. The circuit increases the subjective sharpness of the image by raising the dynamics level of higher resolution based on pixel. In other words, if a pixel has a high contrast with its neighbours (e.g. light grey beside dark grey), the level will be raised slightly to increase this contrast further. You could call the whole thing "dynamic, pixel-based gamma-raising."

Thus, the Panasonic solution is very similar to the "Super Resolution" technology of the current Epson models in terms of functioning. The same goes for the visual image results. To enhance comparability, we have chosen the very same high-resolution scene of the Blu-ray "Casino Royale", the long shot of St. Mark’s Square.

From the picture above, we chose a small detail section to document the changes in sharpness. It's amazing how well full HD can display even micro details that are only a few millimetres in size.

The picture is only a few square centimetres in size, yet with fine resolution

As can be seen in the second screenshot below, the sensitivity for sharpness is increased by intelligent adaptation of pixels through emphasising contrasts between light and dark.

More subjective sharpness through strong contrast transitions

However, these functions are always treated with caution, because they do not only make the image content sharper and clearer, but also have irritating artefacts (noise, compression artefacts, steps). The danger of this is especially increased when using the system to its limits, as described above for the screenshot. But Panasonic has taken preventative measures here. The function can be fine-tuned in several small steps until it accurately reflects your personal taste.

The Detail Clarity 3 system from Panasonic delivers what it promises, and increases the sensitivity for sharpness without provoking irritating "ringing" (double contours). But we have to add that this was a targeted (Gamma) alienation of the original image and appears artificially "sharpened" in places. And artefacts can appear more if the quality of the source material is mediocre. As always, let your personal demands decide here.

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3:11 Shading (Know-how link here)

Each 3-chip projector shows mild ranges in colour temperature inside the image, regardless of the technology it uses. This phenomenon is circumscribed by the terms "colour uniformity" or "shading". The higher the colour uniformity or the lower the shading, the lower the risk of harmful discolouration in some areas of the image.

The aim of the producers is to keep the inevitable colour clouding at the lowest possible level so that it is not noticeable when the film is running. The PT-AE4000 has very low ranges like its predecessors. All of the series devices we viewed showed no interfering colour clouding when running the film so that the series spread seems to be exemplarily low. However, a small red tinge can be seen in one of the sections of the picture in image-filling greyscale in certain levels of brightness depending on the series spread.

4. Conclusion

The new Panasonic PT-AE4000 is certainly not a revolution, but more the consistent development of a good product. With this generation, the engineers pursued the intention of improving the ease of operation and setting options, thereby providing more light reserves for a particularly large 21: 9 cinemascope projection, which is still the main theme and unique feature of the Panasonic projector.

They have succeeded in both. The new map technology with more red output has paid off. It ensures that the project projector has a lot more brightness and contrast than its predecessor after calibration. In particular, the additional light output will please many “bright image” fans. The new Pure Colour Filter Pro is also an excellent addition to the new lamp spectrum so that the "Cinema" and "Colour" presets are pleasantly bright and fit for larger image sizes.

Emphasis was placed mainly on software and signal processing to further improve the image properties. As with the previous PT-AE3000, the 4000 also has impressive carefully coordinated works modes catering to different tastes and requirements.

In Colour1 mode, the colour display is almost perfect ex works thanks to a precisely tuned colour space and the matching D65 white balance. All colours appear on the screen as intended by the DVD / Blu-ray makers. At no point does the image look artificially saturated or too pale. The signal processing helps smooth colour transitions and minimizes distracting colour reduction insofar as possible. If a colour artefact appears on the screen, it comes from the source, not the projector.

For those who prefer things more colourful, Cinema1 mode with its expanded colour gamut is for you. Although the picture is a little too “jazzy” in some places, animation in particular benefits from the bright colours, especially with the additional light reserves of the PT-

AE4000.

For those who can’t have things bright enough, they should choose the "Normal" mode without internal Pure Colour Filter. However, this mode delivers better results when it is professionally calibrated. Then it can combine a high brightness with near perfect colours.  

These presets are now very powerful and supplemented by additional calibration tools in the picture menu. Absolute perfection in image composition and colours is possible with the sophisticated gamma equalizer and the all new colour management, depending on the skill of the calibrator.

Improvements were also made to the image depth. In addition to the increase in brightness after calibration, as already mentioned, native contrast and black level have been improved, thus enabling the PT-AE4000 to separate the difference between light and dark elements inside a picture even better than its predecessors could. The dynamic aperture shifts the native contrast depending on the image content perfectly normally without side-effects. We hope however, that the next model will have more settings options on the adaptive aperture, because there is more potential in this system than the engineers have been using until now, especially in combination with the now increase native contrast.

The new "Detail Clarity 3" processor and a third mode in the interframe calculation were “dedicated” to the issue of sharpness. Both improvements are clearly visible, making the PT-AE4000 one of the sharpest on the market. In addition, they are very flexible and adjustable to suit all tastes. By the way, we can negate the prejudice that the Smooth Screen technology costs sharpness focus!

When it comes to signal processing however, de-interlacing was either neglected again or not modified. It deals with video material well, but often gets out of step with films. The issue of de-interlacing is as old as digital projectors, and it is always a surprise to us that it often still has not been solved perfectly. You should therefore pay attention to good progressive playback, both from DVD and satellite.

Technology artefacts, on the other hand, are minimal. Shorter viewing distances can also be realised with Smooth Screen, almost like an LCOS projector - without annoying clouds of colour.

(All evaluations refer to the respective projection type and the current state of technology. A direct comparison covering all systems is therefore only possible under certain conditions!)

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You can fine-tune at three places in the equipment and operation. In first place are the automatic format detection and the three additional memory banks of the "Lens memory function" with which users of 21:9 screens (highly recommended) now do not even have to press a button on the remote control. It could not be more comfortable.

The trigger inputs and outputs promote the home convenience, because they enable the automation of canvas and light control.

However we are not very enthusiastic about the Viera link which has been integrated in a Panasonic projector for the first time. The communication delays between the components are sometimes disturbing and the remote control does not provide enough buttons to e.g. operate a Blu-ray player effectively.

The variety of connections, good workmanship and simple operation round off the positive overall impression. To be honest, we would not have thought that the engineers would have succeeded again in achieving improvements in picture quality and equipment with the fourth generation of the chassis. But we were (fortunately) surprised, as the list of changes summarizes:

- Red Rich lamp + Pure Colour Filter Pro 1: more brightness and contrast in cinema modes

- Detail Clarity Processor 3: raising greater detail

- Gamma equalizer

- Colour management

- Frame Creation mode 3: More fluid movement interpolation

- Lens memory 2: more memory and automatic format detection

- Trigger In / Out: easier automation

- Viera link: control networking of various components

The recommended price was not "tuned". You still have to fork out €2,699 for the latest Panasonic home cinema projector. For this money, you acquire such a well-engineered and sophisticated home cinema projector that few other models on the market leave such an overall balanced, top-class impression in almost every respect. We recommend you compare it with other projectors at a competent dealer before you buy so that you do not miss anything when making your selection!

5. Rating

+ Very good workmanship

+ Flexible mounting with plenty of comfort

+ Lens memory 2 for cinemascope screens

+ Easy to use with many options

+ Very well set by factory

+ High motion sharpness thanks to 100Hz with Frame Creation

+ Hardly any pixel structure

+ Hidden working aperture

+ Good brightness

+ Good contrast

- Large dimensions

- PAL de-interlacing with errors in the film mode

- Difficult to use colour management

- Lens shift is not electrical

- No programmable adaptive aperture

- Effect of preparation on contrast and brightness

(All evaluations refer to the respective projection type and the current state of technology. A direct comparison covering all systems is therefore possible only under certain conditions!)

22. December 2009, Karsten Becker, Ekkehart Schmitt

www.Cine4Home.com

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